plate no. 9713
Ancient temple invented and designed in the manner of those that were manufactured in honor of the goddess Vesta (recorded in 1743)
recreation guide
This artwork, titled 'Ancient temple invented and designed in the manner of those that were manufactured in honor of the goddess Vesta,' is a 1743 oil painting by Giovanni Battista Piranesi. It belongs to the Neoclassical style and the genre of cityscape or architectural fantasy. Piranesi was known for his 'free relationship to the past,' often combining faithful imitation of ancient remains with inventive reconstructions to fill in missing parts of ruins (Source 5). His work was influenced by the rediscovery of Herculaneum and Pompeii, as well as the Graeco-Roman debates of the 1760s, where he argued for the superiority of Roman architecture over Greek models (Source 4). The painting likely features a 'broad and scientific distribution of light and shade' to create a striking effect, a technique Piranesi mastered in his engravings and applied to his broader artistic output (Source 5).
estimated time
20-30 hours over 5-7 sessions
materials
6 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Linseed oil or poppy seed oil | Drying oil binder for pigments | Cold-pressed linseed oil |
| Turpentine | Thinner for paint and medium | Odorless mineral spirits or pure gum turpentine |
| Oil of copavia | Medium for first and second paintings, as cited by Reynolds in the context of old master techniques | Dammar resin or modern alkyd medium |
| Ultramarine, Black, White | Primary pigments for the initial monochrome/underpainting layers | Ultramarine blue, Ivory black, Titanium white |
| Red and Yellow earth tones | For glazing and scumbling to add warmth and depth | Venetian red, Yellow ochre |
| Canvas or wood panel | Support surface | Linen canvas primed with gesso |
preparation
surface prep
Prepare a rigid support such as a wood panel or tightly stretched canvas. Apply a white or light-toned gesso ground to provide a neutral base for the subsequent monochrome underpainting. Piranesi’s work emphasizes the 'engineering of ancient buildings' and 'poetic aspects of ruins,' requiring a smooth surface to allow for precise linear details and subtle tonal transitions (Source 5).
underdrawing
While specific preparatory drawings for this oil painting are not detailed in the sources, Piranesi’s practice involved 'faithfully imitating actual remains' while 'inventing' missing parts (Source 5). Use a charcoal or graphite sketch to establish the architectural perspective, ensuring the 'manipulations of scale' and 'scientific distribution of light and shade' are planned early (Source 5).
underpainting
Create a grisaille (monochrome) underpainting using black, ultramarine, and white mixed with oil of copavia or a similar medium (Source 2). This layer should establish the full range of values from light to dark, effectively 'extracting the red and yellow colours' to focus on form and structure (Source 2). This technique aligns with the 'old masters' practice of building up layers, which Piranesi would have been familiar with through his study of Italian and Flemish traditions (Source 1).
color palette
Ultramarine/Black/White
Ultramarine blue, Ivory black, Titanium white
Underpainting and shadows, providing the structural base
Warm Earth Tones
Venetian red, Yellow ochre, Raw sienna
Glazing and scumbling to add warmth to the stone and sky, simulating the 'red and yellow tones' mentioned in Source 2
Neutral Grays
Black and White
Modeling the stone textures and atmospheric perspective
composition
The composition likely features an invented temple structure that combines real architectural elements with imaginary reconstructions, consistent with Piranesi’s 'veduta ideata' or architectural fantasy style (Source 5). The arrangement should emphasize the 'engineering' and 'poetic aspects' of the ruins, possibly including 'groups of vases, altars, tombs' that are absent in reality but added for artistic effect (Source 5). The perspective should be dramatic, utilizing 'manipulations of scale' to enhance the grandeur of the Vesta temple (Source 5).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the architectural composition, focusing on the temple structure and surrounding ruins. Ensure the perspective is accurate but allows for dramatic scale manipulation.
Tip — Plan the light and shadow distribution early to achieve the 'striking effect' noted in Piranesi’s work.
Linear perspective
underpainting
step 02
Apply a grisaille layer using black, ultramarine, and white mixed with oil of copavia. Establish all major values and forms without color.
Tip — Ensure this layer is completely dry before proceeding to avoid muddying the colors.
Grisaille
first pass
step 03
Begin glazing and scumbling with oil. Apply transparent coats of red and yellow tones over the dry grisaille, similar to tinting an engraving with watercolors.
Tip — Use thin layers to allow the underlying monochrome to show through, creating depth.
Glazing
refining
step 04
Add semi-opaque scumbles to highlight areas and adjust the temperature of the stone and sky. Use a 'grey bloom' effect if needed for atmospheric distance.
Tip — Be cautious of overworking; the underlying painting should remain visible through the semi-opaque layers.
Scumbling
finishing
step 05
Refine details such as architectural ornaments, vases, or altars. Enhance the contrast between light and shadow to complete the 'scientific distribution' of tone.
Tip — Check the overall balance of the composition to ensure the 'invented' elements harmonize with the 'faithful' architectural references.
Detailing
varnishing
step 06
Apply a varnish made from boiled oil and resin (such as pine resin or frankincense) to protect the painting and unify the sheen.
Tip — Ensure the painting is fully dry before varnishing to prevent cracking or yellowing.
Varnishing
critical techniques
Glazing and Scumbling
Used to add color and depth over a monochrome underpainting. Glazing involves transparent coats, while scumbling uses semi-opaque paint to allow the underlayer to show through. This method was practiced by old masters and is recommended for achieving rich, complex tones (Source 2).
Scientific Distribution of Light and Shade
Piranesi used precise control of light and shadow to create dramatic effects and emphasize the grandeur of his architectural inventions (Source 5).
Architectural Invention
Combining real ruins with invented elements to complete the design of the original architect, adding missing parts like vases and altars (Source 5).
common pitfalls
- →Applying color before the grisaille is completely dry, which can lead to muddying and loss of clarity (Source 2).
- →Overworking the scumble layers, which can obscure the underlying structure and reduce the 'grey bloom' effect (Source 2).
- →Failing to plan the light and shadow distribution, resulting in a flat or unconvincing architectural perspective (Source 5).
- →Ignoring the 'manipulations of scale' that are characteristic of Piranesi’s dramatic style (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 color palette for this particular 1743 oil painting is not detailed in the sources; the palette is inferred from general oil painting practices and Piranesi’s engraving techniques.
- ·Exact dimensions and support material (canvas vs. panel) for this specific work are not provided.
- ·Detailed information on Piranesi’s specific oil painting habits is limited; much of the technique is inferred from general 'old master' practices and his engraving expertise.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting — COLOURING A MONOCHROME↗
- COLOURING A MONOCHROME — applied to Underpainting and glazing techniques
The Practice of Oil Painting — METHODS OF THE MASTERS↗
- METHODS OF THE MASTERS — applied to General approach to old master techniques
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Giovanni Battista Piranesi — part 5↗
- part 5 — applied to Composition, light/shade, and architectural invention
Wikipedia: Oil painting — Oil painting — part 1↗
- part 1 — applied to Materials and varnishing
Read more about the corpus on the sources page and how the guides are built on the methods page.
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