Joseph Mallord William Turner Narni, from the Gorge to the North, with the Bridge of Augustus 1819
Joseph Mallord William Turner 1775–1851
Folio 65 Verso:
Narni, from the Gorge to the North, with the Bridge of Augustus 1819
D14780
Turner Bequest CLXXVII 65 a
Turner Bequest CLXXVII 65 a
Pencil on white wove paper, 186 x 110 mm
Accepted by the nation as part of the Turner Bequest 1856
References
1909
A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.I, p.523, as ‘Narni; three sketches’.
1984
Cecilia Powell, ‘Turner on Classic Ground: His Visits to Central and Southern Italy and Related Paintings and Drawings’, unpublished Ph.D thesis, Courtauld Institute of Art, University of London 1984, pp. 101, 469 note 143, 103 note 154, 356 note 33.
1987
Cecilia Powell, Turner in the South: Rome, Naples, Florence, New Haven and London 1987, pp.34, 35.
2008
James Hamilton, Nicola Moorby, Christopher Baker and others, Turner e l’Italia, exhibition catalogue, Palazzo dei Diamanti, Ferrara 2008, pp.44, 90 note 29.
2009
James Hamilton, Nicola Moorby, Christopher Baker and others, Turner & Italy, exhibition catalogue, National Galleries of Scotland, Edinburgh 2009, pp.42, 150–1 note 29.
Turner devoted a considerable number of sketches to the Bridge of Augustus (Ponte d’Augusto) at Narni, one of the most famous landmarks in Umbria, see folio 61 verso (D14772). This page contains two drawings executed with the sketchbook held vertically like a notebook. Both landscapes are taken from the same viewpoint in the gorge to the north of the town, but looking in different directions. The lower sketch depicts the view looking west with Narni at the top of the slopes on the left and the monastery of San Cassiano above on the right. The upper sketch meanwhile shows the view looking east towards the Bridge of Augustus, with the town perched above on the right. This angle was the preferred composition chosen by the French painter, Jean-Baptiste-Camille Corot (1796–1875) for his celebrated outdoor studies of the bridge, executed during a sketching tour in 1826. In paintings such as The Augustan bridge at Narni, oil on paper (Louvre, Paris), Corot sought to synthesise the authenticity and spontaneity of en plein-air painting with the academic principles of the classical landscape tradition of Claude Lorrain and Poussin.1
Also on this page is part of a horizontal landscape drawing of trees by the banks of the River Nera. This sketch continues on the opposite sheet of the double-page spread, see folio 66 (D14781).
Nicola Moorby
November 2008
How to cite
Nicola Moorby, ‘Narni, from the Gorge to the North, with the Bridge of Augustus 1819 by Joseph Mallord William Turner’, catalogue entry, November 2008, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2012, https://www