It is fitting that Turner would create a depiction of Venice so focused on colour, through his blending and manipulating of a complex palette. One of the most deeply ingrained, longstanding paragoni, or debates, in the history of art originated between Venice and Florence, and specifically between the Venetian colore (colour) and Florentine disegno (drawing) during the Renaissance. Turner continues that tradition through his own Venetian landscapes, firmly sitting on the colore side of the artistic fence. Usually seen as a man able to master even the most sublime, all-encompassing, over-powering forces of nature in his artworks, here Turner demonstrates that he can do the opposite, portraying Venice as an Elysian Fields of idyllic peace, where man and nature work perfectly together. The last gasp of disegno in Turner's view of Venice is seen only when the eye zooms in on the man-made forces evident in the work. Including the campanile of San Marco's s...