plate no. 8327

Palermo cathedral, drawing by Leitch, engraving by J.H. Le Keux

oilRomanticismcityscapecathedralarchitecturecityscapefiguresskystreet

recreation guide

This artwork, titled 'Palermo cathedral,' is a cityscape created by William Leighton Leitch in 1840. While the provided metadata lists the medium as oil, historical records indicate that Leitch was a master Scottish landscape watercolourist who devoted himself almost entirely to teaching and working in watercolours after returning to London in 1837 (Source 5). The work is described as a drawing by Leitch and an engraving by J.H. Le Keux, suggesting the final image may be a print based on his original study. However, following the instruction to treat this as an oil painting recreation, the process must adapt Leitch’s observational skills to the oil medium. The style is Romanticism, characterized by an emphasis on the emotional impact of the landscape and the grandeur of the architecture. Leitch’s practice involved extensive travel and sketching in Italy and Sicily, where he developed a keen eye for light and atmospheric effects, which would be central to rendering the cathedral’s stone textures and the surrounding environment.

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Yellow Ochre, Red Ochre)	Primary pigments for grisaille and glazing	—
Linseed oil or Oil of Copavia	Medium for binding pigments and creating transparent glazes	Stand oil or pure linseed oil
Turpentine	Thinner for initial washes and cleaning brushes	Odorless mineral spirits
Canvas or Wood Panel	Support for the painting	Primed linen canvas
Varnish	Final protective layer and to enhance depth of glazes	Dammar varnish

preparation

surface prep

Prepare a rigid support such as a wood panel or tightly stretched canvas. Apply a white or light grey ground to facilitate the glazing technique, which relies on light reflecting through transparent layers. Leitch’s background in watercolour suggests a preference for smooth surfaces that allow for fine detail, though oil painting allows for more texture. Ensure the surface is sealed to prevent oil from rotting the wood or canvas fibers (Source 2).

underdrawing

Begin with a contour drawing to establish the mass and volume of the cathedral and surrounding structures. Use a thin wash of diluted paint or charcoal to outline the major architectural forms, focusing on the silhouette and perspective rather than minor details. This aligns with the principle that contour drawing emphasizes mass and volume, serving as a strong foundation for the painting (Source 7). Leitch’s training as a scene-painter and illustrator would have required precise linear accuracy before applying tone.

underpainting

Create a monochrome underpainting, known as a grisaille, using only black, ultramarine, and white mixed with oil of copavia or linseed oil. This step involves mentally extracting red and yellow colors to establish the value structure of the scene. The grisaille should capture the light and shadow of the cathedral, providing a tonal foundation for the subsequent color layers (Source 1). This technique is consistent with the methods of old masters and allows for a clear separation of value and color decisions.

color palette

Ultramarine

Pure ultramarine pigment

Shadows and cool tones in the grisaille and glazes

White

Lead white or titanium white

Highlights and mixing with ultramarine for mid-tones in the grisaille

Black

Ivory black or lamp black

Deep shadows and defining contours in the grisaille

Yellow Ochre

Natural earth pigment

Glazing to introduce warm tones to the stone and sunlight

Red Ochre

Natural earth pigment

Glazing to add warmth and depth to shadows and architectural details

composition

The composition likely emphasizes the verticality and grandeur of the cathedral, a common trait in Romantic cityscapes. Leitch’s experience as a scene-painter suggests a careful arrangement of architectural elements to create depth and perspective. The use of line and shape to guide the viewer’s eye through the scene is crucial, with the cathedral serving as the central focal point. The surrounding space should be treated to enhance the sense of atmosphere and distance, consistent with the principles of visual composition (Source 3).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the outline of the cathedral and surrounding buildings using a thin wash of diluted paint or charcoal. Focus on the major forms and perspective lines.
Tip — Ensure the proportions are accurate, as corrections are difficult once paint is applied.
Contour drawing

underpainting

step 02
Mix black, ultramarine, and white with oil of copavia to create a grisaille. Paint the entire scene in monochrome, establishing the light and shadow structure.
Tip — Work wet-into-wet to blend tones smoothly. Allow the underpainting to dry completely before proceeding.
Grisaille

first pass

step 03
Apply transparent glazes of yellow and red tones over the dry grisaille. Use oil as a medium to create a transparent coat of color, similar to tinting an engraving with watercolors.
Tip — Apply thin layers to allow the underlying grisaille to show through, enhancing the depth and richness of the color.
Glazing

refining

step 04
Use scumbling to add semi-opaque highlights and cool tones, particularly in areas where a grey bloom is desired. This technique involves painting through the underlying layers to modify the tone.
Tip — Be cautious not to muddy the colors. Scumbling is effective for creating atmospheric effects and softening edges.
Scumbling

finishing

step 05
Add final details and adjustments to the architectural features and atmospheric effects. Ensure the contrast between light and dark areas is balanced to enhance the illusion of depth.
Tip — Use the law of simultaneous contrast to adjust tones, ensuring that adjacent colors enhance each other’s intensity.
Chiaroscuro

varnishing

step 06
Apply a final coat of varnish to protect the painting and unify the surface. This step enhances the depth of the glazes and provides a consistent sheen.
Tip — Allow the painting to dry completely for several months before varnishing to prevent cracking.
Varnishing

critical techniques

Glazing

Applying transparent layers of color over a dry underpainting to achieve rich, luminous effects. This technique is central to the old masters’ method and allows for the separation of value and color.

Scumbling

Using semi-opaque paint to modify the underlying tones, particularly for creating cool highlights and atmospheric effects. This technique adds texture and depth to the painting.

Grisaille

Creating a monochrome underpainting to establish the value structure of the scene. This step is crucial for ensuring that the final color layers are applied with a clear understanding of light and shadow.

common pitfalls

→Applying color before the grisaille is completely dry, which can lead to muddying and loss of detail.
→Using too much medium in the glazes, resulting in a weak, translucent layer that does not adhere properly.
→Overworking the scumbling layers, which can destroy the delicate balance of the underlying tones.
→Ignoring the law of simultaneous contrast, leading to flat or dull color interactions.

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.

·The specific pigments used by Leitch in his oil paintings are not detailed in the sources, as he is primarily known for watercolour.
·The exact composition of the 'Palermo cathedral' drawing is not described in the sources, so the recreation relies on general principles of Romantic cityscapes.
·The role of J.H. Le Keux’s engraving in the final appearance of the artwork is not addressed, as the focus is on the oil painting recreation.

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 Underpainting, glazing, and scumbling techniques
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints — applied to Color theory and contrast adjustments

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to Materials and general oil painting properties
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 1 — applied to Compositional principles and visual elements
Wikipedia bio — William Leighton Leitch↗
- William Leighton Leitch — part 1 — applied to Artist’s background and practice
Wikipedia: Contour drawing↗
- Contour drawing — part 1 — applied to Underdrawing technique