J.M.W. Turner: Sketchbooks, Drawings and Watercolours

Since I have been in Rome, many are the visits I have paid to the Casino of Raphael, which was the chosen scene of his retirement, and adorned by his genius. It is about half a mile from the Porta del Popolo. The first wooden gate in the lane, on the right of the entrance into the grounds of the Villa Borghese, leads you into a vineyard, which you cross to the Casino di Raffaello; for it still bears his name, though it now belongs to Signore Nelli. It is unfurnished, except with casks of wine, and uninhabited except by a Contadina, who shows it to strangers. We passed through two rooms, painted by his scholars; the third, which was his bedroom, is entirely adorned with the work of his own hands. It is a small pleasant apartment, looking out on a little green lawn, fenced in with wood irregularly planted. The walls are covered with arabesques, in various whimsical and beautiful designs, – such as the sports of children; Loves balancing themselves on poles, or mounted on horseback, full of glee and mirth; Fauns and Satyrs; Mercury and Minerva; flowers and curling tendrils, and every beautiful composition that could suggest itself to a mind of taste, or a classic imagination, in its most sportive mood. It is impossible to describe to you the spirit of these designs. The cornice is supported by painted Carayatides. The coved roof is adorned with four medallions, containing portraits of his mistress, La Fornarina – it seemed as if he took pleasure in multiplying that beloved object, so that wherever his eyes turned her image might meet him. There are three other paintings ... The last, and best, of these paintings represents the nuptials of Alexander the Great, and Roxana ... in general he painted for others, – here he painted for himself – and it is interesting to see those sports of his mind, and to trace the fond delight with which he amused his leisure hours in decorating his home, the scene of his pleasures.3