Critical Notes by Turner on Works of Art in the Palazzo Corsini, Rome; and Notes by James Hakewill on Travelling in Italy

Corsini P. an Altar sarcofagus., ^Antique Chair^ Bust of Cicero | and female Head & fine. a Christ by Guercino | [dot encircled] colord [?His] expression like the Carrachi at Castle | Howard of the 3 Maries a .[+ encircled] Gaspar [sketch] | the story of Rinaldo and Armida. Carlo Dolci C X and | Guido, ^C X and Madonna^ 2. Albarno [dot encircled]. Philip of Spain by | Titian [circle] Salvators Prometheus horrible . a | Hare by Albert Durer the Annunciation and Madona | Silenzio by M. Angelo . the Wing of the Angel ^ which figure is Elegant^ R B Y and | the whole bground rather gry. the Moses breaking the tables | not bronze but brown. cup gold [...] the Silence | the same size as the one supposed by Vasari YR, B the | figure of C sleeping is elegant and the lines of the figures | beautiful. the [?figures] lightly executed. 2 small landscps | by Locotelli [circle]

a.
The Sedia Corsini, an antique chair or throne decorated with marble reliefs, a thumbnail sketch of which can be found in the Vatican Fragments sketchbook (Tate D15105; Turner Bequest CLXXX 1). The chair was the most important antiquity in the palazzo.2
b.
Ecce Homo by Guercino (1591–1666), the expression of which Turner compares to a painting by Annibale Carracci (1560–1609), The Dead Christ Mourned (‘The Three Maries’) circa 1604 (National Gallery), formerly in the collection of Lord Carlisle of Castle Howard.3 A small (crossed-out) study of the head of Christ can be seen in the Vatican Fragments sketchbook (Tate D15106; CLXXX 1a). Charlotte Eaton described it as ‘a painting which, notwithstanding the painful nature of the subject, and all its hackneyed representations, is full of such deep and powerful expression, is so elevated in its conception, and so faultless in its execution, that it awakens our highest admiration, and leaves an indelible impression on the mind.’4
c.
Rinaldo and Armida by Gaspard Dughet (known as Gaspar Poussin, 1615–75), which Eaton described as having ‘something of the witchery of the enchantress about it, for it charmed me so much, that I returned to the palace again and again to look at it.’5
d.
Carlo Dolci (1616–86) Christ
e.
Guido Reni (1575–1642) Christ and Madonna Albarno
f.
Philip of Spain by Titian (circa 1473/90–1576)
g.
Prometheus by Salvator Rosa (1615–73), the gruesome details of which Turner describes as ‘horrible’.
h.
A Hare by Hans Hoffman (circa 1530–91/2) formerly believed to be by Albrecht Dürer6
i.
The Annunciation and The Holy Family (or Madonna del Silenzio) which were then thought to be the work of Michelangelo, but were later attributed to Marcello Venusti (1512/15–79) working from the Renaissance master’s drawings.7