Exhibited: Rome, The British School at Rome, Winifred Knights 1995 (11b) Literature: Paul Liss, Winifred Knights, 1995, p. 55; p. 40, reproduced

This landscape is one of a series of studies made during 1924 whilst Knights and Monnington were on their honeymoon in Piediluco. Monnington used the same setting for his iconic Tate painting Allegory and Knights for her major painting Santissima Trinita. In an undated manuscript in the archives of the British School at Rome, Monnington recounts: 'On her return to England (1926) she completed, after months of work, a picture for which she had made many studies in Italy. She gave it the title of The Santissima Trinita'. 

Knights made extensive landscape studies during her stay in Italy (see Italian Landscape, 1920, Tate Gallery NO3683), most frequently of the countryside around Lazio, Umbria and the Abruzzi. She often worked in triplicate, creating a drawing, then an outline on tracing paper and lastly a colour study.