Not on display
Inverted relative to the sketchbook’s foliation, the drawing is continued briefly on folio 66 recto opposite (D14441). The view is west from the Bacino, close to the Dogana, with its porch of the nearly eclipsing the much larger domes of Santa Maria della Salute from this angle. To their right are palaces on the north side of the Grand Canal, the furthest and most prominent, with its pitched roof, being the Palazzo (or Ca’) Corner della Ca’ Grande (or Granda), now the seat of the Prefect of Venice.
Finberg used this view as a ‘good example’ of Turner’s ‘habit of elision’, with the east front of the Dogana’s porch shown in less detail than on folio 64 verso (D14438) and the Salute lightly outlined, having been carefully studied on folio 54 verso (D14417). They are ‘mainly taken for granted, but the buildings on the right side of the canal, especially the Palazzo Corner della Cà Grande, and the distant Academy on the left side, are more fully determined, because they had not been drawn before’.3
Having initially read Turner’s upper inscription as ‘Stones red’, as noted above, Finberg realised that what actually says ‘“Horses Head” ... refers to the carving on the corbels supporting the parapet of the Dogana tower’.4
There is a small separate sketch at the bottom centre showing a heraldic shield, with colour notes; its significance in relation to the buildings shown has yet to be established. For other drawings made in the vicinity and an overview of Turner’s coverage of Venice, see the sketchbook’s Introduction.
- symbols and personifications(7,289)