For full functionality of this site it is necessary to enable JavaScript. Here are the instructions how to enable JavaScript in your web browser.
Works Thomas Girtin and Joseph Mallord William Turner after (?) John Robert Cozens

Tivoli: The Rocca Pia, from the South West

1794 - 1797

Primary Image: TG0581: Thomas Girtin (1775–1802) and Joseph Mallord William Turner (1775–1851), after (?) John Robert Cozens (1752–97), Tivoli: The Rocca Pia, from the South West, 1794–97, graphite and watercolour on wove paper, on an early mount, 27.4 × 19.3 cm, 10 ¾ × 7 ⅝ in. Tate, Turner Bequest CCCLXXIII, 41 (D36454).

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
  • Tivoli: The Rocca Pia, from the South West
Date
1794 - 1797
Medium and Support
Graphite and watercolour on wove paper, on an early mount
Dimensions
27.4 × 19.3 cm, 10 ¾ × 7 ⅝ in
Mount Dimensions
36.3 × 49.5 cm, 14 ¼ × 19 ½ in
Part of
Object Type
Collaborations; Monro School Copy
Subject Terms
Italian View: The Roman Campagna

Collection
Catalogue Number
TG0581
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.1229 as 'At Tivoli' by Thomas Girtin; Turner Online as 'Tivoli: A View inside the Castle' by Joseph Mallord William Turner and Thomas Girtin (Accessed 07/09/2022)

About this Work

This view of the Rocca Pia, the medieval castle of Tivoli, is 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

The forbidding fortress of the Rocca Pia, which also appears in another Monro School view in the same album (TG0580), was built in 1461 by Pope Pius II (1405–64) to control the rebellious population of Tivoli and to act as a symbol of the permanence of papal temporal power. Contrary to the work’s current title, ‘Tivoli: A View inside the Castle’, the watercolour shows the exterior of the castle viewed from the south west, with a ruined tower outside the walls (D36454). As with many of the Monro School drawings of scenes in the Roman Campagna, it has not been possible to trace the precise source for this work, but it is likely to have been made from a composition 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. Seven large drawings by Cozens of some of the most popular sites in Tivoli are contained in an album in the Sir John Soane’s Museum, London, including views of the so-called Temple of the Sibyl (see TG0589 figure 1), the monumental building known as the Villa of Maecenas (see TG0592 figure 2) and the famous cascades of the river Aniene (see TG0578 figure 1). Views of the Rocca Pia were much less common, though, and if the source for the two Monro School drawings was a sketch by Cozens, it means that he must have undertaken a substantial survey of the town and its pictorial attractions that included subjects generally overlooked by his contemporaries. None of these survive, but the auction of the artist’s work held in July 1794 contained as many as 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 produced works such as this (Sloan and Joyner, 1993, pp.81–82).

The album of drawings 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.1229; 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. 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.

1794 - 1797

Tivoli: The Rocca Pia, from the North West

TG0580

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).

Revisions & Feedback

The website will be updated from time to time and, when changes are made, a PDF of the previous version of each page will be archived here for consultation and citation.

Please help us to improve this catalogue


If you have information, a correction or any other suggestions to improve this catalogue, please contact us.