Turner originally used this page horizontally, for a slight view of Venice, with a distant tower (presumably a campanile) beyond loosely blocked-in buildings, probably on a side canal.
As noted in the sketchbook’s Introduction, the Venice views on its early pages are intermingled with German sketches from Turner’s return journey. At the bottom left, inverted relative to the sketchbook’s foliation, is a more forceful, rapid sketch of buildings including a distant Baroque spire, which Cecilia Powell has considered as likely to show Coburg (see under the verso, D31278);1 compare the handling on folio 2 recto (D31279). The spire may be that of St Moriz, seen in other views including D31278.
At the right, descending relative to the initial Venice view, are continuations of inscriptions by Turner and a German-speaker relating to travel arrangements between Bamberg (see under folio 19 recto; D31312) and Coburg, carried over from the front paste-down inside the cover opposite (D41399), under which these notes are discussed.
Aligned with them, Turner’s has noted ‘Wiss Swan’, with a tiny picture of the bird, evidently in relation to the Weisser Schwan hotel where he stayed in Coburg, drawing the view from it over the page (D31278). This memorandum is preceded by ‘Coburg – 17 Sepr’.2 The same date appears on folio 60 recto (D31394) and 20 September is noted as a Sunday on folio 62 recto (D31398); both pages again showing Coburg. Specific dates are unusual in Turner’s sketchbooks; see this book’s Introduction.