Joseph Mallord William Turner Studies of Sculptural Fragments from the Palazzo Corsini, Rome 1819
Joseph Mallord William Turner 1775–1851
Folio 1 Recto:
Studies of Sculptural Fragments from the Palazzo Corsini, Rome 1819
D15105
Turner Bequest CLXXX 1
Turner Bequest CLXXX 1
Pencil on white wove paper, 161 x 101 mm
Inscribed by the artist in pencil ‘[?Pazzia] [...] artists in the [...] St Church Maggiore O | the [?Innocence]’ across top, and ‘[?Ire di F...] to right of sketch top right, and ‘End of the S’ to right of third sketch from top and ‘Val[...] | C[...] | Pl[...]’ bottom left, inverted
Inscribed by John Ruskin in red ink ‘1’ bottom right
Stamped in black ‘CLXXX 1’ bottom right
Inscribed by John Ruskin in red ink ‘1’ bottom right
Stamped in black ‘CLXXX 1’ bottom right
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.531, as ‘Sketches of a sarcophagus, a circular seat, &c.’.
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Powell, ‘Turner on Classic Ground: His Visits to Central and Southern Italy and Related Paintings and Drawings’, unpublished Ph.D thesis, Courtauld Institute of Art, University of London 1984, pp.411, 477 note 11, as ‘(a) Tombstone of L. Camurtius Punicus (on the stairs of Palazzo Corsini) (b) Sarcophagus in Palazzo Corsini (RR, 223, 1) (c) Marine figure blowing conch, labelled End of the S: detail of (b) (RR, 224, 3) (d) The antique chair in Palazzo Corsini (RR, 224, 5).
2008
James Hamilton, Nicola Moorby, Christopher Baker and others, Turner e l’Italia, exhibition catalogue, Palazzo dei Diamanti, Ferrara 2008, pp.49, 91 note 66.
2009
James Hamilton, Nicola Moorby, Christopher Baker and others, Turner & Italy, exhibition catalogue, National Galleries of Scotland, Edinburgh 2009, pp.49, 151 note 66.
Cecilia Powell has identified the sketches on this page as studies of sculptural fragments from the Palazzo Corsini in Rome. This fifteenth-century palace, rebuilt in the eighteenth century, stands in the Trastevere district near the Villa Farnesina, at the foot of the Janiculum Hill. Today it houses the National Gallery of Ancient Art, a collection largely comprised of works amassed by the Corsini family. The drawings are numbered from top left to bottom right:
a.
The sketch in the top left hand corner represents the tombstone of L. Camurtius Punicus from the stairs of the Palazzo.1
b.
The detail in the top right-hand corner is unidentified.
c.
The sketch in the centre of the page depicts the front panel of a sarcophagus decorated with sculptural reliefs of tritons, nereids and sea-monsters.2 Turner has also recorded the end panel of the same sarcophagus, decorated with a marine figure blowing a conch.3
d.
The sketch at the bottom represents the Sedia Corsini, an antique chair or throne decorated with marble reliefs.4 This was the most important antiquity in the palazzo.5
The sketch in the top left hand corner represents the tombstone of L. Camurtius Punicus from the stairs of the Palazzo.1
b.
The detail in the top right-hand corner is unidentified.
c.
The sketch in the centre of the page depicts the front panel of a sarcophagus decorated with sculptural reliefs of tritons, nereids and sea-monsters.2 Turner has also recorded the end panel of the same sarcophagus, decorated with a marine figure blowing a conch.3
d.
The sketch at the bottom represents the Sedia Corsini, an antique chair or throne decorated with marble reliefs.4 This was the most important antiquity in the palazzo.5
Nicola Moorby
December 2009
How to cite
Nicola Moorby, ‘Studies of Sculptural Fragments from the Palazzo Corsini, Rome 1819 by Joseph Mallord William Turner’, catalogue entry, December 2009, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2012, https://www