The painting initially from the Thun collection in Děčín features a courtyard of a luxurious palace and a waterfront. The terraces of the palace and the staircase are full of groups of men in lively debate. Porters are unloading the two galleys that have just arrived. The background of the painting is dominated by the church. If the painting represents a view of the Santa Maria della Salute in Venice church, it seems probable that Eismann had only found inspiration in that view, for the execution took no heed of the faithful representation of the church, creating the so-called veduta di fantasia. Eismann´s church in fact differs conspicuously from the della Salute church in the construction of the cupola. Yet the depicted situation approaches the view from the opposite bank of the canal, from the vicinity of Piazza San Marco. However, the depicted palace does not represent any existing building, either. Eismann’s source of inspiration may have been Palazzo ducale. The Prague canvas is a good-quality example of painting that was probably executed during Eismann’s sojourn in Venice in the 1670s, with its lively brushwork, light brushstrokes, glazed finish of the painting. This type of capriccio, which particularly pays attention to capturing a specific atmosphere, later appeared in the works of Marco Ricci or Canaletto or Luca Carlevaris.