Inverted relative to the sketchbook’s foliation, the drawing continues across folio 69 verso opposite (
D14448). Finberg subsequently annotated his 1909
Inventory entry (‘Looking along the Grand canal towards its entrance, from the front of the Accademia di Belle Arti’), bracketing ‘69a’ and ‘70’ as ‘V. from Traghetto della Carita, lkg. twds Dogana’, and elaborating: ‘69
a. Contn. of P. Cavalli & P. Barbaro, & on right [various other identifications crossed out] P
i Mula & Barbarigo | 70. S. Vitale & part of P. Cavalli. “Piazza della Academia” “Molo des Beaux Arts.”
1 The Turner scholar C.F. Bell annotated another copy: ‘Campo S. Vidal on the left’.
2 Bell similarly annotated the entry in Finberg’s 1930
In Venice with Turner.
3On the opposite page the prospect is east towards the entrance to the Grand Canal and the domes of the church of Santa Maria della Salute from a viewpoint on the south side of the canal, on the Campo della Carità in front of the Gallerie dell’Accademia in the Scuola della Carità (and beside the later Ponte Accademia); the present page continues the scene north-eastwards to the steeple of the campanile of San Vidal, with the adjacent church’s thermal clerestory window to its left, and the more elaborate upper stages of the campanile of San Stefano in the distance to its right. That part of the view is now obscured by trees, and the low building towards the right has gone, replaced by an enclosed garden off the Campo San Vidal beside the Palazzo Cavalli-Franchetti, which is carried onto the opposite page.
Finberg’s interest in this page
4 was in terms of its being a continuation of the view he considered a source for a watercolour which had actually been based on an earlier drawing by James Hakewill, as discussed under
D14448.
For other drawings made in the vicinity and an overview of Turner’s coverage of Venice, see the sketchbook’s Introduction.
