Until 1902, when Armstrong's catalogue was published, there was considerable confusion between this picture and 'Modern Rome - Campo Vaccino' (No.517). Both were bought at the Royal Academy by H. A. J. Munro of Novar but the titles became transposed, both in the catalogue of the R.A. Winter Exhibition in 1896 and by Bell in 1901.

This was one of the three pictures exhibited in 1836 (with 'Juliet and her Nurse' and 'Mercury and Argus') which were so viciously attacked by the Rev. John Eagles (1783-1855) in Blackwood's Edinburgh Magazine for October 1836. It was this attack that caused Ruskin, in a state of 'black anger' to take up his pen in Turner’s defence and to write 'A Reply to Blackwood's Criticism of Turner', the seed which later blossomed into Modern Painters (5 vols. 1843-60). Ruskin was advised by his father to seek Turner's permission to publish his reply and made a copy in his 'best hand' which he sent to the painter. Turner replied by advising against publication, saying 'I never move in these matters, they are of no import save mischief and the meal tub ..? Turner, however, asked Ruskin's leave to send the manuscript on 'to the possessor of the picture of Juliet' (also Munro of Novar). See Nos.B143-5.

In fact, Eagles' strictures on 'Rome from Mount Aventine', though not nearly so intemperately phrased as those on Turner's other two exhibits, were pretty damning: .... a most unpleasant mixture, whereon white gamboge and raw sienna are, with childish execution, daubed together'. However, during the Academy exhibition itself, the picture was on the whole well received. The Athenaeum, 14 May, called it 'a gorgeous picture, full of air and sunshine, though sadly unfinished in its execution' while the Morning Post, 3 May, wrote 'This is one of those amazing pictures by which Mr. Turner dazzles the imagination and confounds all criticism. It is beyond praise.'