Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School. New York, 1973, p. 36, pl. 39, as the north bank of the Thames seen through the arcades of an imaginary late baroque building, painted by Joli about 1744; find that the architecture and figures show Panini's influence.
Harley Preston. London and The Thames: Paintings of Three Centuries. Exh. cat., Somerset House. London, 1977, unpaginated, no. 21, ill., notes that such combinations of real and imaginary motifs were favored for overdoors and overmantels.
Malcolm Warner. The Image of London: Views by Travellers and Emigrés. Exh. cat., Barbican Art Gallery. London, 1987, pp. 13, 126, no. 68, fig. 1, colorpl. 16, maintains that Joli showed London in as classical a light as possible, as the new Rome, and describes the setting as a skeletal version of a church crossing flanked by Roman sculptures.
Luigi Salerno. I pittori di vedute in Italia (1580–1830). Rome, 1991, pp. 251–52, no. 28, ill. (color), suggests that framing the view accentuates the effect of depth.
Jane Farrington in Canaletto & England. Exh. cat., Birmingham Gas Hall Exhibition Gallery. Birmingham, 1993, p. 102, mentions Joli's lack of interest in topographical accuracy in his London capricci.
Roberto Middione. Antonio Joli. Soncino, 1995, p. 21, fig. 3.
Mario Manzelli. Antonio Joli: opera pittorica. Venice, 1999, pp. 129–30, no. C.20, fig. 118.
Katharine Baetjer in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, pp. 48–50, no. 6, ill. (color) [Catalan ed., Barcelona, 2006, pp. 34–35, no. 4, ill. (color)].