The buildings clustered at the centre of the page belong to Quillebeuf on its long promontory on the south bank of the river. The skyline of the settlement is dominated by the Romanesque tower of Notre-Dame-de-Bon-Port, the details of which Turner has attempted to capture three times.
1 For watercolours of Quillebeuf worked up by Turner with a view to engraved reproduction around this time, see Tate
D24576 (Turner Bequest CCLIX 11),
D24668 (Turner Bequest CCLIX 103), and
D24729 (Turner Bequest CCLIX 164). These culminated in the exhibition of a major oil piece on the subject,
The Mouth of the Seine, Quille-Boeuf, (Museu Calouste Gulbenkian, Lisbon)
2 at the Royal Academy in 1833, and also in an engraving in the 1834 volume of
Turner’s Annual Tour: Wanderings by the Loire and Seine (1833–5; later reissued as
Rivers of France); see Tate impression
T05598. Quillebeuf recurs on several pages in the sketchbook; for example, folio 77 recto (
D24033; Turner Bequest CCLIV 77) and folio79 verso (
D24038; Turner Bequest CCLIV 79a).