A detailed 1828 line engraving by Edward Goodall, based on a J.M.W. Turner drawing, depicting a panoramic view of Florence from the Chiesa al Monte.

This line engraving, Florence from the Chiesa al Monte, was produced by Edward Goodall in 1828. It is based on a drawing by J.M.W. Turner and was published for the literary annual, The Amulet. The print captures a panoramic view of the Tuscan capital as seen from the elevated vantage point of San Miniato al Monte.

In the foreground, a group of figures rests upon the hillside, providing a sense of scale against the expansive urban vista. The middle ground features the Arno River, spanned by the Ponte Vecchio, while the iconic dome of the Duomo rises above the city skyline. Goodall employs precise, delicate line work to render the architectural details of the city and the soft, atmospheric quality of the distant hills. The composition follows the conventions of early nineteenth-century topographical illustration, where the inclusion of staffage figures adds a narrative element to the geographical subject.

Edward Goodall was a highly skilled engraver, frequently employed to translate the complex light effects of Turner's watercolours into the monochromatic medium of print. His ability to maintain the tonal range of the original drawing is evident in the subtle transitions between the sunlit city and the shadowed foreground. This work reflects the period's fascination with the Grand Tour and the romanticised depiction of Italian cities. The print serves as a record of Florence as it appeared to travellers in the early nineteenth century, documenting the city's silhouette before the major urban redevelopments of the later decades. The technical execution demonstrates the high standards of British engraving during this era, where the collaboration between painter and engraver was essential for the dissemination of fine art to a wider public audience.