Discovery

The valleys for romantic culture
«This city is enclosed by deep ravines, by high walls, and by sturdy bulwarks, which make it strong from hostile raids»

[Pacichelli 1703, p. 93]

The urban layout of Sorrento in the famous representation of Pacichelli of 1703
The urban layout of Sorrento in the famous representation of Pacichelli of 1703

[Pacichelli, 1703, p. 86]

Until the eighteenth century, the valleys were called the “deep trenches” that surrounded and defended the city.
Sorrento was reached mainly by sea; situated at a port built at the mouth of a valley, overlooking the sea.

In the early nineteenth century, the nearby city of Naples, the capital, attracted travelers from all over Europe, who increasingly went to Sorrento by boat.

View of the Sorrento Coast, on the edge of the Gulf of Naples
Jacques Joseph COINY (Versailles 1761-Parigi 1809) – Emmanuel Jean DE GHENDT (Saint Nicolas 1738 – Parigi 1815), Vue de la Côte de Sorrente, sur le bord de la Mer de Naples, (View of the Sorrento Coast, on the edge of the Gulf of Naples,) ca. 1790. Acquaforte, cm. 16×23.

«Gravée à l’eau forte par Coyni – Terminée par de Ghendt». [Saint-Non 1781-1786, tav. C; Rotili 1977, tav. II; Fino, 2017, p. 31]

Jakob Philipp HACKERT (Prenzlau 1737 - San Pietro di Careggi 1807) - Georg Hackert (1755-1805), a Sorriento
Jakob Philipp HACKERT (Prenzlau 1737 – San Pietro di Careggi 1807) – Georg Hackert (1755-1805), a’ Sorriento, in Idem, Suite de IV vues dessinées dans le Royaume de Naples, (Suite of IV views drawn in the Kingdom of Naples) Rome, 1799. Acquaforte, cm. 46×37. Disegno di Jakob Philipp Hackert – engraving by Georg Hackert.

[Rotili 1977, tav. I; Iezzi 1989, p. 31; Miniero, Ercolano 1990, p. 14; Fino 1994, n. 20; Cuomo 2005, pp. 56-57; Cuomo 2013, p. 65; Fino 2017, p. 38]

Jakob Philipp Hackert

Jakob Philipp Hackert portrait in his studio, 1797 by Augusto Nicodemo

With Hackert, “the deep trenches” became landscapes

Jacob Philipp Hackert, court painter of the Bourbons of Naples, was the first artist who interpreted the Sorrento valley as a landscape, inserting it in a collection of four subjects: all of them areas in the region of Naples frequented by foreigners on excursions.

With Turpin de Crissé the landscape of the valleys became emotion

For Turpin de Crissé the sun, illuminating only the top of those masses of foliage, left the rest of the valley in a mysterious chiaroscuro.

«… and the sun, lighting only the top of these masses of foliage, leaves the rest of the valley in a mysterious halftone»

[Turpin de Crissé 1828, p. 30]

Turpin de Crissé

Turpin de Crissé in a portrait of Louis-André-Gabriel Bouchet

Lancelot-Théodore TURPIN DE CRISSÉ (Paris 1782-Paris 1859)- Pierre Eugène AUBERT (Paris 1789 – Paris 1847), Ravin de Sorrento
Lancelot-Théodore TURPIN DE CRISSÉ (Paris 1782-Paris 1859)- Pierre Eugène AUBERT (Paris 1789 – Paris 1847), Ravin de Sorrento, in Lancelot-Théodore Turpin de Crissé, Souvenirs du Golfe de Naples recueillis (Memories of the Gulf of Naples collected) en 1808, 1818 et 1824, a.n., Paris, 1828, pl. 21. Bulino, cm. 13,5×10.

«Dessiné par le C[om]te Turpin de C[rissé],  gravé par Aubert».

Drawing by Lancelot-Théodore Turpin de Crissé, engraving by Pierre Eugène Aubert.

[Rotili 1977, tav. XVIII; Cuomo 2005, p. 68; Cuomo 2013, p. 62]

Lancelot-Théodore TURPIN DE CRISSÉ (Paris 1782 – Paris 1859) – Etienne GOUJON-DEVILLIERS (Paris 1784 -1844?), Petit port de Sorrento
Lancelot-Théodore TURPIN DE CRISSÉ (Paris 1782 – Paris 1859) – Etienne GOUJON-DEVILLIERS (Paris 1784 -1844?), Petit port de Sorrento (Small port of Sorrento),  in Lancelot-Théodore Turpin de Crissé, Souvenirs du Golfe de Naples recueillis (Memories of the Gulf of Naples collected) en 1808, 1818 et 1824, s.n., Paris, 1828.

Bulino, cm. 14,6×20.

«Peint par le C[om]te Turpin de C[rissé]. Petit port de Sorrento – Gravé par Devilliers».

[Rotili 1977, tav. XIX; Cuomo 2005, p. 135; Fino 2017, p. 45]

Turpin de Crissé’s visit to Sorrento was important because he chose Captain Starace as his guide. Starace was a celebrity, because at the end of the eighteenth century he had served and accompanied Mariana Starke, a great author of guide books, called “the Queen of Sorrento”, who first described and recommended Sorrento to English travelers, thus starting the city’s luck with tourists.

Turpin de Crissé added the valley to the already known attractions of Sorrento (the Marina Piccola, the birthplace of Torquato Tasso and the remains of the so-called temple of Neptune).

In the 1920s, after the Napoleonic wars and revolutions, the scientific outlook gaze and the romantic outlook arrived upon the volcanic banks of Sorrento

Ernest FRIES (Heidelberg 1801 – Karlsruhe 1833), Rocce nel vallone a Sorrento, 1826
Ernest FRIES (Heidelberg 1801 – Karlsruhe 1833), Rocce nel vallone a Sorrento, 1826. Pencil and watercolor, cm. 17,8×22,5.

Heidelberg, Staatliche Museum.

[Fino 2017, p. 163]

Jules Louis Philippe COIGNET (Paris 1898 – Parigi 1860) - François LE VILLAIN (?), Éboulement à Sorrento (Royaume de Naples), 1829
Jules Louis Philippe COIGNET (Paris 1898 – Paris 1860) – French LE VILLAIN (?), Éboulement à Sorrento (Royaume de Naples) (Rockfall in Sorrento (Kingdom of Naples)), 1829. Contemporary lithography, cm. 39×32,5.

«J. Coignet 1829»; «Lith. de Villain».

Disegno di Jules Louis Coignet e incisione di François Le Villain.

[Persico Rolando 1988, tav. XXII; Iezzi 1989, p. 33; Miniero, Ercolano 1990, p. 40; Cuomo 2005, p. 80-81; Fino 2017, p. 58]

Achille VIANELLI e Teodoro WITTING, Sito detto i Ponti a Sorrento, 1820 circa
Achille VIANELLI (Porto Maurizio 1803 – Benevento 1894) e Teodoro WITTING (Francoforte sul Meno 1793 – Napoli 1860), Sito detto i Ponti a Sorrento (Site called the Bridges in Sorrento), 1820 circa, in Raccolta di ventiquattro vedute di Napoli e suoi contorni disegnate da A. Vianelli e incise all’acquatinta da Theodore Witting (Collection of twenty-four views of Naples and its outlines designed by A. Vianelli and engraved in aquatint by Theodore Witting), Napoli, 1840, pp. 58-59. Etching, cm. 24,2×19,6.

«A. Vianelli dis. – T. Witting inc.»

Drawing by Achille Vianelli; engraving by Teodoro Witting.

[Rotili 1977, tav. IX; Iezzi 1989, p. 75;  Cuomo 2005, pp. 58-59; Fino 2017, p. 159]

Young artists descended into the valley, deep into the Earth: in search of the ravine

Achille Vianelli was the son of a Venetian diplomat and a Parisian and arrived in Naples in 1819 to study painting, where he participated in the experience of the School of Posillipo. Her drawing of the valley was engraved by her brother-in-law, Teodoro Witting, a German and her sister’s husband.

Achille VIANELLI (Porto Maurizio 1803 – Benevento 1894) e Teodoro WITTING (Francoforte sul Meno 1793 – Napoli 1860), Sito detto i Ponti a Sorrento (Site called the Bridges in Sorrento), 1820 circa, in Raccolta di ventiquattro vedute di Napoli e suoi contorni disegnate da A. Vianelli e incise all’acquatinta da Theodore Witting (Collection of twenty-four views of Naples and its outlines designed by A. Vianelli and engraved in aquatint by Theodore Witting), Napoli, 1840, pp. 58-59. Etching, cm. 24,2×19,6.

«A. Vianelli dis. – T. Witting inc.»

Drawing by Achille Vianelli; engraving by Teodoro Witting.

[Rotili 1977, tav. IX; Iezzi 1989, p. 75;  Cuomo 2005, pp. 58-59; Fino 2017, p. 159]

Achille-Etna MICHALLON

The portrait of Achille-Etna Michallon painted by Léon Cogniet

Michallon won the Prix de Rome 1817 for the historical landscape and lived in Rome until 1821, where he died at only 26 years old.

Caminade, the engraver, was also a great landscape painter: among his works we remember the Tivoli waterfalls and scenes and places in Algiers bathed in Mediterranean light.

Achille-Etna MICHALLON (Paris 1796 – Paris 1822) – Alexandre-François CAMINADE (Paris 1789 – Versailles 1862), Grottes de Sorrento, ca. 1820
Achille-Etna MICHALLON (Paris 1796 – Paris 1822) – Alexandre-François CAMINADE (Paris 1789 – Versailles 1862), Grottes de Sorrento (Grottos of Sorrento), 1820 circa. Litografia, cm. 19,5×25,5.

«Michallon del. Caminade Jne Lith».

Drawing by Achille-Etna Michallon and engraving by Alexandre-François Caminade.

[Persico Rolando 1988, tav. XXIV; Iezzi 1989, p. 80; Miniero, Ercolano 1990, p. 41; Cuomo 2005, pp. 62-63;]

Florian GROSPIETSCH (Zwrócona 1789-1830), La Madonna del Mulino presso Sorrento, Roma, 1823
Florian GROSPIETSCH (Zwrócona 1789-1830), La Madonna del Mulino presso Sorrento (The Madonna del Mulino near Sorrento), Roma, 1823.

Bulino su rame, cm. 27×43,5.

«F. Grospietsch fec. Roma 1823».

[Persico Rolando 1988, tav. XVI; Iezzi 1989, p. 60; Cuomo 2005, p. 56; Cuomo 2013, p. 63; Fino 2017, p. 26;]

Like the Alps, the Sorrento valley was populated with hermitages and crosses, which interrupted the horror of wild nature, caves and cliffs: it was the imaginary of the romantic landscape.

And the imaginary was also fueled by the imagination …

“The ravine of Sorrento, which formed (…) the ditch of its mediaeval fortress, is frequently visited by the traveller. Its wildness and gloom, heightened by the silence which is seldom broken by the foot of man, sufficiently explain the superstition of the peasantry, who consider it to be peopled with goblins, and at night give a practical proof of their belief by kindling a lamp in the little oratories which are built in its recesses, for the purpose of scaring away the spirits.”

[Blewitt 1853]

In the mid-nineteenth century Octavian Blewitt, a very successful author of guides for English travelers, said that the Sorrento valley was highly favored by travelers: its wild nature, the darkness magnified by silence, which was rarely interrupted by human steps, fed the superstition of the peasants, who they believed was populated by goblins. Fairies who lit lamps in the small chapels built in the recesses of the valley at night, in order to scare the spirits.
Jules Louis Philippe COIGNET (Paris 1798 – Paris 1860) – Alexis Victor JOLY (Paris 1798 – Paris 1874) – Victor ADAM (Paris 1801 – Viroflay 1866), Vue d’un hermitàge dans les ravins de Sorente in Vue pittoresque d’Italie, dessinées d’après nature (View of a hermitage in the ravines of Sorente in Picturesque view of Italy, drawn from nature), Paris, Sazerac et Duval, Paris, 1825.

Lithograph, cm. 35,5×24,5.

Drawing by Jules Louis Philippe Coignet  – Engraving by Alexis Victor Joly and Victor Adam.

Rotili 1977, tav. XXVIII; Iezzi 1989, p. 100; Cuomo 2005, pp. 60-61; Cuomo 2013, p. 64; Fino 2017, p. 56]

Jules Louis Philippe COIGNET, Alexis Victor JOLY, Victor ADAM, Vue d’un hermitàge dans les ravins de Sorente in Vue pittoresque d’Italie, dessinées d’après nature, Paris, Sazerac et Duval, Paris, 1825
Jules Louis Philippe COIGNET(Paris 1898 – Paris 1860) - GIHAUT, Ravin de Sorente, 1832
Jules Louis Philippe COIGNET (Paris 1898 – Paris 1860) – GIHAUT, Ravin de Sorente (Ravine of Sorrento), 1832. Lithograph, cm. 25,6×21,7.

«Coignet 1832; Lith. de Gihaut»

Drawing by Jules Louis Coignet and Engraving by Gihaut.

[Persico Rolando, 1988, tav. XXIII; Iezzi 1989, p. 123; Cuomo 2005, p. 65;]

Many travelers contrasted the noise, heat and frenzy of Naples to the silence and tranquility of the Sorrentine Peninsula

But above all they were attracted to nature, a nature that was «extremely picturesque» [Blewitt 1853]

Jules Louis Philippe COIGNET (Paris 1898 – Paris 1860) – GIHAUT, Ravin de Sorente (Ravine of Sorrento), 1832. Lithograph, cm. 25,6×21,7.

«Coignet 1832; Lith. de Gihaut»

Drawing by Jules Louis Coignet and Engraving by Gihaut.

[Persico Rolando, 1988, tav. XXIII; Iezzi 1989, p. 123; Cuomo 2005, p. 65;]

Karl August Lindermann-Frommel, born in Alsace, traveled to Italy from 1844 to 1849, leaving behind  landscape works of extraordinary beauty; in 1856 he returned to Italy, where he taught at the Accademia di San Luca in Rome. He left numerous drawings of Sorrento and two are dedicated to the Walloons. This drawing is titled “From the gorges of Sorrento” and is part of a collection of sketches and images of Naples and its surroundings.
Karl August LINDEMANN-FROMMEL, Gola di Sorrento, 1848
Karl August LINDEMANN-FROMMEL (Markirch 1819 – Roma 1891), Aus den Schluchten Sorrent (From the Gorges of Sorrento), in Skizzen und Bilden aus Neapel und der Umgegend (Sketches and Images of Naples and it’s Environs ), Goupil, n. 17, 1848. Litografia, cm. 26×20,5.

«K. Lindemann Frommel pinx» «4 sept.».

Drawing and engraving by Karl August Lindermann-Frommel

[Persico Rolando 1988, tav. VI; Fino 1994, n. 74; Cuomo 2005, p. 84; Cuomo 2005, p. 84; Fino 2017, p. 112]

Karl August LINDEMANN-FROMMEL, Aus den Schluchten Sorrent, in Skizzen und Bilden aus Neapel und der Umgegend, Goupil, n. 17, 1848
Karl August LINDEMANN-FROMMEL (Markirch 1819 – Roma 1891), Aus den Schluchten Sorrent (From the Gorges of Sorrento), in Skizzen und Bilden aus Neapel und der Umgegend (Sketches and Images of Naples and it’s Environs ), Goupil, n. 17, 1848. Litografia, cm. 26×20,5.

«K. Lindemann Frommel pinx» «4 sept.».

Drawing and engraving by Karl August Lindermann-Frommel

[Persico Rolando 1988, tav. VI; Fino 1994, n. 74; Cuomo 2005, p. 84; Cuomo 2005, p. 84; Fino 2017, p. 112]

Already in the 1820s, Coignet illustrated the bottom of the valley with the perspective of the city: the castle at the top, the path that descended into the valley, the bridge and the local figures at the bottom. This view was very popular and was reproduced for many decades, until 1840, when the bell tower on the castle was demolished.
Jules Louis Philippe COIGNET (Paris 1798 – Paris 1860) - ? VILLENEUVE, Vue des Ravins de Sorente, in Vue pittoresque d’Italie, dessinées d’après nature
Jules Louis Philippe COIGNET (Paris 1798 – Paris 1860) –  ? VILLENEUVE, Vue des Ravins de Sorente (View of the Ravines of Sorrento), in Vue pittoresque d’Italie, dessinées d’après nature (Picturesque view of Italy, drawn from nature), Paris, Sazerac et Duval, Paris, 1825. Litografia, cm. 28,5×20,5.

«Coignet del. – Villeneuve lith.»

Drawing by Jules Louis Coignet, Engraving by ? Villeneuve.

[Rotili 1977, tav. XXVII; Iezzi 1989, p. 82; Cuomo 2005, p. 60; Cuomo 2013, p. 64; Fino 2017, p. 57]

Karl August LINDEMANN-FROMMEL, Aus den Schluchten Sorrent, in Skizzen und Bilden aus Neapel und der Umgegend, Goupil, n. 17, 1848
Ernst FRIES (Heidelberg 1801 – Karlsruhe 1833) – Karl KUNTZ (Mannheim 1770 – Karlsruhe 1830), Salita di scale (Climbing stairs), 7 August 1826. Lithograph, cm. 39×29,4.

Drawing by Ernst Fries and  Engraving by Karl Kuntz.

[Cuomo 2005]

Jules Louis Philippe COIGNET (Paris 1798 – Paris 1860) - ? VILLENEUVE, Vue des Ravins de Sorente, in Vue pittoresque d’Italie, dessinées d’après nature
James Duffield HARDING (Deptford 1798 – Barnes 1863), Samuel FISHER (Active in London from 1831-1844), Entrance to Sorrento, in Thomas Roscoe, The Tourist in Italy, R. Jennings and W. Chaplin, London, 1832. Etching, cm. 14,5×10.

“Drawn by J.D. Harding – Engraved by S. Fisher”.

Drawing by James Duffield Harving, Engraving by Samuel Fisher.

[L’Italie 1893; Rotili 1977, tav. XXVI; Cuomo 2005, p. 80]

Karl August LINDEMANN-FROMMEL, Aus den Schluchten Sorrent, in Skizzen und Bilden aus Neapel und der Umgegend, Goupil, n. 17, 1848
? CIOFFI, Sorrento, 25 August 1832. Etching, cm. 25,8×18,4.

[Cuomo 2005, p. 72]

Billmark was a landscape painter and lithographer. The valley of Sorrento was one of the views of landscapes and glimpses of cities that the artist saw on his journey from Stockholm to Naples. It was 1837.
Karl Johan BILLMARK (Stoccolma 1804 – Paris 1870), Ravins de Sorrento, 1837
Karl Johan BILLMARK (Stockholm 1804 – Paris 1870), Ravins de Sorrento, 1837. Lithograph, cm. 26,3×18,6.

«Ravins de Sorrento le 13 Nov 37».

Drawing and engraving by Karl Johan Billmark.

Karl Johan BILLMARK (Stockholm 1804 – Paris 1870), Ravins de Sorrento
Karl Johan BILLMARK (Stockholm 1804 – Parigi 1870), Ravins de Sorrento, in Pittoresk Resetur fran Stochkolm Till Neapel (Ravines of Sorrento, a Picturesque Travel Tour from Stockholm To Naples), Lemercier & C., Paris, 1852, n. 47. Two-color Lithograph , cm. 26×19.

«Billmark».

Drawing and engraving by Karl Johan Billmark.

[Persico Rolando 1988, tav. XV; Fino 1994, n. 70; Cuomo 2005, p. 74; Fino 2017, p. 76]

Karl Johan BILLMARK (Stockholm 1804 – Paris 1870), Ravins de Sorrento
Karl Johan BILLMARK (Stockholm 1804 – Paris 1870), Ravins de Sorrento, 1837. Lithograph, cm. 25,5×18,5.
Johann Wenzel Peter

The Austrian painter Johann Wenzel Peter in a self-portrait

Famous for the representation of animals, from 1812 he was a professor at the Academy of San Luca in Rome. Filippo Cirelli was the founder in 1836 of the famous and popularly acclaimed  Neapolitan illustrated periodical “Poliorama Pittoresco.”
Johann WENZEL PETER (Karlsbad 1745 – Rome 1829) – Filippo CIRELLI (Campoli Appellino 1796 – 1867), Ponte dai Mulina at Sorrente (Ponte dai Mulina at Sorrente), 1845 circa. Lithograph, cm. 18,6×25,5.

«Wenzel dis. Cirelli lit. m.ss Oa[k?]es».

Drawing by Johann Wenzel Peter, Lithograph by Filippo Cirelli.

[«Surrentum» 1982, p. 11; Persico Rolando 1988, tav. XXXVI; Iezzi 1989, p. 71; Miniero, Ercolano 1990, p. 11; Cuomo 2005, pp. 65-66]

Johann WENZEL PETER (Karlsbad 1745 - Roma 1829) - Filippo CIRELLI (Campoli Appellino 1796 - 1867), Ponte dai Mulina at Sorrente
Johann WENZEL PETER (Karlsbad 1745 – Rome 1829) – Filippo CIRELLI (Campoli Appellino 1796 – 1867), Ponte dai Mulina at Sorrente (Ponte dai Mulina at Sorrente), 1845 circa. Lithograph, cm. 18,6×25,5.

«Wenzel dis. Cirelli lit. m.ss Oa[k?]es».

Drawing by Johann Wenzel Peter, Lithograph by Filippo Cirelli.

[«Surrentum» 1982, p. 11; Persico Rolando 1988, tav. XXXVI; Iezzi 1989, p. 71; Miniero, Ercolano 1990, p. 11; Cuomo 2005, pp. 65-66]

Karl August LINDEMANN-FROMMEL, Gola di Sorrento, 1848
Karl GIRARDET (Le Locle 1813 – Parigi 1871), Paul GIRARDET (Neuchâtel 1821 – Parigi 1893), Sorrento / Royaume de Naples (Sorrento / Kingdom of Naples), in «L’Artiste. Journal de la littérature et des beaux-arts», 1850 circa. Engraving, cm. 17,2×14.

«Peint par Karl Girardet – Gravé par Paul Girardet».

Drawing by Karl Girardet, engraving by Paul Girardet.

[Rotili 1977, tav. XXXII; Iezzi 1989, p. 101; Miniero, Ercolano 1990, p. 39; Cuomo 2005, pp. 66-67;]

J. SCHULZ, Sorrento, ca. 1850
SCHULZ, Sorrento, ca. 1850. Engraving, cm. 17×12,8.

Engraving di Schultz after drawing by Karl Girardet?.

«Schultz – Artistisches Institut v. F. Gutsch & Rupp».

[Cuomo 2005, pp. 66; Cuomo 2013, p. 65]

William LINTON (1791-1876) - William DAY (1797 - Londra 1845), Ravine at Sorrento
William LINTON (1791-1876) – William DAY (1797 – Londra 1845), Ravine at Sorrento, in William Linton, Sketches in Italy, London 1832, vol. I, p. 44. Lithograph, cm. 32×25.

«W. Day Lith.r to the King 17, Gate S.t Linc: Inn G.ds

[Rotili 1977, tav. XXII; Iezzi 1989, p. 70; Cuomo 2005, p. 75]

William Linton

William Linton in a self-portrait of 1821

Archived at the Museum and Art Gallery in Bolton.
Jakob Philipp Hackert

William Day, the English engraver

Un’altra veduta del vallone ebbe straordinaria fortuna: mostra il vallone, una casa e un ponte in alto, una scala e le donne accanto al lavatoio in basso

Heinrich REINHOLD (Gera 1788 – Roma 1825), Il vallone di Sorrento, 1823
Heinrich REINHOLD (Gera 1788 – Roma 1825), Il vallone di Sorrento (The valley of Sorrento), 1823. Oil on canvassed paper, cm. 29×22.

Collocazione: Amburgo, Kunsthalle.

Heinrich Reinhold

Heinrich Reinhold

Johann Heinrich SCHILBACH (Barchfeld 1798 – Darmstadt 1851), Una ripida gradinata a Sorrento, 1825
Johann Heinrich SCHILBACH (Barchfeld 1798 – Darmstadt 1851), Una ripida gradinata a Sorrento (A steep staircase in Sorrento), 1825. Ink and watercolor, cm. 51,1×43,2.

Location: Darmstadt, Hessisches Landersmuseum

[Fino 2017, p. 98]

Johann Heinrich Schilbach

Johann Heinrich Schilbach

Ernst Fries between the Blue Grotto of Capri and the Vallone of Sorrento

In 1826 Ernst Fries was in Sorrento.

He became famous for having “discovered” the Blue Grotto of Capri in 1826.

In Sorrento, Fries drew not only the tuff bank but also the entrance to the staircase that descended from the road into the “ravine”.

Ernst Fries

Ernst Fries

Lancelot-Théodore TURPIN DE CRISSÉ (Paris 1782-Paris 1859)- Pierre Eugène AUBERT (Paris 1789 – Paris 1847), Ravin de Sorrento
Ernst FRIES (Heidelberg 1801 – Karlsruhe 1833) – Karl KUNTZ (Mannheim 1770 – Karlsruhe 1830), Burrone con salita di scale (Ravine with climbing stairs), 8 Augist 1826. Lithograph, cm. 26,8×21,3

Drawing by Ernst Fries e engraving by Karl Kuntz.

[Cuomo 2005]

Jean Charles Joseph REMOND - François Séraphin DELPECH, Vue prise dans le ravin de Sorento (near Naples), 1827
Jean Charles Joseph REMOND (Parigi 1795 – 1875) – François Séraphin DELPECH (Parigi 1778 – Parigi 1825), Vue prise dans le ravin de Sorento (View taken in the Sorento ravine (near Naples)), 1827. Lithograph, cm. 25,5×21,5

«Remond 1827 – J. Lith. de Delpech »

Drawing by Jean Charles Joseph Remond and engraving by François Séraphin Delpech

[Rotili 1977, tav. XXI; Iezzi 1989, p. 57; Cuomo 2005, p. 76-77]

Giacinto GIGANTE (Napoli 1806 – Napoli 1876), Ravine di Sorrento, July 1841
Giacinto GIGANTE (Napoli 1806 – Napoli 1876), Ravine di Sorrento, July 1841. Watercolor, cm. 45,5×30.

Sorrento, private collection

[Fino 2017, p. 122]

In 1841 the Neapolitan Giacinto Gigante also created the landscape of the valley with the house at the top, the staircase and the basin at the bottom.
Giacinto Gigante

Giacinto Gigante

Portrait signed by Matania.
Johann Hermann CARMIENCKE, Grotto near Sorrento, tra 1845-1846
Johann Hermann CARMIENCKE (Hamburg 1810 – New York 1867), Grotto near Sorrento, tra 1845-1846.
Painting and etched engraving, Carmiencke visitò l’Italia tra il 1845 and 1846.
Johann Heinrich SCHILBACH (Barchfeld 1798 – Darmstadt 1851), Un vallone a Sorrento
Johann Heinrich SCHILBACH (Barchfeld 1798 – Darmstadt 1851), Un vallone a Sorrento (A valley in Sorrento). Pencil, cm. 45,8×37,4.

Darmstadt, Hessisches Landesmuseum.

Fino 2017, p. 167.

A composition that will also be taken up by photography

Valley near Villa Manning
1900, Valley near Villa Manning.

[Fiorentino 1991, 96]

Valley of the mills near Villa Manning
1900, Valley near Villa Manning.

[Fiorentino 1991, 96]

Click and explore the sections of the virtual exhibition on the valley of the Sorrento mills

Discovery
Modernity
Abandonment
Memory