Titian’s (Tiziano Vecelli circa 1477–1576)
Entombment is still in the Louvre; Correggio’s (Antonio Allegi, called Correggio circa 1495–1534)
Virgin and Child with St Jerome, Mary Magdalen and the Infant St John the Baptist (‘Il Giorno’), taken as plunder by French troops in Italy in 1796, was returned to Parma in 1816 and remains in the city’s Galleria Nazionale. Turner’s notes on the pictures in this sketchbook, including further remarks on the Correggio on folio 72 verso (
D04264), indicate that he used it again in Paris. Most of Turner’s many comments on and drawings after pictures in the Louvre were made in his
Studies in the Louvre sketchbook (Tate
D04275–D04390: Turner Bequest LXXII), during his longer stay in the city on his way home from his tour of the Alps. For a full discussion of Turner’s work there in 1802, and his particular interest in the work of Titian, see Introduction to the
Louvre book. The
Louvre book contains a study of the picture discussed here (
D04315; Turner Bequest LXXII 32), and further notes on it (see especially
D04314; Turner Bequest LXXII 31a): and one of the Correggio (
D04358; Turner Bequest LXXII 64), also with further remarks (
D04318,
D04317; Turner Bequest LXXII 34, 33a). The presence of these brief comments in the first sketchbook to be used on the tour, on Turner’s landing in France and on the way to the capital, suggests that they were made on his first, shorter stay in the city, around 18–26 July. Ian Warrell has suggested that another isolated drawing after Pier Francesco Mola in the
France, Savoy, Piedmont sketchbook (Tate
D04394; Turner Bequest LXXIII 2) was made at this earlier stage.
1
