Who painted The Tiber with Saint Peter's and the Castel S. Angelo (recto)?

The Tiber with Saint Peter's and the Castel S. Angelo (recto) was painted by William Marlow in 1766.

Where can I see The Tiber with Saint Peter's and the Castel S. Angelo (recto)?

The Tiber with Saint Peter's and the Castel S. Angelo (recto) is held by National Gallery of Art.

What movement is The Tiber with Saint Peter's and the Castel S. Angelo (recto)?

The Tiber with Saint Peter's and the Castel S. Angelo (recto) is associated with Romanticism.

Artwork

The Tiber with Saint Peter's and the Castel S. Angelo (recto)

William Marlow , 1766

The Tiber with Saint Peter's and the Castel S. Angelo (recto) is a graphite drawing by the Romanticist artist William Marlow. It dates from 1766 and is held in the collection of the National Gallery of Art. Created in 1766, this pen and ink drawing on laid paper depicts a tranquil stretch of the Tiber River in Rome.

About this work

Overview

Created in 1766, this pen and ink drawing on laid paper depicts a tranquil stretch of the Tiber River in Rome. The composition centers on a prominent bridge, its arches and dome rendered with precise line work, while distant structures, including a large dome, rise above the skyline, giving the scene depth and a sense of place.

Subject & Meaning

The view captures key landmarks along the river, most notably the bridge leading toward Saint Peter's Basilica and the imposing Castel Sant'Angelo. By juxtaposing these religious and civic symbols, the drawing reflects the intertwined spiritual and political significance of Rome's waterfront.

Technique & Style

Marlow employed a combination of pen, ink, and graphite, allowing for varied tonalities and texture on the laid paper surface. Fine hatching defines architectural details, while broader strokes suggest water and atmospheric perspective, indicating the work functions as a preparatory study rather than a finished illustration.

History & Provenance

Attributed to the English landscape artist William Marlow, the drawing is part of his series of Italian sketches produced during his Grand Tour. Its survival on paper suggests it was retained as a reference for later oil paintings or prints of the same view.

Context

Marlow's Italian sketches align with the 18th‑century tradition of artists documenting classical sites for a British audience. The Tiber scene would have appealed to patrons interested in the grandeur of Rome’s architecture and the spiritual aura surrounding the Vatican.

Legacy

Although not a finished composition, the drawing offers insight into Marlow’s preparatory process and his approach to rendering architectural grandeur. It remains a valuable example of 18th‑century travel drawing, illustrating how artists translated on‑site observation into studies for larger works.