STRUCTURE The canvas has been lined. PAINT SURFACE The paintig appears to be in very good condition, with no loss of paint or flaking. ULOTRAVIOLET Examination under ultraviolet light reveals one small area of retouching in the sky, upper centre, and some scattered minor infilling to fine lines of craquelure in the sky. There is also an uneven discoloured varnish in the darker areas of the painting, in the lower section of the canvas. FRAME In a British Neoclassical carved and gilded frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The Temple of Minerva Medica, contrary to its miss-attributed name, is in fact a 4th century nymphaeum of opus latericium on the Esquiline Hill in Rome. In Ancient Rome nymphaeums were monuments consecrated to the nymphs, particularly those of springs, the Rotunda design being borrowed from constructions of the Hellenistic east. In Roman tradition they held three main purposes, acting as sanctuaries, assembly rooms (particularly relating to marriage celebrations), and as reservoirs for fresh water.

It has been suggested that there are two hands involved in the present painting. The landscape is believed to be by the hand of Thomas Jones whilst the figures are thought to be painted by John Hamilton Mortimer (1740-1779). Mortimer collaborated with a number of artists during the 1760s and early 1770s, no doubt as a result of friendships formed in the drawing schools of the Society of Artists. As well as painting many of the figures in Thomas Jones's landscapes before the latter's departure to Italy in 1776, he also worked wit𒉰h Richard Paton on his views of the Royal Dockyards in 1770-71 (Royal Collection), as well as Francis Wheatley, James Durno and Richard Wilson.

Having studied under both Thomas Hudson and Roberꦛt Edge Pine, Mortimer exhibited at the Society of Artists every year from 1762 until 1777. Unlike many of his contemporaries he did not transfer his alleg💃iances to the newly formed Royal Academy after its foundation in 1768, but remained loyal to the Society of Arts, along with other more radical artists such as Joseph Wright of Derby. In 1770 he was made vice president of the society, and was elected president from 1774-5.