Several smaller versions of the subject are known; one was engraved in aquatint by G. Hunt in 1823 (Rawlinson No.827). The composition derives from a pencil drawing, probably of 1793 (T.B.XII-F). The version listed by Finberg (XXVII-Q) as 'unfinished' seems to be a crude copy of XXVII-R and is evidently not by Turner.

The design is among the earliest of Turner's attempts to translate topography into romantic landscape and with its bold composition, independent of horizontal and vertical stresses, and its misty atmosphere already approaches the ‘Sublime', anticipating the north Welsh landscapes of the later part of the decade. It offers evidence that Turner had by this time seen and admired the watercolours of J. R. Cozens. Nevertheless the colour and drawing of this view are heavily influenced by the characteristic features of the style of Thomas Hearne. The composition was used again for an elaborate watercolour in the England and Wales series (No.430).