Joseph Mallord William Turner The Arco del Meloncello, Bologna 1819
Joseph Mallord William Turner 1775–1851
Folio 37 Recto:
The Arco del Meloncello, Bologna 1819
D14554
Turner Bequest CLXXVI 33
Turner Bequest CLXXVI 33
Pencil on white wove paper, 111 x 184 mm
Inscribed by John Ruskin in red ink ‘33’ bottom right (now faint)
Stamped in black ‘CLXXVI – 33’ bottom right
Inscribed by John Ruskin in red ink ‘33’ bottom right (now faint)
Stamped in black ‘CLXXVI – 33’ bottom right
Accepted by the nation as part of the Turner Bequest 1856
References
1909
A.J. Finberg, A Complete Inventory of the Drawings of the Turner Bequest, London 1909, vol.I, p.518, CLXXVI 33, as ‘A church (probably Madonna di San Luca)’.
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Powell, ‘Turner on Classic Ground: His Visits to Central and Southern Italy and Related Paintings and Drawings’, unpublished Ph.D thesis, Courtauld Institute of Art, University of London 1984, pp.84–5, 88, 92, 406, as ‘The Arco del Meloncello, Bologna’, pp.463 notes 81, 82, 466 note 110, pl.17.
1987
Cecilia Powell, Turner in the South: Rome, Naples, Florence, New Haven and London 1987, pp.25, 202 note 46.
2008
James Hamilton, ‘Turner e l’Italia’ in Hamilton, Nicola Moorby, Christopher Baker and others, Turner e l’Italia, exhibition catalogue, Palazzo dei Diamanti, Ferrara 2008, pp.43, 90 note 22, as a Bologna subject.
2009
James Hamilton, ‘Turner’s Route to Rome’ in Hamilton, Nicola Moorby, Christopher Baker and others, Turner & Italy, exhibition catalogue, National Galleries of Scotland, Edinburgh 2009, pp.42, 150 note 22, as a Bologna subject.
The Turner scholar C.F. Bell amended Finberg’s 1909 Inventory entry to read less speculatively: ‘Church of the Madonna di San Luca’.1 In fact, as Cecilia Powell recognised, the subject is the ‘magnificently baroque’ Arco del Meloncello,2 marking the opposite end of the arcade winding up to the Sanctuary of the Madonna south-west of Bologna, shown here receding to the left but now obscured by trees and buildings.
The east side is shown from the short elevated arcade on the north side of the Via Saragozza. Powell has closely analysed this sketch as an example of the artist’s shifting his viewpoint while making an ostensibly conventional drawing of the structure:
from the tempietto beside it, as is made clear by the foreground ledge and the angle at which we look up into the spandrels of the arch. However, in order to avoid confusion and distortion in his depiction of the outer portions of the arch – the pyramid-shaped finials and the round and triangular pediments – Turner has moved about forty feet, down a number of steps and out onto the road to sketch them.
In this way the depiction is ‘not a record of one given spot from another given spot, but a composite record which is not only more pleasing than the actuality but more useful and accurate from an architectural point of view’.3
For Powell’s general comments on Turner’s views of Bologna from a distance and around the Sanctuary (folios 32 verso–39 recto; D14545–D14558; Turner Bequest CLXXVI 28a–35), see under D14545;4 for the arcade and the Sanctuary itself, under folio 42 recto (D14564; CLXXVI 38);5 and for Bologna in general and numerous views on adjacent pages, under folio 24 recto (D14532).
Matthew Imms
March 2017
How to cite
Matthew Imms, ‘The Arco del Meloncello, Bologna 1819 by Joseph Mallord William Turner’, catalogue entry, March 2017, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, July 2017, https://www