The Po shimmers in pale afternoon light as Turin's neoclassical Gran Madre di Dio church — its Pantheon-inspired rotunda a deliberate echo of Roman glory — anchors the left bank while the Capuchin monastery crowns Monte dei Cappuccini on the hill behind, the whole panorama reflected in the river's glassy surface in this early albumen carte de visite by Giacomo Brogi of Florence. Brogi, who operated from 15 Lungarno delle Grazie and 79 Corso dei Tintori, was one of the great documentary photographers of the new Kingdom of Italy, and his numbered series of "Vedute" — views — were sold to the educated touring public who crammed the new railway carriages linking Turin, Florence, and Rome in the years immediately after Unification. The card back carries Brogi's elegant red-ink typeset imprint in Italian, advertising his albums, stereoscopic cards, and the "Pinacoteca Universale" — a grand collection of reproductions of European gallery paintings — and a printed catalog number, 3705, with the caption "Torino. La gran Madre di Dio e Monte dei Cappuccini."