- Francis Towne (1739 - 1816)
- The Temple of Concord
- Pencil, pen and black ink, watercolour with gum
- image height 321mm,
- image length 474mm
- laid paper watermarked "J WHATMAN", with a vertical crease down its centre
- mounted by the artist
- sheet, recto, lower left
- “No.44. Rome / F.Towne. delt. [“1781” scratched out]”
- in brown ink
- artist's mount, verso
- “No44, Rome / A View of the Temple of Concord / drawn on the Spot / by / Francis Towne. / [scratched-out indistinct date, including “July” and possibly “1st” or “7th July 1781”] / Of the temple of concord, eight Ionic Pillars of Oriental Granate, are / still standing behind the Capitol towards mount Palatine. It was / built as a Monument of the Reconciliation, between the People & the / Nobility of Rome.”
- in brown ink
- Object Type
Bequeathed by the artist in 1816 to James White of Exeter (1744–1825), who gave it in 1816 to the present owner, the British Museum, London (Nn.1.17).
- Exhibition History
- [?] Exhibition of Original Drawings at the Gallery, No.20 Lower Brook Street, Grosvenor Square, 20 Lower Brook Street, 1805, no. 161 as 'Temple of Concord'
- British Artists in Europe, Whitworth Art Gallery, 1973, no. 7
- unidentified exhibition, British Museum, 1981
- unidentified exhibition, Nottingham, 1981
- Francis Towne, Tate Gallery; Leeds City Art Gallery, 24 June 1997 - 4 January 1998, no. 31
- Light, time, legacy: Francis Towne’s watercolours of Rome, British Museum, 2016
- Thomas Ashby, Forty drawings of Roman scenes by British artists (1715-1850) from originals in the British Museum, British Museum: London, 1911, p.13
- Laurence Binyon, Catalogue of Drawings by British Artists and Artists of Foreign Origin Working in Great Britain Preserved in the Department of Prints and Drawings in the British Museum, Trustees of the British Museum: London, 1907, p. 201
- Adrian Bury, Francis Towne - Lone Star of Water-Colour Painting, Charles Skilton: London, 1962, pp. 105, 126
- Paul Oppé, 'Francis Towne, Landscape Painter', The Walpole Society: London, 1920, p 113
- 1 A similar view by John “Warwick” Smith is in the British Museum.
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