plate no. 7668

The Life of St. Ignatius Loyola. Plate 7. Pope Paul III approves the Society of Jesus 27th September 1540 Regimini Militantes.

oilArt Nouveau (Modern)history paintingfiguresinteriorarchitecturehistorical eventreligious figuresthrone

recreation guide

This artwork, Plate 7 from 'The Life of St. Ignatius Loyola,' depicts the historical moment on September 27, 1540, when Pope Paul III approved the Society of Jesus via the bull 'Regimini Militantis Ecclesiae.' As a history painting, it belongs to a genre defined by its narrative subject matter rather than a specific stylistic period, often depicting moments from religious or secular history with multiple figures (Source 4). While the metadata labels the style as Art Nouveau, the genre conventions of history painting from the 19th century onward often involved careful research into costume and architecture to ensure historical accuracy, moving away from anecdotal 'troubadour' styles toward more rigorous depictions of specific historical moments (Source 3). The work is executed in oil, a medium that allows for the layering of colors and the creation of sumptuous renderings of clothing and textures, which became standard for such large-scale narrative works (Source 8).

estimated time

40-60 hours over 8-12 sessions

materials

4 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Red, Yellow)	Primary pigments for underpainting and glazing	High-quality artist-grade oil paints
Oil of Copavia or Linseed Oil	Medium for mixing paints, specifically noted for the first and second paintings in traditional methods	Stand oil or refined linseed oil
Canvas	Support surface, preferred over wood for large history paintings due to better pigment holding and resistance to cracking	Primed linen or cotton canvas
Varnish	Used in later stages for glazing and finishing to enhance depth and protect the work	Dammar or synthetic resin varnish

preparation

surface prep

The surface should be prepared on canvas, which became the standard support for large history paintings in the 16th century and beyond, offering better resistance to cracking and superior pigment adhesion compared to wood (Source 8). The ground should be prepared to allow for the 'fat over lean' principle, ensuring that subsequent layers of oil paint adhere properly without cracking (Source 8).

underdrawing

While specific preparatory drawings for Carlos Saenz de Tejada are not detailed in the sources, history paintings of this scale typically require a precise underdrawing to manage the complex arrangement of multiple figures and narrative elements. The artist likely employed a methodical approach to establish the composition before applying paint, consistent with the rigorous research expected in 19th-century historical painting (Source 3).

underpainting

A grisaille (monochrome underpainting) is recommended, using black, ultramarine, and white mixed with oil of copavia. This method, attributed to Sir Joshua Reynolds and practiced by old masters, allows the artist to establish values and forms before introducing color. The grisaille should be allowed to dry completely before glazing (Source 5). This approach helps in harmonizing the colors inherent to the objects, such as flesh tones and draperies, by separating value structure from color application (Source 2).

color palette

Ultramarine

Pure ultramarine pigment

Underpainting and deep shadows, part of the traditional three-color underpainting method

White

Lead white or titanium white

Highlights and mixing with ultramarine/black for the grisaille underpainting

Black

Ivory black or lamp black

Shadows and defining forms in the underpainting

Red and Yellow

Vermilion, cadmium red, yellow ochre, cadmium yellow

Glazing and scumbling over the dry grisaille to introduce flesh tones, draperies, and decorative elements

composition

As a history painting, the composition likely features a large number of figures arranged to depict a specific narrative moment—the approval of the Society of Jesus (Source 4). The arrangement should avoid the 'troubadour' style of small, anecdotal scenes, instead aiming for a dramatic and historically researched depiction of the event, consistent with 19th-century standards for historical accuracy in costume and setting (Source 3). The placement of figures and accessories should be chosen to harmonize the composition, with the artist having freedom to select draperies and background elements that are not strictly inherent to the model but serve the narrative (Source 2).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Transfer the compositional sketch to the primed canvas, ensuring accurate placement of figures and architectural elements.
Tip — Ensure the narrative moment is clear and the figures are arranged to guide the viewer's eye.
Compositional layout

underpainting

step 02
Apply a grisaille using black, ultramarine, and white mixed with oil of copavia. Establish the full range of values from dark shadows to bright highlights.
Tip — Work 'fat over lean' to ensure proper drying and adhesion. Allow the layer to dry completely.
Grisaille underpainting

first pass

step 03
Begin glazing and scumbling with red and yellow tones over the dry grisaille. Use transparent glazes for deeper colors and semi-opaque scumbles for lighter areas.
Tip — Observe how the underlying grisaille affects the color, creating a 'grey bloom' or coldness if scumbled over dark grounds.
Glazing and Scumbling

refining

step 04
Refine the flesh tones, draperies, and accessories. Pay attention to the simultaneous contrast of colors, ensuring that adjacent colors do not appear distorted by their complements.
Tip — Check colors against neutral backgrounds to avoid misperception due to mixed contrast.
Simultaneous Contrast

finishing

step 05
Apply final glazes with varnish and oil mixed to enhance depth and luminosity. Ensure all layers are dry before varnishing.
Tip — Use varnish sparingly to avoid yellowing or cracking over time.
Varnishing

critical techniques

Simultaneous Contrast

The artist must account for how adjacent colors affect each other's perception. When two colored objects are viewed together, neither appears in its true color but rather as a tint resulting from its own color and the complementary of the other. This is crucial for harmonizing the composition.

Glazing and Scumbling

Glazing involves applying transparent coats of color, while scumbling uses semi-opaque paint. These techniques allow the underlying grisaille to influence the final color, creating depth and complexity. This method was widely practiced by old masters.

Chiaroscuro

The juxtaposition of different tones of the same color or distinct colors creates a gradation of light. The highest tone is enfeebled and the lowest heightened at the line of juxtaposition, producing a true gradation of light.

common pitfalls

→Ignoring simultaneous contrast, leading to colors that appear inaccurate or disharmonious due to the influence of adjacent hues (Source 1).
→Applying wet paint over wet paint without adhering to the 'fat over lean' principle, which can cause cracking and poor adhesion (Source 8).
→Over-modeling details too early, which can lead to a 'smallness' in the painting. It is better to focus on broad masses and great effects first, allowing smaller details to emerge spontaneously (Source 2).
→Failing to let the grisaille underpainting dry completely before glazing, which can muddy the colors and prevent proper transparency (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 details of Carlos Saenz de Tejada's personal palette or unique brushwork techniques are not provided in the sources.
·The exact dimensions and aspect ratio of Plate 7 are not specified.
·Specific historical costumes or architectural details for 1540 Rome are not described in the sources, requiring external research for accuracy.
·The specific narrative gestures or facial expressions of Pope Paul III and St. Ignatius are not detailed in the provided texts.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

Laws of Contrast of Colour↗
- 315-318 — applied to Understanding simultaneous contrast and mixed contrast for color harmony
- 6, 324 — applied to Chiaroscuro techniques and choice of colors in composition
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Grisaille underpainting and glazing techniques

cross-referenced from

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

Wikipedia: History painting↗
- part 8 — applied to Context of history painting genre and historical accuracy
- part 1 — applied to Definition of history painting and narrative focus
Wikipedia: Portrait painting↗
- part 8 — applied to Use of oil paints and canvas support