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The Turner scholar C.F. Bell annotated Finberg's 1909 Inventory entry ('Venice; Campanile and Ducal Palace, from the Canal'), crossing out the word 'Canal' and writing: 'middle of the Canale di S. Marco | noonday'. 1 Bell similarly annotated Finberg's In Venice with Turner (1930): 'The Ducal Palace, with Campanile, from the middle of the Basin of S. Mark. Noonday'. 2 The viewpoint does indeed appear to be low on the water, and the iconic buildings are shown in selective detail, using a limited watercolour palette over pencil outlines from an angle which presents them head-on in a seemingly shallow space, like elements in a schematic architectural elevation or theatrical flats.

Ian Warrell has noted the lack of 'underdrawing' in the other Venice watercolours in this sketchbook ( D15254-D15256; Turner Bequest CLXXXI 4, 5, 6), suggesting that here it 'may have helped resolve the complex interaction of architectural forms', perhaps indicating that the subject was delineated 'on the spot'; 3 Tate D14436 (Turner Bequest CLXXV 63a), a pencil drawing from slightly to the west in the smaller contemporary Milan to Venice sketchbook 'does not have sufficient detail for it to have been the source'. 4

Despite the relative slightness of the pencil work, what is shown is interrelated carefully and with sufficient clarity to triangulate Turner's position: on the Bacino east of the Dogana and aligned north-west of the harbour along the north side of the Isola di San Giorgio Maggiore, looking north-north-west along an axis running from the channel between that island and the Isola della Giudecca and the centreline of the Piazzetta (subtly but crucially indicating the recession of the nearest ranges on each side), terminating with the Torre dell'Orologio (clock tower) on the north side of the Piazza San Marco (St Mark's Square).

Along the waterfront west of the Piazzetta are the Zecca (mint), with seven vertical strokes representing its upper windows, whereas the façade actually has nine bays, and the lower adjoining Biblioteca Marciana (Libreria Sansoviniana), with no indication of its three arched first-floor windows. Both inconsistencies might indicate working in watercolour at speed, prioritising light and colour over topographical accuracy once the pencil framework had been confidently established. Beyond the library rises the campanile of St Mark's on the near side of the Piazza. Coming forward to the right of the clock tower are the two arched bays at the south-west corner of the Basilica of St Mark's, with the westernmost of its domes falling at the centre of the sheet, partly eclipsed by the shadowy west front of the Palazzo Ducale (Doge's Palace), which is shown in steep perspective.

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‘venice: the campanile of san marco (st mark’s) and the palazzo ducale (doge’s palace) - late morning’

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'Venice: The Campanile of San Marco (St Mark's) and the Palazzo Ducale (Doge's Palace) - Late Morning', Joseph Mallord William Turner, 1819 | Tate

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The Turner scholar C.F. Bell annotated Finberg's 1909 Inventory entry ('Venice; Campanile and Ducal Palace, from the Canal'), crossing out the word 'Canal' and writing: 'middle of the Canale di S. Marco | noonday'. 1 Bell similarly annotated Finberg's In Venice with Turner (1930): 'The Ducal Palace, with Campanile, from the middle of the Basin of S.

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THE TATE GALLERY, LONDON (542)

Canvas, 24 1/8 × 36 1/4 (61 × 92)

Coll. Turner Bequest 1856 (one of 18-21; 36-40; see No. 383 []); transferred to the Tate Gallery 1954.

Exh. R.A. 1845 (422).

Lit. Thornbury 1862, i,p. 349; 1877, p. 467; Bell 1901, p. 153 no. 254; Armstrong 1902, p. 235; MacColl 1920, p. 24; Finberg 1930, pp. 151, 158; Davies 1946, pp. 152, 186; Finberg 1961, pp. 407, 509 no. 568; Rothenstein and Butlin 1964, p. 66.

Exhibited in 1845 with the caption ' MS. Fallacies of Hope '. MacColl describes this as a 'View of the Guidecca and Grand Canals from a point near their junction; in the centre of the picture the domes of the Salute are seen in the middle distance.' For contemporary criticism see No. 418 [].

Transferred from the original in 1908.

Published in:
Martin Butlin and Evelyn Joll, The Paintings of J.M.W. Turner, revised ed., New Haven and London 1984

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'Venice - Sunset, a Fisher', Joseph Mallord William Turner, exhibited 1845 | Tate

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Artwork page for 'Venice - Sunset, a Fisher', Joseph Mallord William Turner, exhibited 1845 on display at Tate Britain. The pair to Venice - Noon and exhibited with it with a reference, but no quotation, from Turner's manuscript poem Fallacies of Hope. The Salute appears in the middle distance.