plate no. 2766

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

oilRomanticismcityscapePantheonRomecityscapefountainobeliskfigures

what to study here

It shows how a few controlled dark masses and graded edge sharpness can organize a busy architectural scene and push the monument forward.

Start with how the light organizes the scene. It comes from the upper left, hits the columned façade, and the cast shadows from columns and pediment give the building its depth. The vision analysis reads the value structure as a bold triangle of dark in the foreground (shadows and obelisk) with a lighter zone opening behind it. Study how the eye enters at the obelisk and fountain, travels right and back along the colonnade, and ends at the pediment and twin cupolas. Notice the figures: they work as scale references and lead the eye from foreground to middle ground, while the buildings at left and right compress the space. Then look at edges. They are crisp where stone meets sky or shadow, softer on the figures, and they loosen with recession, so depth comes from handling as well as perspective. The fine linear detail in the reeding and pediment inscription comes from the print medium. Keep the darkest darks in the colonnade interior and the obelisk so the sunlit face reads as brightest.

key decision

The painter anchors the foreground with a compact mass of darks (obelisk, column shadows, figures) against a lighter zone behind. Edge sharpness is held in the foreground and softened with distance.

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

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

Light pours from the upper left, striking the Pantheon's columned façade and creating dramatic shadows that define the building's architectural depth. The eye enters at the obelisk and fountain in the foreground—a dark vertical accent against lighter pavement—then travels rightward and back along the receding colonnade to the temple's pediment and twin cupolas. The crowd of figures scattered across the plaza acts as a scale reference and leads the gaze from foreground into middle ground; the buildings framing the left and right edges compress the space and push focus toward the monument's front.

value structure

The darkest values cluster in the architectural shadows cast by the columns and pediment, the obelisk's shaft, and the figures' clothing. Mid-tones dominate the façade's sunlit surfaces and the plaza ground. The lightest lights are the sky, the bright stone face of the Pantheon, and the paper-white gaps between columns. Squint: you see a bold triangle of dark (shadows + obelisk) anchoring the foreground, with a lighter zone opening behind it.

observed palette and mixes

#fbfbfb
Lead white with a touch of warm gray (ochre + ivory black) to suggest age
Sky, illuminated column faces, the building's pediment and cupola domes
#e5e5e5
Lead white + ochre + raw sienna in neutral proportion
Plaza pavement, lighter architectural surfaces, mid-tone walls surrounding the square
#b1b1b1
Raw umber + lead white with slight ultramarine
Column shafts in half-shadow, the dome's interior curves, balustrades on the cupolas
#7f7f7f
Ivory black + ochre + ultramarine, leaning toward warm gray
Deep column shadows, the interior of the portico, darker clothing on foreground figures
#616161
Ivory black + raw umber, very dark and muted
The obelisk shaft, the deepest shadow recesses in the colonnade, silhouettes of standing figures
#363636
Ivory black with minute touch of umber to prevent cold black
Cross atop the obelisk, the darkest accents in the colonnade's interior, sharp figure shadows

edges and brushwork

Edges are mostly crisp and architectural—sharp where stone meets sky or shadow—but soften considerably on figures and in the crowd, where individual forms blur into generalized shapes. The engraving/print medium yields fine linear detail in the colonnade's reeding and the pediment inscription, but the artist has tempered this precision with softer atmospheric edges as recession increases. Brushwork is tight and controlled in the foreground obelisk and immediate plaza figures, then loosens subtly as it recedes, creating a sense of depth through handling alone.

a working sequence

01
Establish the perspective grid and horizon line
Lightly draw a horizon line slightly above the center of your paper. Locate the Pantheon's pediment and cupolas so they sit on or just above this line. Mark the two vanishing points: one far left for the receding left colonnade, one far right for the right side. The obelisk sits in the immediate foreground, roughly centered but slightly left of the composition's middle. Use a ruler to sketch the colonnade's converging lines—they should feel tight and steep.
02
Block in the major architectural masses in light graphite
Draw the Pantheon's front face as a large rectangle with the pediment triangle above it. Indicate the two cupolas with simple circles or ovals. Block the obelisk as a tall rectangle with a pyramid cap. Outline the plaza ground plane receding from foreground to building base. Mark the surrounding buildings on left and right as rough rectangular volumes—these frame the composition and should feel slightly dark and recessive.
03
Add the colonnade and shadow structure
Now draw the vertical column lines receding into depth; they will converge gently toward your vanishing points. The nearer columns are taller and wider; distant ones compress. Identify where shadows fall: beneath the pediment, inside the colonnade's depth, on the left side of each column facing away from the light source (upper left). Sketch the arched vault inside the portico as a dark silhouette. This step establishes the dramatic light–dark contrast that gives the work its drama.
04
Block in the crowd and foreground details
Indicate the fountain basin and sculpture at the obelisk's base with loose, simple shapes. Scatter small figures across the plaza using tiny standing and seated silhouettes—cluster them more densely on the lit pavement in the middle ground, fewer and smaller in receding areas. Their scale relative to the colonnade is your depth cue; foreground figures are largest. Keep them gestural; do not draw faces or fine detail yet.
05
Begin value study with light wash of mid-tones
Using a broad soft pencil (2B or 4B) and light pressure, lay an even mid-tone wash across the plaza ground and the façade, avoiding only the brightest sky and column highlights. This neutral underlay unifies the composition and makes subsequent darks and lights sing. Leave the sky nearly untouched. The goal is to establish a consistent, readable mid-tone foundation—not yet modeling, just tone.
06
Darken the shadow masses and establish depth
Using 4B or your darkest pencil, deepen all shadow areas: the colonnade's interior (very dark), the pediment's underside, column shadow sides, and the obelisk's shaft. Make the shadows under the cupolas pronounced. Darken the surrounding buildings to push them back. The figure silhouettes should now read as dark accents against the mid-tone plaza. Step back: your composition should now separate into three distinct value zones—dark shadows, light mid-tones, bright sky.
07
Render the columns and architectural detail
Study the reeding (vertical grooves) on the column shafts—they create small alternating ridges of highlight and shadow. Using a sharp HB pencil and decisive, parallel strokes, indicate these subtle vertical marks on the sunlit columns; leave them out or barely suggest them on shadowed columns. The pediment inscription should be lightly visible—sketch the letters as small rectangular shapes rather than detailed letterforms. The balustrades on the cupola rooflines can be suggested with short horizontal marks.
08
Refine edges and add atmospheric depth
Using a kneaded eraser, soften and lift edges as space recedes—the distant cupolas and far colonnade should have fuzzier outlines than the near foreground obelisk and fountain. Increase edge sharpness on foreground figures and pavement details; blur the figures in the deep middle ground into generalized masses. Burnish some of the mid-tone areas with a blending stump to create smooth transitions between light and shadow, especially on the column drums and dome curves. The foreground shadows should remain crisper than background shadows.
09
Final accents and tonal adjustment
Check your darkest darks—they should occur in the colonnade interior, beneath the pediment, and in the obelisk. If needed, deepen these with a final pass of 4B. Ensure the brightest lights (sky, sunlit column faces, dome) remain luminous and are not overworked. Use a sharp eraser to reinforce a few key highlights on the cupolas or pediment edge. Step back from arm's length to evaluate: the Pantheon should advance as a strong focal point, the obelisk should anchor the foreground, and the crowd should feel like a breathing, recessive space.

where studies of this painting go wrong

Drawing all columns with equal weight and spacing—remember they converge and compress with distance; the nearest columns are visibly wider and more detailed than those receding into the portico's depth.
Making the interior colonnade too light—it must read as a deep, shadowed cavity to contrast with the sun-struck façade; holding back on this shadow is the most common error and destroys atmospheric depth.
Rendering figures with too much detail or scattered unevenly—treat the crowd as a loose, varied texture, denser in mid-ground, sparser and smaller toward the building; avoid symmetry.
Neglecting the surrounding buildings on left and right—these are essential to the composition's compression and focus; if they are too light or undefined, the Pantheon loses its architectural dominance.
Over-blending and softening edges everywhere—the foreground (obelisk, near figures, pavement) must retain crisp edges; atmospheric softening should increase gradually as you move back in space, not occur uniformly across the entire study.

measured difficulty