The support is a plain, loosely woven fabric of medium weight with irregular threads. The ground is a thick, reddish brown layer that strongly influences the hue of the overlying paint layer, particularly in the sky. The
paint was applied in layers of varying thickness with a direct and vigorous wet-in-wet technique. The main compositional elements were blocked in with fairly thin layers. The sky was painted before the buildings and
the areas for these were held in reserve to be painted later, although the textured paint of the clouds and sky extends slightly under the buildings. The upper-right corner of the Doges' Palace was extended over previously
painted passages of sky. A thin dark paint was employed for some of the details, and thin layers of semitranslucent dark paint were used throughout to outline and delineate forms and details of the buildings and figures.
This dark paint was applied over or around sections of more thickly applied opaque paint that had already dried somewhat, as in the filigree on the facade of San Marco and the features of the small figures. Highlights
on the faces were created with dabs of pink or yellow paint. The figures were applied directly over the white linear designs in the pavement, but before the thin black lines indicating the individual paving blocks.
The tacking margins have been removed, but moderate cusping is evident along all four sides. There is a single vertical area of discrete loss at the center of the painting, corresponding to a similar loss in the companion
painting; the two paintings were evidently stored face to face when the damage occurred. This damage is most severe at the left of the central flagpole on the facade of the Palazzo Ducale. Another area of damage that
existed below the base of the central flagpole was heavily overpainted. The thinly painted sky (which is significantly thinner than in the pendant) is badly abraded. Discolored varnish was removed and the painting restored
by Catherine Metzger in 1993.
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