This ruined coastal tower bears striking similarities to the Torre di Ponte Salario outside Rome, a medieval fortification documented by van Poelenburch during the early 17th century. The Torre di Ponte Salario, located along the ancient Via Salaria, is a rare example of medieval adaptive reuse, having been constructed in the 4th century directly atop a 1st century BC Roman tower mausoleum.

Several architectural features in this drawing correspond remarkably well to documented characteristics of the Ponte Salario tower. The vertical composition shows a medieval tower rising from a substantial ancient base, with weathered masonry revealing the passage of time through structural damage and missing sections. The visible window openings at different levels match the fenestration pattern described in archaeological reports of the tower. The building’s distinctive profile, with its rectangular plan and deteriorated upper sections, aligns with historical descriptions of the structure before its 1988 restoration.

Van Poelenburch’s documented fascination with Rome’s archaeological ruins and his practice of sketching ancient monuments throughout the Campagna make such an attribution plausible. The Torre di Ponte Salario, combining both classical Roman and medieval architecture in a single picturesque structure, would have been precisely the type of subject that appealed to Dutch Italianate artists seeking to capture the romantic decay of Italy’s layered history.

However, this drawing depicts the tower in a landscape with water whether river, lake, or sea is not entirely clear and includes what may be boats or maritime elements. The actual Torre di Ponte Salario stands along the Aniene River near Rome. This setting raises interesting questions about the artist’s approach: van Poelenburch and his workshop were known to combine architectural elements from different locations or to place structures in idealized or reimagined settings for compositional effect. It’s also worth considering that similar tower-mausoleum combinations existed throughout the Roman countryside and along various waterways. The drawing may represent the Ponte Salario tower transposed to a different setting, a related structure elsewhere, or an artistic synthesis of multiple architectural references.

The technical execution, combining pen and brown ink with blue wash, demonstrates the characteristic approach of van Poelenburch’s circle to architectural documentation, where atmospheric effects and tonal subtlety create evocative mood while maintaining architectural specificity. Whether this represents the Ponte Salario tower or a related structure, it documents the sustained engagement with Rome’s stratified architectural heritage that defined the Dutch Italianate tradition of finding aesthetic beauty in classical ruins.

Cornelis van Poelenburch was one of the most significant Dutch Italianate landscape painters of the 17th century. He trained under Abraham Bloemaert before traveling to Rome in 1617, where he spent approximately eight years studying under Paul Bril and establishing himself within the artistic circles of the papal city.

Upon his return to Utrecht by 1625, Poelenburch maintained an active and successful workshop until his death in 1667. He received prestigious commissions from the city of Ultrecht, the court of King Charles I of England, and the Medici of Florence, establishing himself among the most esteemed Dutch artists of his generation. His landscape drawings characteristically employed pen and colored wash to create atmospheric effects, often featuring architectural elements and expansive skies.

Van Poelenburch’s commercial success and productivity necessitated workshop assistance. He supervised pupils, retouched copies of his works, and created drawings that served as compositional models for repeated use by himself and his followers. Among his closest collaborators was Lorenzo Barata, an Italian artist who worked in Utrecht during the late 1620s. While Barata and other workshop members absorbed van Poelenburch’s methods and compositional elements, subtle technical differences distinguish their work from the master’s hand. Follower drawings often display a somewhat more systematic penwork and less spontaneous execution, with wash applied more evenly rather than with the bold, painterly freedom

characteristic of Poelenburch’s most vigorous works.

The watermark on this drawing corresponds to Heawood 3693, which appears in the reference catalogue with the notation “NP ND” (no place, no date). Entry 3693–94 cross-references entry 3684, which documents this watermark type in end-papers of a London publication from 1673. Cornelis van Poelenburch worked in England, having received commissions from King Charles I. The presence of this watermark type in a London publication from 1673 establishes that paper bearing this watermark was circulating in England during the period circa 1665–1680, coinciding with the final years of Poelenburch’s life and the immediate period following his death in 1667.