The attribution to Girtin of this watercolour, which was once bizarrely known as ‘Entrance to the “Grotto” Posilipo, Italy’, was questioned by Thomas Girtin (1874–1960), who thought that it was by John Henderson (1764–1843) (Girtin Archive, 14). However, although the quality is not high, with out-of-scale figures and a less than secure perspective in the building, it can now be attributed to Girtin with some certainty, particularly as the identity of the site and the work’s source have been discovered. Girtin certainly did not visit Compiègne during his stay in France in the winter and early spring of 1801–2 and, instead, as with another Compiègne subject, showing the church of Saint Corneille (TG1908), he based his watercolour on a print after Tavernier de Jonquières (unknown dates) that was included in Voyage Pittoresque de la France (see the source image above) (La Borde and others, 1781–1800). The artist may even have bought the engraving during his trip to Paris, as amongst the items recorded in the studio at his death were ‘Books of French prints of … Landscapes unbound’ (Chancery, Income and Expenses, 1804; Smith, 2017–18, p.35).¹ Other watercolours made from prints from the Voyage Pittoresque include Paris: The Ruins of the Roman Baths, Hôtel de Cluny (TG1896 and TG1897), Lyon Cathedral (TG1907) and An Interior View of the Nave of Laon Cathedral (TG1911), which constitute a distinctive and coherent group of architectural views. Although none of the works were made from on-the spot sketches, it still cannot be said for sure whether they were produced on the artist’s return to England or whether they were painted in France. Indeed, the fact that they were created from earlier prints actually means that we cannot rule out what would once have been an unthinkable alternative – namely, that this and some of the other French views may even predate the artist’s trip. 

As with the other copies of prints from the Voyage Pittoresque, Girtin adapted – and improved upon – the original composition. Radically cropping the scene to the right and left brings the structure closer to the viewer, and, by including more of the sky, Girtin changed the proportions of the scene so that the more panoramic original is (uncharacteristically for the artist) transformed into a vertical composition, helping to give the gateway a greater sense of monumentality. The figures too are reduced in number and are Girtin’s own invention. 

(?) 1802

The Church of Saint Corneille at Compiègne

TG1908

(?) 1802

Paris: The Ruins of the Roman Baths, Hôtel de Cluny

TG1896

(?) 1802

Paris: The Ruins of the Roman Baths, Hôtel de Cluny

TG1897

(?) 1802

Lyon Cathedral

TG1907

(?) 1802

An Interior View of the Nave of Laon Cathedral

TG1911