The following condition report is provided by Hamish Dewar, who is an external specialist and not an employee of Sotheby's. UNCONDITIONAL AND WITHOUT PREJUDICE Structural Condition The canvas has been lined and this has successfully secured the overall pattern of fine lines of drying craquelure, which are most evident in the sky. Paint Surface The paint surface has a very discoloured varnish layer and would undoubtedly be transformed by cleaning and revarnishing. The fine detail of the painting appears very well preserved with no evidence of over-cleaning or abrasion, except perhaps in the horse and rider and the goat in the foreground. Inspection under ultra-violet light shows a number of scattered retouchings which appear larger than is really necessary and should they be removed during the cleaning process, could undoubtedly be reduced with more careful retouching. The retouchings are predominantly in the sky and clouds with several lines of retouching filling craquelure, retouchings around the framing edges and the most concentrated area of retouching being in the left of the sky. There would appear to be far less retouching in the landscape and buildings and there are small retouchings on the horse and rider and the goat in the foreground. There are other small scattered retouchings and there may be retouchings beneath the old varnish layers that are not identifiable under ultra-violet light. Summary The painting would therefore appear to be in good and stable condition, with the potential to be transformed should the painting be cleaned, restored and revarnished.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

The temples of Paestum became a source of inspiration for painters in the 18th century who quickly saw the commercial potential in the depiction of the ruins for English Grand Tourists. Fabris is known to have painted Paestum on other occasions, for example his Interior of the Temple of Hera at Paestum at Compton Verney.¹ The same warm light bathes the ruins in both paintings and the same nostalgia for the past dominates the mood.

Paestum was a Graeco-Roman town south of Naples founded at the end of the seventh century BCE. Originally the town had been called Poseidonia, in honour of the Greek god of the sea whose temple can be seen on the left. The temple to the right, also built in the Doric style, is dedicated to Hera, goddess of fertility.


1. See X. Salomon in Compton Verney, London 2010, p. 28, cat. no. 7, reproduced in colour.