- Description
-
- Creator(s)
- Unknown Artist after John Robert Cozens (1752-1797) after Thomas Girtin (1775-1802) and Joseph Mallord William Turner (1775-1851)
- Title
-
- The Abbey of Santa Giustina at Padua
- Date
- 1800 - 1820
- Medium and Support
- Graphite and watercolour on wove paper
- Dimensions
- 17.5 × 23.2 cm, 6 ⅞ × 9 ⅛ in
- Inscription
'Turner' on the back, lower centre; 'Santa Giustina | Padua' on the back, lower right
- Object Type
- Monro School Copy
- Subject Terms
- Italian View: The North
-
- Collection
- Catalogue Number
- TG0705a
- Description Source(s)
- Gallery Website
Provenance
Dr Thomas Monro (1759–1833); his posthumous sale, possibly Christie's, 27 June 1833, lot 78 as 'Santa Giustina at Padua, Inspruck, &c. 4' by 'Turner'; bought by 'Linden', £5 10s; ... Francis Watkins Keen (c.1864–1933); his posthumous sale, Christie's, 10 November 1933, lot 158; bought by Thomas Girtin (1874–1960), £3; given to Tom Girtin (1913–94), c.1938; bought by John Baskett on behalf of Paul Mellon (1907–99), 1970; presented to the Center, 1975
Bibliography
Bell and Girtin, 1935, p.53; YCBA Online as by 'Monro School ... ca 1820' (Accessed 08/09/2022)
Place depicted
Other entries in Monro School Copies:
Italian Views after Drawings by John Robert Cozens Made on the Second Italian Trip, 1782–83

The Temple of Venus at Baia
Private Collection

Entering the Tyrol: Unidentified Buildings amongst Wooded Hills
Tate, London

An Unidentified Fortress: Entering the Tyrol Region
Private Collection

A View on the River Inn, in the Tyrol
Tate, London

Innsbruck: St Anna's Column on Maria-Theresien Street
Victoria and Albert Museum, London

A Tree-Lined Valley, near Innsbruck
Private Collection

A Church Tower in the Valley of the Isarco, near Sterzing, in the Tyrol
Yale Center for British Art, New Haven

The Euganean Hills, Seen from the Walls of Padua
Tate, London

Part of Padua, Seen from the Walls
Private Collection

The Abbey of Santa Giustina at Padua
Yale Center for British Art, New Haven

The View from Mirabello, the Villa of Count Algarotti in the Euganean Hills
Private Collection

A Convent on Monte della Madonna in the Euganean Hills
Tate, London

Fano, on the Adriatic Coast
Private Collection

Terracina: The View from the Inn, with the Temple of Jupiter Anxur
Tate, London

Naples: The Villa Belvedere, Seen from Sir William Hamilton's Villa at Posillipo
Private Collection

Naples: The View from Sir William Hamilton's Villa at Portici
Private Collection

Portici: Mounts Somma and Vesuvius, from the Myrtle Plantation at Sir William Hamilton’s Villa
Tate, London

Naples: Solimena’s Villa and Pine Trees
Private Collection

Portici: The Fortress in the Royal Park, Looking towards Mounts Somma and Vesuvius
Tate, London

Portici: The Imperial Minister's Villa, near the Harbour of Granatello
Private Collection

Portici: The View from Sir William Hamilton's Villa, with Vesuvius in the Distance
Yale Center for British Art, New Haven

Portici: The Royal Palace, from the Park
Tate, London

The Coast at Portici, with the Villa d'Elboeuf in the Foreground and the Harbour of Granatello Beyond
Private Collection

The Coast at Salerno, with Arechi Castle Overlooking the Town
Private Collection

The View from Salerno, Looking towards Vietri sul Mare
Tate, London

An Unidentified Villa in a Valley near Vietri sul Mare
Yale Center for British Art, New Haven

Salerno: An Ancient Cypress in the Garden of the Franciscan Convent
Tate, London

The Coast at Vietri sul Mare, from near Salerno
Victoria and Albert Museum, London

The Torre Crestarella at Vietri sul Mare, with Salerno in the Distance
Private Collection

The Cantilena Convent, near Vietri sul Mare
Tate, London

The Cantilena Convent, near Vietri sul Mare
Private Collection

The Convent of San Francesco at Cava de' Tirreni
The Huntington Library, Art Museum and Botanical Gardens, San Marino

Naples: The Fifteenth-Century City Walls, with the Dome of Santa Caterina a Formiello
The Nelson-Atkins Museum of Art, Kansas City

View from the Road Leading to the Scuola di Virgilio, Showing Nisida, the Islands of Ischia and Procida, and the Promontory of Miseno
Private Collection, Norfolk

The Bay of Porto Paone, a Flooded Crater in the Islet of Nisida
Private Collection

Ancient Ruins on the Coast near the Point of Posillipo
Tate, London

Naples: The View from an Enclosed Road at Posillipo
Tate, London

Posillipo: The Palazzo di Roccella on the Shore
Private Collection

The Amphitheatre at Capua
Tate, London

A Ferry Crossing a River, on the Road between Eboli and Paestum
Tate, London

The View towards Salerno from the Road to Eboli
Yale Center for British Art, New Haven

Naples: Castel Sant'Elmo
Tate, London

The Royal Park at Astroni
Private Collection

Lake Agnano, Seen from Astroni
Private Collection

Naples: An Unidentified Convent, with Vesuvius in the Distance
Tate, London

Naples: A Range of Convents near Capodimonte, Including the Chinese College
The Whitworth, The University of Manchester

The Vanvitelli Aqueduct, near Caserta
Tasmanian Museum and Art Gallery, Hobart

The Royal Palace at Caserta, Seen from the Road to the Vanvitelli Aqueduct
Private Collection

The Convent of Santa Lucia, near Caserta
The Huntington Library, Art Museum and Botanical Gardens, San Marino

The Convent of Santa Lucia, near Caserta
Yale Center for British Art, New Haven

Ancient Ruins near the River Garigliano, Gaeta in the Distance
Private Collection

Florence: The Palazzo Vecchio, Seen from the Cascine Park
Tate, London

Florence: The Convent of Monte Oliveto, from the Banks of the Arno
Horne Museum, Florence

Florence: The Convent of Monte Oliveto, from the Banks of the Arno
Private Collection

A Villa on the Banks of the River Arno, Known as the Villa Salviati
Yale Center for British Art, New Haven

A Building amongst Trees, on the River Arno near Florence
Sphinx Fine Art, London

A View on the River Arno, with a Tower on a Hill
Tate, London

Florence: The Palazzo Vecchio from the Boboli Gardens, with Fiesole in the Distance
Harrow School, London

Florence: The View from the Boboli Gardens across the Valley of the Arno
Private Collection

An Unidentified Villa, between Florence and Bologna
Ashmolean Museum, University of Oxford

A Wooded Shoreline on Lake Maggiore
Tate, London

Angera: The Borromeo Castle Overlooking Lake Maggiore
Tate, London

The Castle of Arona on Lake Maggiore
Private Collection

Lake Maggiore, from the Shore
Private Collection

Isola Bella on Lake Maggiore
Private Collection

Lake Maggiore, from Isola Bella
Yale Center for British Art, New Haven

A Distant View of the Grande Chartreuse
Private Collection

Buildings on a Promontory on the Coast at Posillipo
Private Collection

The Marmore Falls, near Terni
Private Collection

A Narrow Gorge Leading to the Grande Chartreuse
Private Collection

Florence: The View from the Grand Duke's Garden
Private Collection
Footnotes
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About this Work
This view of the abbey of Santa Giustina in the centre of the northern Italian city of Padua was produced at the home of Girtin’s important early patron Dr Thomas Monro (1759–1833), and it appears to have been based on a simple outline drawing by John Robert Cozens (1752–97) that is inscribed ‘Santa Giustina – Padua. | June – 19’ (see the source image above). This was almost certainly traced by Cozens himself from an on-the-spot sketch he made on a second visit to Italy, in 1782 (Bell and Girtin, 1935, no.215), when the artist accompanied his patron William Beckford (1760–1844) through northern Italy to Naples. The sketch is one of three Padua subjects (the others being TG0704 and TG0705) in the first of seven sketchbooks that survive from the trip (The Whitworth, Manchester (D.1974.4.21)) and it was presumably traced by Cozens because the books were retained by Beckford. Monro’s posthumous sale, in 1833, contained only twenty or so sketches by Cozens, so the patron must have borrowed the majority of the several hundred ‘outlines or unfinished drawings’ copied by Girtin and his contemporary Joseph Mallord William Turner (1775–1851), as well as other artists. In this case, the source of the watercolour was presumably purchased at the sale of ‘Mr COZENS’ in July 1794 by Sir George Beaumont (1753–1827).1 As Kim Sloan has noted, Beaumont mounted ‘215 “tracings” or drawings on oiled paper’ in an album that he presumably lent to Monro, and it was from this collection that more than fifty watercolours were produced at the patron’s home (Sloan and Joyner, 1993, pp.89–91).
Girtin and Turner provided the diarist Joseph Farington (1747–1821) with a clear account of their activities at Monro’s home at the Adelphi in London. Here they were employed across three winters, probably between 1794 and 1797, to make ‘finished drawings’ from the ‘Copies’ of the ‘outlines or unfinished drawings of Cozens’ and other artists, amateur and professional, either from Monro’s collection or lent for the purpose. As the two young artists later recalled, Girtin generally ‘drew in outlines and Turner washed in the effects’ (Farington, Diary, 12 November 1798).2 In this case, however, the richly worked watercolour washes have effaced all traces of any pencil work that Girtin might have contributed to the work’s production and, indeed, the poor quality of the colouring also brings into serious question Turner’s involvement. The perspective in Cozens’ sketch is not exactly secure, but it all but collapses in the watercolour, which is heavy and overworked to such a degree that it is difficult to associate it with either Turner or Girtin. The Monro School copies executed by Girtin and Turner can vary greatly in quality, but they are never as flat or lifeless as here, and I suspect that this watercolour was made at a later date, perhaps copying an untraced work by Girtin and Turner.
1794 - 1797
The Euganean Hills, Seen from the Walls of Padua
TG0704
1794 - 1797
Part of Padua, Seen from the Walls
TG0705