In Juliet and her Nurse, Joseph Mallord William Turner offers a sweeping view of Veniceβs main Piazza and its eastern landmarks, as seen from above the western end of the Procuratie Nuove, near the rooftops of the Hotel Europa where he stayed. At the center of the composition is the Campanile and the Basilica of San Marco, with the red bricks of the tower contrasting against the unnaturally whitened, almost ethereal domes.
To the right is the upper level of the Doge's Palace, slightly compressed in Turner's depiction. Further right, the building with the slender cupola is the Zecca, or Mint, and just above it, two vertical brushstrokes suggest the iconic columns of the Lion of San Marco and San Theodore, situated in the Piazzetta. The Riva degli Schiavoni, teeming with boats, extends into the distance, while fireworks illuminate the sky above larger vessels near Palladio's San Giorgio Maggiore.
Some scholars speculate that Turner may have used these effects to draw a parallel between Veniceβs former glory under Austrian rule and contemporary London.
Given the title referencing Shakespeare's Romeo and Juliet, the festive Piazza seems to stand in for the Capulet's ball. The young John Ruskin (1819β1900), later a prominent art critic, defended Turner's artistic choices and any perceived inaccuracies in the portrayal of Venice. Ultimately, the painting speaks for itself, showcasing Turner's mastery of atmospheric effects and dynamic perspective in one of the most evocative works of his later career.
In the piazza below, a multitude of carnival-goers enjoys musicians, puppet shows, and the fireworks near Florianβs cafΓ©. The nocturnal setting, with bursts of fire lighting up the night, captures the revelry and drama.