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This brief epilogue looks at the ways the View of Venice has been instrumentalized in historical practice and some of the consequences stemming from its pervasive meta-identity as a cartographic surrogate for the city in 1500. Contributors to the volume are discussed for new perspectives and deep engagement with the View as an object, advanced through the accompanying digital humanities project directed by the editor, Kristin Love Huffman, and on display in the 2017 exhibition at the Nasher Museum of Art at Duke University. New ultra-high-resolution scanning of the original allowed an enhanced vision evident in the close looking throughout the volume. This essay considers such advances in technology in the context of earlier published efforts, notably Alvise Zorzi’s evidence of a “lost Venice” in his project Venezia scomparsa (1971–), and the View’s position as a singular work that performed in the myth creation of the city.

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