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J Munro of Novar, c. Turner felt a particular affinity with Rome with its potent contrast between the ancient city with the remains of its great imperial past and the modern city teeming with life and activity. The central story of his life though was his friendship with Turner. The eternal city, with its splendours — its stupendous temples, and its great men — all have become a mockery and a scorn. Shy, but clubbable enough to join the Dilettanti Society inMunro spent the greater part of his life collecting paintings.

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    The newly weds took the painting to her family's London home at Piccadilly where it hung for some years and then made the short journey to the Rosebery's house at 38 Berkeley Square.

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    As usual, he has introduced 'a story' In one great panorama, Turner combines both classical antiquity, the crumbling remains of ancient Rome, with the Rome of the Renaissance and Baroque, the seat of the Papacy.

    His first stay in the city is not well documented as he kept no journal, though, as Cecilia Powell points out, he may have stayed at Palazzo Poli by the Trevi Fountain from where his one surviving letter from this period was written, and where many British artists stayed. Beyond the distinct shapes of familiar buildings come gradually into focus with the great arches of Diocletian's Baths lying to the left.

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    Rome in the s hummed with the busy and lucrative activity of artists who like pilgrims flocked to the city, the cultural capital of the world, from all parts of Europe.

    Byron's original words were:. This collection was offered in two sales, fifty five watercolours in and the Turner oils in His energies were concentrated as much on the remains of classical Rome and the Renaissance splendours. Vastly richer and with an irresistible social presence, Rosebery was always the coming man in British politics.

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    Even so, Munro remained hungry for more but felt 'ashamed of taking so large a haul'.

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    Jump to. Munro was the youngest of them, indeed twenty two years younger than Turner himself, which makes this trust all the more remarkable given the artist's famous curmudgeonliness.

    From here the scene unfolds as the spectator's eye is first drawn to the Forum, flanked by the Arch of Septimius Severus and the Temple of Saturn. Following his return to London, Turner exhibited a number of paintings which drew on his experience of the city, but relied more on his memory and his imagination than on the detailed studies. Waagen admired the Turner collection in

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    Even so, Munro remained hungry for more but felt 'ashamed of taking so large a haul'.

    In one great panorama, Turner combines both classical antiquity, the crumbling remains of ancient Rome, with the Rome of the Renaissance and Baroque, the seat of the Papacy.

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    The plough has gone over its grandeurs, and weeds have grown in its high places'. Waagen described Munro as one "in whom the love of art alone is the inducement".

    Modern Rome, the Rome of Turner's daily experience, is represented by his keen observation of city life with crowds spilling out of church, a washerwoman drying sheets in the sun, the goats in the foreground, the cattle in the 'Campo Vaccino' itself, and even an archaeologist clambering up a ladder.

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    Beyond the distinct shapes of familiar buildings come gradually into focus with the great arches of Diocletian's Baths lying to the left. Purchased at auction through Sotheby's, London.

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