This view of the interior of the impressive remains of the third-century Roman baths, which are now incorporated into the Musée de Cluny in Paris, is one of two versions that were probably produced following Girtin’s stay in France in the winter of 1801–2 (the other being TG1897). Unlike the multiple versions of earlier architectural subjects, such the west front of Peterborough Cathedral (TG1017 and TG1018), which were painted at different times and were subject to variations in staffage, this, the second watercolour of the ruined frigidarium (which was then used by a cooper to store barrels) are virtually identical. There was at least one occasion when Girtin produced replicas of watercolours for different patrons (see TG1562 and TG1563), but in this case he seems to have abandoned the other work at the last moment as a result of an accident and then made this second identical version; the large vertical drip of colour in the lower centre of the other work is unsightly enough to have forced the artist to start again. This second version, although identical in respect of its composition and details, nonetheless includes subtle differences in the handling of the washes that are in keeping with Girtin’s style, indicating a creative exploration of different means of achieving the same aim, and there is no question that this is a copy by another artist. 

Girtin’s reworking of his composition has always been assumed to postdate his return from the trip to France in the winter and spring of 1801–2, but that this is not necessarily the case has become apparent following the startling discovery that rather than being the outcome of an on-the-spot sketch executed by Girtin, as one might expect, both works were actually copied from a secondary source, either a watercolour by Jean-Baptiste-François Génillion (1750–1829) (see TG1897 figure 1) or, more probably, a reproductive print by François-Denis Née (1732–1818) (see print after TG1897). Ephemeral details such as the carriage, the cloth hanging from poles above and the disposition of the barrels all replicate the print, confirming that, although the spectacular Roman ruins were no more than a few minutes’ walk away from Girtin’s lodgings in Paris, he must have based his watercolours on this secondary source. This discovery also helps to explain the problem Girtin’s watercolour has with the perspective of the frigidarium, which has the arch to the right coming out at an angle when it is actually on the same plane as the back wall, and it elucidates the curious nature of the wooden wheel form seen above the balcony, which turns out to be a misinterpretation of the print, which shows a smaller lower arch with vertical decorative brickwork above. Née’s etching was included in the Voyage Pittoresque de la France (vol.3, 1786), where it is titled Vue de Restes du Palais des Thermes, and there is a possibility that the artist actually acquired this and other prints of architectural subjects in Paris in 1801–2 (La Borde and others, 1781–1800). John Girtin (1773–1821) records that, amongst the sundry articles he found in the artist’s studio after his death were ‘French prints of Shipping bound and 5 D.o. Landscapes unbound’ (Chancery, Income and Expenses, 1804).¹ I suspect that Née’s image was amongst those ‘French prints’, though the fact that it was published in 1786 means that one cannot entirely rule out what, at one time, would have seemed like an unthinkable alternative – namely, that this and some of the other Paris views might predate Girtin’s French trip, especially as neither of the two versions of the composition is dated. Nonetheless, the probability is still that they were painted in London later in 1802, not least because, as the paper historian Peter Bower has noted, both supports used by Girtin were English-made. In this case the unknown manufacturers of the off-white laid writing paper may have been Joseph Portal (active 1747–93) and William Bridges (unknown dates), working at Laverstoke Mill, Hampshire (Smith, 2002b, p.107; Bower, Report). 

(?) 1802

Paris: The Ruins of the Roman Baths, Hôtel de Cluny

TG1897

1794

The West Front of Peterborough Cathedral

TG1017

1794

The West Front of Peterborough Cathedral

TG1018

(?) 1800

The South Front of Chalfont Lodge, Seen from across the Lawn

TG1562

(?) 1800

The South Front of Chalfont Lodge, Seen from across the Lawn

TG1563

(?) 1802

Paris: The Ruins of the Roman Baths, Hôtel de Cluny

TG1897

(?) 1802

Paris: The Ruins of the Roman Baths, Hôtel de Cluny

TG1897