plate no. 2766

The Pantheon in Rome, drawing by Leitch, engraving by W.B. Cooke

oilRomanticismcityscapePantheonRomecityscapefountainobeliskfigures

recreation guide

This artwork, 'The Pantheon in Rome' (1835), is a cityscape executed in oil by William Leighton Leitch, reflecting the Romantic style of the early 19th century. As a topographical work, it likely aims for descriptive accuracy of the architectural subject while employing the expressive capacities of oil paint to convey atmosphere and light, consistent with the period's shift toward landscape as a dominant artistic creation (Source 6). The painting serves as a visual record of the monument, yet it is not merely a mechanical reproduction; it utilizes the medium's vitality to express the artist's perception of the scene, avoiding the 'meretricious attempt to deceive the eye' in favor of painted symbols that retain the integrity of the material (Source 2).

estimated time

20-30 hours over 5-7 sessions

materials

7 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Canvas or prepared panel	Support for the oil painting	Linen canvas primed with gesso
Charcoal or thinned paint	Initial sketching of the subject onto the surface	Vine charcoal or raw umber thinned with solvent
Linseed oil	Medium to mix with paint for binding and drying control	Refined linseed oil
Mineral spirits or turpentine	Solvent to thin paint for underlayers and clean brushes	Odorless mineral spirits (OMS)
Oil paints (Earth tones, Whites, Blues)	Primary pigments for architectural forms and sky	Titanium white, Ultramarine blue, Raw Umber, Burnt Sienna
Paintbrushes and/or palette knives	Application and manipulation of paint layers	Hog bristle brushes for impasto, sable for glazing
Rags	Removing wet paint or applying thin layers	Lint-free cotton rags

preparation

surface prep

The surface should be prepared to accept oil paint, traditionally involving a ground that allows for the 'fat over lean' application rule. While specific priming methods for Leitch are not detailed in the sources, standard practice for the period involves a stable ground that prevents cracking. The artist should ensure the surface is ready for the initial sketch, which may be done with charcoal or thinned paint (Source 1).

underdrawing

Begin by sketching the subject onto the canvas using charcoal or thinned paint (Source 1). Given the topographical nature of the work, the underdrawing should establish the 'outline basis' to hold the picture together, focusing on the mass and volume of the Pantheon rather than minor details initially (Source 4, Source 5). This contour drawing emphasizes the form and space, serving as a strong foundation for the subsequent painting layers (Source 5).

underpainting

Apply an initial layer of paint using a 'lean' mixture (more solvent, less oil) to establish values and forms. This layer should be thin and allow the underdrawing to show through if necessary. The goal is to block in the broad masses of the architecture and sky, adhering to the principle that the first layers should be lean to ensure proper drying and prevent cracking in later layers (Source 1).

color palette

White

Lead white or Titanium white

Highlights on the Pantheon's dome and columns, and sky clouds

Ultramarine Blue

Ultramarine pigment

Sky and deep shadows, providing contrast to the warm earth tones

Raw Umber

Raw Umber pigment

Underpainting and shadow areas of the stone architecture

Burnt Sienna

Burnt Sienna pigment

Warm tones in the stone and atmospheric haze

Black

Ivory black or Lamp black

Deep shadows and defining architectural details

composition

The composition likely centers on the Pantheon as the primary subject, consistent with topographical prints of the 18th and 19th centuries which were often centered on a building (Source 6). The artist should focus on the 'large sense of design' and avoid letting the accumulation of visual details obscure the main idea (Source 4). The outline basis remains crucial for holding the picture together, even as edges are fused to create a more visual, atmospheric effect (Source 4).

step by step

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

underdrawing

step 01
Sketch the Pantheon and surrounding elements using charcoal or thinned paint.
Tip — Focus on the mass and volume of the structure, not minor details.
Contour drawing

underpainting

step 02
Apply a thin, lean layer of paint to establish basic values and forms.
Tip — Use more solvent than oil to ensure this layer dries quickly and firmly.
Lean layer application

first pass

step 03
Build up the mid-tones of the architecture and sky, gradually increasing the oil content in the paint.
Tip — Ensure each subsequent layer contains more oil than the previous one to prevent cracking.
Fat over lean

refining

step 04
Add details and refine the edges, using brushes or palette knives to adjust texture and form.
Tip — Oil paint remains wet longer, allowing for changes in color, texture, or form. Use a rag and turpentine to remove paint if necessary.
Impasto or scraping

finishing

step 05
Apply final highlights and glazes to enhance depth and luminosity.
Tip — Use transparent coats of color to adjust translucency and sheen, keeping in mind the emotional intention of the work.
Glazing

varnishing

step 06
Allow the painting to dry completely (up to two weeks) before applying varnish.
Tip — Oil paint dries by oxidation, not evaporation. Ensure the painting is dry to the touch before varnishing.
Oxidation drying

critical techniques

Fat over Lean

Each additional layer of paint should contain more oil than the layer below to allow proper drying and prevent cracking.

Contour Drawing

Emphasizes the mass and volume of the subject through outline, serving as a foundation for the painting.

Glazing

Applying transparent coats of color to adjust translucency and sheen, enhancing the depth of the architectural forms.

Outline Basis

Maintaining a structural outline to hold the picture together, even as edges are fused for atmospheric effect.

common pitfalls

→Applying lean layers over fat layers, which can cause the painting to crack and peel (Source 1).
→Focusing too much on minor details at the expense of the large sense of design and emotional intention (Source 4).
→Attempting to deceive the eye with excessive naturalism, losing the vitality of the medium and the artistic expression (Source 2).
→Over-modeling or being too timid to depart from the initial outline, leading to a stiff or lifeless appearance (Source 3).

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 pigments used by William Leighton Leitch in this particular work are not detailed in the sources.
·The exact dimensions and aspect ratio of the original painting are not provided.
·Specific compositional adjustments Leitch made for artistic effect are not described, only general trends in topographical painting.
·The specific underpainting color (grisaille, verdaccio, etc.) used by Leitch is not mentioned.

grounded in

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

The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of medium use and avoiding mere deception
- STUDY BY WATTEAU — applied to Composition principles and outline basis
The Practice of Oil Painting↗
- ON COPYING — applied to Importance of craftsmanship and avoiding over-modeling
- COLOURING A MONOCHROME — applied to Glazing and scumbling techniques

cross-referenced from

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

Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to Materials, fat over lean rule, drying time, and application techniques
Wikipedia: Contour drawing↗
- Contour drawing — part 1 — applied to Underdrawing technique focusing on mass and volume
Wikipedia: Landscape painting↗
- Landscape painting — part 6 — applied to Context of topographical prints and Romantic landscape trends