plate no. 7502
Ancient mausoleum erected to the ashes of a Roman Emperor
recreation guide
This recreation guide addresses the painting of a Neoclassical cityscape titled 'Ancient mausoleum erected to the ashes of a Roman Emperor,' attributed to Giovanni Battista Piranesi (1750). While Piranesi is historically renowned for his etchings and architectural prints rather than oil paintings, this guide adapts his documented visual language—characterized by dramatic perspective, monumental ruins, and a 'sketch-like' immediacy—to the medium of oil. The artwork reflects the Neoclassical interest in the 'Golden Age' of Roman construction, contrasting with the romantic ruins of the late Baroque (Source 3). The composition likely employs the dynamic, self-conscious engagement with the past that Piranesi championed, potentially utilizing his mantra 'col sporcar si trova' ('by messing about, one discovers') to allow for organic discovery in the rendering of complex architectural forms (Source 3).
estimated time
20-30 hours over 5-7 sessions
materials
6 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil of copavia (or modern damar/resin varnish substitute) | Medium for the first and second paintings, as cited in Reynolds' method which aligns with the glazing techniques relevant to this period's oil practice. | Damar varnish or Galkyd |
| Ultramarine | Primary blue pigment for the grisaille underpainting and sky tones. | Ultramarine Blue (synthetic or natural) |
| Black (Ivory Black or Lamp Black) | For defining shadows and structural lines in the monochrome underpainting. | Ivory Black |
| White (Lead White or Titanium White) | For highlights and mixing tints in the grisaille stage. | Titanium White (for safety) or Flake White (for historical accuracy) |
| Red and Yellow earth tones (Ochre, Sienna, Vermilion) | For glazing and scumbling to introduce warmth and local color after the monochrome base. | Yellow Ochre, Burnt Sienna, Cadmium Red |
| Turpentine or Spike Oil | Vehicle to ensure a dull, matte surface if aiming for a mural-like finish, or to thin initial washes. | Odorless Mineral Spirits or Gamsol |
preparation
surface prep
Prepare a rigid support (canvas or panel) primed with a neutral ground. If aiming for the monumental scale associated with Piranesi's architectural works, consider a 'Marouflage' technique where the canvas is fixed to resist dampness and integrate with the wall, ensuring a mat or dull surface that does not shine at any angle (Source 8). Use pigments mixed with little oil or wax, using petroleum or turpentine as vehicles to ensure this dullness (Source 8).
underdrawing
Piranesi’s early works, such as the first state of the *Carceri* (1750), are described as having a 'sketch-like look' (Source 3). Begin with a loose, energetic underdrawing that captures the massive scale and perspective of the mausoleum without excessive refinement. This aligns with his philosophy of 'col sporcar si trova' (discovering through experimentation) (Source 3).
underpainting
Execute a grisaille (monochrome underpainting) using black, ultramarine, and white, mixed with oil of copavia (Source 1). This stage establishes the value structure and form. Mentally extract red and yellow colors, translating what would remain in nature if those hues were absent (Source 1). This creates a solid foundation for the subsequent glazing.
color palette
Ultramarine/Black/White
Ultramarine, Black, White
Grisaille underpainting to establish form and value (Source 1).
Warm Earth Tones (Red/Yellow)
Vermilion, Yellow Ochre, Burnt Sienna
Glazing and scumbling to add local color and warmth to the stone and sky, mimicking the tinting of an engraving (Source 1).
Cool Greys
Ultramarine, White, Black
Scumbling over darker grounds to create a 'grey bloom' and coldness in shadowed architectural recesses (Source 1).
composition
The composition should reflect the Neoclassical attitude towards the past, emphasizing the 'magnificence' of Roman architecture (Source 7). Use strong linear perspective to guide the eye, consistent with Piranesi’s focus on 'Perspectives' and architectural etchings (Source 2). The arrangement of ruins should feel monumental and perhaps slightly fantastical, echoing the 'romantic and fantastic depictions of ruins' found in late Baroque works that influenced Piranesi (Source 3). Ensure the design harmonizes with the architectural character, appearing sufficiently flat or unrelieved to avoid detaching from the background if treated as a decorative piece (Source 8).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the mausoleum and surrounding ruins with loose, confident lines, emphasizing perspective and scale.
Tip — Allow for 'messing about' to discover forms, per Piranesi's mantra (Source 3).
Sketch-like immediacy
underpainting
step 02
Apply a grisaille using black, ultramarine, and white mixed with oil of copavia. Establish the full range of values from deep shadows to bright highlights.
Tip — Mentally exclude red and yellow tones to focus on form and light (Source 1).
Grisaille
first pass
step 03
Once the grisaille is dry, begin glazing with transparent coats of red and yellow oil colors. Apply these much like tinting an engraving with watercolors.
Tip — Use oil of copavia as the medium for these initial glazes (Source 1).
Glazing
refining
step 04
Use scumbling (semi-opaque painting) over darker areas to introduce cool grey blooms and coldness, allowing the underlying grisaille to show through.
Tip — This technique helps create atmospheric depth and texture in the stone surfaces (Source 1).
Scumbling
finishing
step 05
Refine the contrast between light and dark tones. Ensure that the juxtaposition of colors creates a true gradation of light, heightening the darkest tones and enfeebling the lightest where they meet (Source 6).
Tip — Be aware of simultaneous contrast; adjacent colors will affect each other's perceived tone (Source 5).
Chiaroscuro/Contrast
varnishing
step 06
If a matte finish is desired for a mural-like effect, use varnish mixed with oil sparingly, or rely on the initial turpentine-based vehicle to maintain dullness (Source 8).
Tip — Avoid a shiny surface that might distract from the architectural forms (Source 8).
Matte Finish
critical techniques
Glazing and Scumbling
Used to build color and atmosphere over a monochrome base. Glazing adds transparent color, while scumbling adds semi-opaque texture and coolness (Source 1).
Grisaille Underpainting
Establishes form and value using only black, ultramarine, and white, allowing for a clear separation of structure and color (Source 1).
Simultaneous Contrast
Awareness that adjacent colors influence each other's appearance, requiring careful adjustment of tones to maintain harmony and accuracy (Source 5).
common pitfalls
- →Applying color too opaquely in the early stages, which defeats the purpose of the glazing technique (Source 1).
- →Ignoring the 'sketch-like' quality of Piranesi's early work, resulting in an overly polished and static image that lacks his dynamic energy (Source 3).
- →Creating a shiny surface if the goal is a mural-like integration, which can distract from the architectural forms (Source 8).
- →Failing to account for simultaneous contrast, leading to colors that appear inaccurate or disharmonious when placed next to each other (Source 5).
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·Specific pigment recipes used by Piranesi for oil painting, as he is primarily known for etching.
- ·Exact dimensions and aspect ratio of this specific oil painting, as the sources focus on his print series.
- ·Detailed iconography of the 'ashes of a Roman Emperor' within the mausoleum, as the sources do not describe the interior contents.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Glazing, scumbling, and grisaille techniques (Source 1).
- A FEW WORDS ON MURAL PAINTING — applied to Matte finish and Marouflage technique (Source 8).
Laws of Contrast of Colour↗
- 315-318 — applied to Simultaneous contrast and color harmony (Source 5).
- 6 — applied to Chiaroscuro and gradation of light (Source 6).
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Giovanni Battista Piranesi↗
- part 3 — applied to Neoclassical context, 'sketch-like' style, and 'col sporcar si trova' mantra (Source 3).
Read more about the corpus on the sources page and how the guides are built on the methods page.
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