In the foreground is a wide street with a classical marble triumphal arch at the right and trees next to it, a little further away a chapel stands between two modest little houses. On the street are pedestrians, and there is also a light carriage. Beneath the arch we see an elegantly dressed lady and two aristocratic gentlemen.

The same composition, with variations in the details and in the figures, is repeated in a painting attributed to Michele Marieschi and kept in a private collection in Venice (Marieschi tra Canaletto e Guardi, Gorizia, 1989, Fig. 83). A certain dullness and summarism, which we note especially in the figures in our painting exclude Marieschi’s hand, so that an attribution to Francesco Albotto appears more likely. This assumption is also supported by a comparison with works which the critics have in recent time collected around the only signed painting by Albotto (M. Manzelli, Michele Marieschi e il suo alter-ego Francesco Albotto).