Joseph Mallord William Turner The So-Called Temple of Minerva Medica, Rome, at Sunset 1819
Joseph Mallord William Turner 1775–1851
The So-Called Temple of Minerva Medica, Rome, at Sunset 1819
D16362
Turner Bequest CLXXXIX 35
Turner Bequest CLXXXIX 35
Watercolour, gouache and grey watercolour wash on white wove ‘Whatman’ paper, 230 x 368 mm
Stamped in black ‘CLXXXIX 35’ bottom right
Stamped in black ‘CLXXXIX 35’ bottom right
Accepted by the nation as part of the Turner Bequest 1856
Exhibition history
1904
National Gallery, London, various dates to at least 1904 (594).
1931
Display of Watercolours from the Turner Bequest, lent from the British Museum, National Gallery, Millbank, Tate Gallery, London 1931–March 1934 (no catalogue).
1937
Aquarelles de Turner, oeuvres de Blake/Englischen Graphiken und Aquarellen: W. Blake und J.M.W. Turner, Bibliothèque Nationale, Paris, January–February 1937, Staatliche Graphische Sammlung Albertina, Vienna, March–April 1937 (94).
1966
Watercolours by J.M.W. Turner, Whitworth Art Gallery, Manchester, May–June 1966 (26).
1970
Turner: Watercolours Lent by the British Museum, Musée Provisoire d’Art Moderne, Brussels, November 1970–January 1971 (20, as ‘Le Nymphaeum d’Alexandre Sevère, Rome’).
1972
La Peinture romantique anglaise et les Préraphaélites, Petit Palais, Paris, January–April 1972 (292).
1974
Turner and Watercolour: An Exhibition of Watercolours Lent from the Turner Bequest at the British Museum, Arts Council tour, Herbert Art Gallery & Museum, Coventry, April 1974, Graves Art Gallery, Sheffield, May 1974, Castle Museum, Norwich, June 1974, City Art Gallery, Leeds, June–July 1974, City Art Gallery, Bristol, July–August 1974, Towner Art Gallery, Eastbourne, August–September 1974 (18, reproduced).
1983
J.M.W. Turner: Dibujos y acuarelas del Museo Británico, exhibition catalogue, Museo del Prado, Madrid, February–March 1983 (30 reproduced in colour).
1987
Watercolours from the Turner Bequest, Tate Gallery, London, April–October 1987 (no catalogue).
1990
Turner’s Papers: A Study of the Manufacture, Selection and Use of his Drawing Papers 1787–1820, Tate Gallery, London, October 1990–January 1991 (53, reproduced).
1993
J.M.W. Turner 1775–1851: Impressions de Gran Bretanya i el Continent Europeu / Impresiones de Gran Bretaña y el Continente Europeo, Centre Cultural de la Fundació ”la Caixa”, Barcelona, September–November 1993, Sala de Exposiciones de la Fundación ”la Caixa”, Madrid, November 1993–January 1994 (31, reproduced in colour).
1994
J.M.W. Turner 1775–1851: Aquarelles et Dessins du Legs Turner: Collection de la Tate Gallery, Londres / Watercolours and Drawings from the Turner Bequest: Collection from the Tate Gallery, London, Palais des Beaux-Arts de Charleroi, September–December 1994 (31, reproduced in colour).
References
1904
E.T. Cook and Alexander Wedderburn (eds.), Library Edition: The Works of John Ruskin: Volume XIII: Turner: The Harbours of England; Catalogues and Notes, London 1904, no.594, pp.298, frame no.105, drawing no.225, 636, as ‘Rome. Nymphæum of Alexander Severus’.
1909
A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.I, p.563, as ‘The Nymphæum of Alexander Severus. Body colour. 594, N.G.’.
1920
D[ugald] S[utherland] MacColl, National Gallery, Millbank: Catalogue: Turner Collection, London 1920, p.88.
1925
Thomas Ashby, Turner’s Visions of Rome, London and New York 1925, p.25, reproduced in colour pl.11 between pp.18–19, as ‘Nymphæum of Alexander Severus’.
1937
Laurence Binyon, Ausstellung von englischen Graphiken und Aquarellen: W. Blake und J.M.W. Turner, exhibition catalogue, Staatliche Graphische Sammlung Albertina, Vienna 1937, no.94, as ‘Rom, das Nymphaeum des Alexander Severus’.
1962
Martin Butlin, Turner: Watercolours, London 1962, p.38, reproduced in colour, p.39 pl.10, as ‘The Nymphaeum of Alexander Severus’.
1964
[Sir] John Rothenstein and Martin Butlin, Turner, London 1964, reproduced pl.61(b), as ‘The Nymphæum of Alexander Severus’.
1965
[Sir] John Rothenstein and Martin Butlin, J.M.W. Turner, Der Englishche Romantic des Lichts. Munich [Bruckmann] 1965, reproduced pl.73, as ‘Das Nymphäum des Alexander Severus’.
1970
Luke Herrmann, Turner: Watercolours Lent by the British Museum, exhibition catalogue, Musée Provisoire d’Art Moderne, Brussels 1970, no.20, pp.7, 17, as ‘Le Nymphaeum d’Alexandre Sevère, Rome’.
1974
John Gage, Turner and Watercolour: An Exhibition of Watercolours Lent from the Turner Bequest at the British Museum, exhibition catalogue, Herbert Art Gallery & Museum, Coventry 1974, no.18, p.9, reproduced p.[26], as ‘The Nymphaeum of Alexander Severus’.
1977
Jean Selz, Turner, Naefels [Switzerland] 1977, pp.38, 48.
1983
John Gage, Jerrold Ziff, Nicholas Alfrey and others, J.M.W. Turner, à l’occasion du cinquantième anniversaire du British Council, exhibition catalogue, Galeries nationales du Grand Palais, Paris 1983, p.221 under no.148.
1983
Lindsay Stainton and Andrew Wilton, J.M.W. Turner: Dibujos y acuarelas del Museo Británico, exhibition catalogue, Museo del Prado, Madrid 1983, no.30, p.51 reproduced in colour, as ‘Roma: el Templo de Minerva Medica’.
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.123 note 33, 475 note 36.
1987
Cecilia Powell, Turner in the South: Rome, Naples, Florence, New Haven and London 1987, p.50, reproduced p.46 colour pl.8, as ‘The “Temple of Minerva Medica” and the Aurelian wall’.
1990
Peter Bower, Turner’s Papers: A Study of the Manufacture, Selection and Use of his Drawing Papers 1787–1820, exhibition catalogue, Tate Gallery, London 1990, pp.28 note 2, 75, 119 no.53 reproduced and with transmitted light reversed detail 53A and colour raking light 53B, as ‘The Temple of Minerva Medica’.
1993
Ian Warrell, J.M.W. Turner 1775–1851: Impressions de Gran Bretanya i el Continent Europeu / Impresiones de Gran Bretaña y el Continente Europeo, exhibition catalogue, Centre Cultural de la Fundació ”la Caixa”, Barcelona 1993, no.31, pp.116, 292–3, reproduced in colour, as ‘Roma: El Temple de Minerva Medica I el Mur Aurelia/Roma: El Templo de Minerva Medica y el Muro Aureliano’.
1994
Ian Warrell, J.M.W. Turner 1775–1851: Aquarelles et Dessins du Legs Turner: Collection de la Tate Gallery, Londres / Watercolours and Drawings from the Turner Bequest: Collection from the Tate Gallery, London, exhibition catalogue, Palais des Beaux-Arts de Charleroi 1994, no.31, p.118, reproduced in colour, as ‘Rome: le Temple de Minerva Medica et la Muraille d’Aurélien/Rome: The ‘Temple of Minerva Medica’ and the Aurelian Wall’.
2002
Ursula Seibold-Bultmann, ‘Window on the Continent: Turner in Essen and Zurich’, in Turner Society News, no.90, March 2002, p.2.
The subject of this coloured study, the so-called Temple of Minerva Medica, was described by Charlotte Eaton in her travel guide to Rome, a series of letters written in 1817–8 and published in 1820:
In a lonely vineyard on the Esquiline Hill, stands the picturesque ruin of the Temple of Minerva Medica. Its form, though circular without, is decagonal within. It is built of brick, and is now stripped of every ornament. But the yawning chasms in its vaulted roof, the wild weeds that wave over it, the fallen masses that choke it up, the total destruction that threatens, and the solitude that surrounds it, give it an interest and a charm it probably never could have owned in a state of perfect preservation.1
The Temple was one of Rome’s most frequently visited monuments, yet the building itself is something of a mystery. Popularly deriving its name from a statue found on site depicting the goddess Minerva with a snake (representative of the medical symbol of the caduceus) the circular structure has also been variously described as a nymphaeum or bath house and a dining pavilion.2 In the nineteenth century the area was a wasteland of Roman ruins and the Temple lay within a modern vineyard which Eustace recorded also contained ‘various subterranean vaulted apartments, some more, some less ornamented, the receptacles of the dead of various families.’3 Today, the circular ruin stands between the railway tracks leading into Termini station and the present-day via Giovanni Giolotti, very close to the Porta Maggiore (also known as the Porta Praenestina).
In 1823, Marianne Colston wrote that the combination of the Temple’s ruined architecture with wild plants growing over it ‘presents the most picturesque and lovely object to the painter’.4 In fact, by the nineteenth century it had become a popular motif for artists, the people according to James Whiteside who had ‘succeeded the warriors and emperors who once dwelt in the eternal city.’5 Turner was familiar with the appearance of the monument through the work of others such as Giovanni Battista Piranesi,6 Richard Wilson,7 and James Hakewill.8 He had also depicted it prior to seeing it for himself, as the subject in one of the plates of the Liber Studiorum, The Temple of Minerva Medica (‘Hindoo Devotions’ or ‘The Hindoo Worshipper’) circa 1808 (see Tate D08128; Turner Bequest CXVII A), engraved by Robert Dunkarton, 1811 (see Tate A00957). During his 1819 visit to Rome he made numerous studies of the structure from a variety of angles, see the Albano, Nemi, Rome sketchbook (Tate D15401; Turner Bequest CLXXXII 55), the St Peter’s sketchbook (Tate D16318; Turner Bequest CLXXXVIII 87a), and the Small Roman Colour Studies sketchbook (Tate D16436–D16438; Turner Bequest CXC 27a–29). His sketches shows that at this time the building still had the partial remains of a vaulted roof. This, however, subsequently collapsed in 1828.
This composition depicts the Temple of Minerva Medica from the east. In the background to the right can be seen the distant towers of the Porta San Lorenzo (also known as the Porta Tiburtina), and a series of arches belonging to the internal gallery of part of the Aurelian Walls (which Turner has mistakenly drawn as an aqueduct).9 The close-up view of the decaying structure is particularly close to two studies in the Albano, Nemi, Rome sketchbook (Tate D15412–D15413; Turner Bequest CLXXXII 60a-61). Another watercolour featuring the Temple from a distance can also be found within this sketchbook (see D16363; Turner Bequest CLXXXIX 36). Like many drawings within the Rome C. Studies sketchbook, the composition has been executed over a washed grey background. There is no evidence of preliminary drawing in pencil and the scene seems to have been entirely developed in watercolour and gouache. Turner’s use of colour is naturalistic and local, and his handling of the paint is largely loose and free. The delicate pink and yellow blush of the sunset sky in the west provides an evocative backdrop to the melancholy sight of the crumbling ruin, overgrown with weeds and moss. John Ruskin suggested that it was ‘just possible’ that Turner executed the study en plein air because the colouring was so ‘Fine in effect, but careless’.10 However, as Cecilia Powell has discussed it is more likely that the watercolour was completed indoors from memory (for further discussion, see the introduction to the sketchbook).11
Amanda Claridge, Judith Toms, Tony Cubberley, Rome: An Oxford Archaeological Guide, Oxford 1998, p.357.
Marianne Colston, Journal of a Tour in France, Switzerland and Italy in the Years 1819, 1820 and 1821, vol.1, London 1823, p.150.
James Whiteside, The Vicissitudes of the Eternal City: Or, Ancient Rome with Notes Classical and Historical, London 1849, p.94.
See Luigi Ficacci, Piranesi: The Complete Etchings, Köln and London 2000, nos.62, 165, 945, reproduced pp.94, 185, 727.
See Turner’s copy of Wilson’s River Landscape with Bathers, Cattle and Ruin in the Wilson sketchbook (Tate D01209–10; Turner Bequest XXXVIII 92–3; see also Ian Warrell, Blandine Chavanne and Michael Kitson, Turner et le Lorrain, exhibition catalogue, Musée des beaux-arts, Nancy 2002, p.50.
See Tony Cubberley and Luke Herrmann, Twilight of the Grand Tour: A Catalogue of the Drawings by James Hakewill in the British School at Rome Library, Rome 1992, no.3.29, reproduced p.210.
Verso:
Blank; inscribed by an unknown hand in pencil ‘4’ centre right, parallel with right-hand edge, and stamped in black ‘CLXXXIX 35’ bottom right.
Nicola Moorby
October 2009
How to cite
Nicola Moorby, ‘The So-Called Temple of Minerva Medica, Rome, at Sunset 1819 by Joseph Mallord William Turner’, catalogue entry, October 2009, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2012, https://www