Listed in the Schedule of the Turner Bequest, No.266, merely as 'Scriptural Subject 6’ 2 1/2 4'0, but certainly the Vision of Jacob's Ladder, Genesis XXVIII, 10-12, though Jacob is accompanied by his family and is being addressed by an angel rather than by the Lord God. Martin Davies (National Gallery Catalogues: The British School, 1946, p.162) describes this as a very early work, but in fact it seems to have been worked on over a considerable period. The basic forms, and particularly the craggy hill in the centre, are close to such paintings as "The Goddess of Discord choosing the Apple of Contention in the Garden of the Hesperides' and 'Fall of the Rhine at Schaffhausen', both exhibited in 1806 (Tate Gallery 477 and Museum of Fine Arts, Boston) but the impressionistic technique and the way in which the whole picture is illuminated by the apparition suggest a much later date, probably close to the 'Vision of Medea', which also reflects a return to earlier ideas and Venetian painting (see No.473). The general effect owes much to Titian but the flicked-in forms of the angels are still closer to Tintoretto.

This painting not only shared the general neglect of most of the works kept in Turner's studio but was even turned to the wall and used as an impromptu palette. The dabs of paint were only removed when the picture was recently restored at the Tate Gallery.