It was engraved by Achille Felix Saint Aulaire, who added the figures to the original drawing, and printed by Bernard and Lemercier; the dating is due to the presence of the Forts of San Giorgio (built between 1818 and 1828) and the one of Castelletto (demolished in 1849).
This delightful little lithograph, described by an anonymous contemporary of the artist such as a whole romantic and serene atmosphere, is a PANORAMA.
The term Panorama, from the Greek word pan (all) and orama (vision), refers to a circular view, of monumental dimensions, usually depicting urban or natural landscapes, sometimes historical or religious events, realized for spectacular purposes and temporarily exhibited in specific architectural spaces.
Until 1900, about 250 panoramic canvases are reported, between Europe and the United States of America. Even if there are only a few fragments of these works left, we have many drawings or paintings made perhaps in preparation for the final panorama. These works, usually presented in extension, are to be imagined enlarged and curved in half cylinder or cylinder. Also Genoa was a subject represented by artists in their panoramas.
The engraving by Carlo Bossoli was widespread: however, it is a 180 ° view, taken from a watercolor painting. A 360 ° views are both the small but delicious two-part lithograph by Nicolas Chapuy and Felix Saint Aulaire, perhaps a nice souvenir for cultured travelers, and the impressing Panorama by Henry Parke (Genoa, Carige Bank collections), possible preparatory work for a gigantic work never realized. A real Panorama of Genoa was presented in London in 1828 by Robert Burford: five English libraries keep the five copies of the illustrative booklet for the visit.