The two prints proposed here underline the characteristics of Bonzuan's vision. On the one hand, the desire, taking up his Venice, to get out of the classical schemes and to use an inverted glass to multiply the perspective, multiplying it in a game between high and low, between direct and indirect, between real and fantastic. The fact that the city was also very famous for the glass industry at the time gave the image a subtly ironic tone. Very different, however, is the image of the sunny road traveled by a couple in the foreground who sheltered from the sun with an umbrella. When his gaze has caught them, he cannot help but continue and find a little far away a man dressed in black passing by a lamppost and even further on, very small, another figure on the way. The result is an exercise in style that enhances, thanks to the composition, subjects that would otherwise be of little significance.