Shakespeare's Cliff rises to dominate the skyline in the distance with the two tunnels of the London–Dover railway visible at its base. On the right is the Pilot's Watchtower, used to house the pilots who were able to keep a continuous look-out for passing vessels in need of their services to guide them safely into port. In 1846 there had been a recommendation that Dover become a harbour of refuge 'capable of receiving any class of vessels under all circumstances of the wind and tide'. The following year, work began on the western arm of the harbour. The painting can be seen as a glorification of industrial progress, and Dover as the place at which England advances towards the continent of Europe, yet equally defines its own boundary. The white cliffs bear a symbolic and historical significance making Dover a locus of identity for the sovereignty of the nation. However the inclusion of the contrived scene on the left invites a less confident reading.

After Turner, Stanfield was considered the greatest British marine painter of his day. He started his working life at sea and from 1835 he became an Academician of powerful influence.