Catalogue numbers: F 468, JH 1578.
There were three parks around the artist's house in Arles (the Yellow House), of which van Gogh made several sketches. He painted a corner of one of the parks, the same details which he painted earlier from a different view (F 428).
In the 1730s Canaletto received many commissions from Great Britain, these included 24 vedute for the Duke of Bedford. These depicted the most famous sights of Venice, though a few of them are devoted to less well-known location, like the Campo Santa Maria Formosa, the View of the Entrance to the Arsenal and the Campo San Rocco.
It has been assumed that the Paradise and Hell panels, inspired by a panel of Dirk Bouts, once formed the wings of a Last Judgment altarpiece; more probably, however, they were originally intended as independent works illustrating the rewards and pains of the Particular Judgment. The pictures have been disfigured by heavy overpainting and darkened varnish, and critics are not unanimous in attributing them to Bosch; nevertheless, it would be difficult to ascribe their compositions to anyone else. In the Paradise pair, the left-hand panel depicts the elect shepherded by angels into a rolling landscape from which rises the Fountain of Life; this is the Terrestrial Paradise, a sort of intermediate stage where the saved were cleansed of the last stain of sin before being admitted into the presence of God. Already one group of souls looks expectantly upwards.
At the far left and right of the composition respectively are the figures of Adam and Eve. Light and shadow play delicately over their forms which stand out as though they had been sculpted in the round.