In work such as this, Turner had but one predecessor, the French Claude Lorraine.

While the Dutchmen of the seventeenth century were painting their own country beautifully, Claude was living in Rome, creating imaginary landscapes.

He called his pictures by the names of Scriptural incidents, and placed figures in the foreground as small and unessential as those of Turner.

These classical landscapes, with their palaces and great flights of steps leading down to some river's edge, and the sea in the distance covered with boats carrying fantastic sails, never for a moment make the impression of reality.

But they are beautiful compositions, designed to please the eye and stimulate the fancy, and are even attractive by virtue of their novel aloofness from the actual world.
Turner set himself to rival Claude in his ideal landscapes, founded upon the stories of the ancient world.