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Works Thomas Girtin and Joseph Mallord William Turner after (?) John Robert Cozens

The Ruins of the Mausoleum of the Emperor Gallienus on the Appian Way

1794 - 1797

Primary Image: TG0607: Thomas Girtin (1775–1802) and Joseph Mallord William Turner (1775–1851), after (?) John Robert Cozens (1752–97), The Ruins of the Mausoleum of the Emperor Gallienus on the Appian Way, 1794–97, graphite and watercolour on wove paper, on an early mount, 21 × 26.4 cm, 8 ¼ × 10 ⅜ in. Tate, Turner Bequest CCCLXXIII, 2 (D36415).

Photo courtesy of Tate (All Rights Reserved)

Description
Creator(s)
Thomas Girtin (1775-1802) and Joseph Mallord William Turner (1775-1851) after (?) John Robert Cozens (1752-1797)
Title
  • The Ruins of the Mausoleum of the Emperor Gallienus on the Appian Way
Date
1794 - 1797
Medium and Support
Graphite and watercolour on wove paper, on an early mount
Dimensions
21 × 26.4 cm, 8 ¼ × 10 ⅜ in
Mount Dimensions
36.3 × 49.5 cm, 14 ¼ × 19 ½ in
Inscription

‘Between / Rome & Albano’ on the back, by Thomas Girtin (pasted down, but transcribed on the lower right of the mount)

Part of
Object Type
Collaborations; Monro School Copy
Subject Terms
Italian View: Ancient Ruins; Italian View: The Roman Campagna

Collection
Catalogue Number
TG0607
Description Source(s)
Viewed in November 2017

Provenance

Dr Thomas Monro (1759–1833); his posthumous sale, Christie's, 28 June 1833, lot 78 as 'A book containing 62 interesting sketches in the neighbourhood of Rome and Naples, by Turner, in Indian ink and blue'; bought by Thomas Griffith on behalf of Joseph Mallord William Turner (1775–1851), £21; accepted by the nation as part of the Turner Bequest, 1856

Bibliography

Finberg, 1909, vol.2, p.1227 as '"Between Rome and Albano"' by Thomas Girtin; Turner Online as 'Between Rome and Albano' by Joseph Mallord William Turner and Thomas Girtin (Accessed 07/09/2022)

About this Work

This view of a ruined mausoleum on the Via Appia (Appian Way), thought to be that of the Emperor Gallienus (c.218–68), is one of two mounted in an album of watercolours bought by Joseph Mallord William Turner (1775–1851) at the posthumous sale of Dr Thomas Monro (1759–1833) (Exhibitions: Christie’s, 28 June 1833, lot 78). The sixty-four drawings were the outcome of a unique collaboration between Girtin and Turner working together at Monro’s London home at the Adelphi. Here the artists 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’. ‘They went at 6 and staid till Ten’, which may account for the generally monochrome appearance of the works, and, as the diarist Joseph Farington (1747–1821) reported, Turner received ‘3s. 6d each night’, though ‘Girtin did not say what He had’ (Farington, Diary, 12 November 1798).1

As with the majority of the views of the Roman Campagna completed at Monro’s home, it has not been possible to trace the source of this view of the brick mausoleum. In general, Girtin and Turner worked from compositions by John Robert Cozens (1752–97) and, more specifically, from sketches and tracings that he made during or after his stay in Italy from November 1776 through to March 1779. Few of these survive, but the auction of the artist’s work held in July 1794 contained twenty-seven ‘books of sketches’ and many hundreds of drawings made on his travels, and, as Kim Sloan has argued, given that Monro’s posthumous sale included only a few sketches by Cozens, the patron must have borrowed the bulk of the material from which Girtin and Turner worked (Sloan and Joyner, 1993, pp.81–82). The inscription, ‘Between Rome & Albano’, helps to identify the view as showing the mausoleum of the Emperor Gallienus, which is sited on the Via Appia and is one of numerous monumental tombs along the twenty-five-kilometre route between the two cities. The same mausoleum is shown from a different angle in another Monro School drawing (TG0606), and it seems from the existence of other similar subjects that Cozens made a series of views along the ancient Roman road, including the most famous of all the ruined mausolea, that of Caecilia Metella (TG0542).

The album containing this drawing was sold in 1833 as the work of Turner, but the cataloguer of the Turner Bequest, Alexander Finberg, thought that Girtin alone was responsible for the watercolours, whilst more recently Andrew Wilton has established their joint authorship (Finberg, 1909, vol.2, p.1227; Wilton, 1984a, pp.8–23). Identifying the division of labour within Monro School drawings is considerably helped, as here, when the colour washes leave much of the pencil work showing through, including in a tree to the right, which has been left untouched. An architectural subject generally requires a more detailed underdrawing than a landscape, and in this case Girtin’s inventive and fluent hand is clearly apparent under Turner’s economical use of a simple monochrome palette of blues and greys.

1794 - 1797

The Ruined Mausoleum of the Emperor Gallienus on the Appian Way

TG0606

1794 - 1797

The Mausoleum of Caecilia Metella, Rome

TG0542

by Greg Smith

Place depicted

Footnotes

  1. 1 The full diary entry, giving crucial details of the artists’ work at Monro’s house, is transcribed in the Documents section of the Archive (1798 – Item 2).

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