plate no. 9671

View of the Arch of Septimius Severus

oilNeoclassicismcityscapearchitecturearchfigurescityscaperuinssky

what to study here

It shows how a tightly limited value range, one dark void, and controlled edges can build monumental scale and depth.

The useful lesson here is how a nearly monochrome image holds a huge architectural mass together with value alone. Light comes raking from the upper left. The central arch passage is almost black (about #2e2e2e) and works as a void that anchors the eye. Around it, the carved relief panels and the inscription band set up a dark-light-dark-light rhythm you can see when you squint. Mid-values from roughly #555555 to #c8c8c8 carry the stone, with gradual changes across curved surfaces such as columns and voussoirs. The sky is lighter than most of the arch, and that relationship keeps the stone reading as heavy. Edges are crisp where contrast is strongest, at the passage opening and the relief shadows, and softer where values sit close together. Small figures at the base give scale. On the right, a colonnade recedes and lightens; on the left, a single tall column extends the space. Study how detail is saved for the lit areas while the shadowed recesses stay simple.

key decision

The painter made the central arch passage the darkest, nearly black mass and kept the sky lighter than the stone around it. That contrast anchors the composition and sets the scale of the structure.

recreation guide

This recreation guide addresses the translation of Giovanni Battista Piranesi’s iconic etching, 'View of the Arch of Septimius Severus,' into an oil painting. While Piranesi is historically renowned for his etchings and engravings rather than oil paintings (Source 4), his work is defined by a dramatic, Neoclassical interpretation of Roman ruins that emphasizes monumental scale and atmospheric depth (Source 3). The artwork likely features the Arch of Septimius Severus in the Roman Forum, characterized by its intricate architectural details and the surrounding ruins. Piranesi’s approach to the past was dynamic, often improving upon Greek models with Roman grandeur, and his views were widely collected by Grand Tourists (Source 3). The painting style should reflect the 'romantic and fantastic depictions of ruins' associated with late Baroque influences, serving as a memento mori or a reminiscence of a golden age (Source 3).

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Canvas or linen panel	Support for the oil painting	Primed linen or cotton canvas
Grisaille underpainting materials (Black, White, Ultramarine)	Creating the monochrome tonal foundation	Acrylic or oil mix of Ivory Black, Titanium White, and Ultramarine Blue
Oil paints (Earth tones, Ochres, Umbers)	Glazing and scumbling to add color and depth	Burnt Sienna, Yellow Ochre, Raw Umber, Burnt Umber
Linseed oil or Copal varnish	Medium for glazing and scumbling	Stand oil or damar varnish mixed with odorless mineral spirits
Soft charcoal or graphite	Underdrawing for architectural precision	Vine charcoal or graphite sticks

preparation

surface prep

Prepare a smooth, white or light-toned ground. Piranesi’s work relies on precise architectural lines and high contrast; a smooth surface allows for the fine detail required in Neoclassical cityscapes. While specific ground recipes for Piranesi’s oil works are not documented (as he was primarily an etcher), the tradition of old masters often involved a white lead or chalk ground to facilitate the glazing techniques described in historical texts (Source 2).

underdrawing

Use a precise, linear underdrawing to establish the architectural accuracy of the Arch of Septimius Severus. Piranesi was trained as a draughtsman and architect, and his etchings are known for their meticulous measurement of ancient buildings (Source 4). The drawing should capture the 'romantic and fantastic' perspective of the ruins, emphasizing the monumental scale and the interplay of light and shadow (Source 3).

underpainting

Create a grisaille (monochrome) underpainting using black, white, and ultramarine. This technique establishes the tonal values and chiaroscuro before color is introduced. Sir Joshua Reynolds, a contemporary of Piranesi, advocated for this method, stating that the first and second paintings should be with oil of copavia, using black, ultramarine, and white (Source 1). This underpainting should capture the 'chiaro-scuro' effects, where the gradation of light is produced by the juxtaposition of tones (Source 5).

color palette

Warm Earth Tones

Yellow Ochre, Burnt Sienna, Raw Umber

General use in this artist's palette; these earths are 'quite sufficient for broken tones frequently wanted' and have 'perfect fixedness' (Source 2).

Cool Shadows

Ultramarine, Ivory Black

Deep shadows and atmospheric depth, consistent with the grisaille underpainting (Source 1).

Highlights

Lead White (historically) or Titanium White

Brightly lit architectural details and sky, providing contrast to the dark ruins.

composition

The composition should emphasize the monumental scale of the Arch of Septimius Severus, likely placing it centrally or off-center to create a dynamic perspective. Piranesi’s views often featured 'romantic and fantastic depictions of ruins' that served as a memento mori (Source 3). The surrounding ruins and the sky should be arranged to create a coherent composition, with the sky almost always included to provide atmospheric context (Source 6). The perspective should reflect Piranesi’s interest in the 'Graeco-Roman debate,' showcasing the grandeur of Roman architecture (Source 3).

step by step

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

underdrawing

step 01
Transfer the precise architectural lines of the Arch of Septimius Severus onto the canvas using charcoal. Focus on the structural accuracy and the dramatic perspective typical of Piranesi’s etchings.
Tip — Ensure the proportions reflect the monumental scale of the ruins.
Linear perspective

underpainting

step 02
Mix black, ultramarine, and white with oil of copavia (or a modern equivalent) to create a grisaille. Paint the tonal values of the scene, focusing on the chiaroscuro effects.
Tip — Mentally extract red and yellow colors, translating what would be left in nature if these colors were not present (Source 1).
Grisaille

first pass

step 03
Once the grisaille is dry, begin glazing with warm earth tones (ochres, umbers) to add color to the sunlit areas. Use a transparent coat of color to tint the underlying monochrome.
Tip — Apply the glaze thinly to allow the underlying tonal structure to show through.
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to add texture and coldness to the shadows and distant areas. This technique allows the underlying painting to make itself felt, creating a 'grey bloom' effect.
Tip — Be cautious when scumbling over darker grounds, as it tends to coldness (Source 1).
Scumbling

finishing

step 05
Refine the details of the architectural elements, ensuring the contrast between light and shadow is sharp. Use the law of simultaneous contrast to enhance the gradation of light.
Tip — Pay attention to the juxtaposition of colors to produce spontaneous effects of contrast (Source 5).
Chiaroscuro

varnishing

step 06
Apply a final varnish to protect the painting and unify the glazes. This step is consistent with the old masters' practice of using varnish and oil mixed for glazing (Source 1).
Tip — Ensure the painting is completely dry before varnishing.
Varnishing

critical techniques

Glazing and Scumbling

These techniques are used to add color and depth to the grisaille underpainting. Glazing involves applying a transparent coat of color, while scumbling involves semi-opaque painting that allows the underlying layer to show through. This method was practiced by old masters and is described by Sir Joshua Reynolds (Source 1).

Chiaroscuro

The use of strong contrasts between light and dark to create volume and depth. This is achieved through the juxtaposition of tones, where the highest tone is enfeebled and the lowest tone is heightened (Source 5).

Architectural Precision

Piranesi’s background as an architect and draughtsman informs the precise rendering of the Arch of Septimius Severus. His work is characterized by meticulous measurement and detailed depiction of ancient buildings (Source 4).

common pitfalls

→Overworking the glazes: Glazing requires thin, transparent layers. Overworking can muddy the colors and obscure the underlying grisaille (Source 1).
→Ignoring the law of simultaneous contrast: Failing to account for how adjacent colors affect each other can lead to flat or unnatural appearances (Source 5).
→Losing the monumental scale: Piranesi’s views are known for their dramatic perspective and scale. Failing to capture this can result in a less impactful composition (Source 3).
→Using inappropriate pigments: Avoid pigments that may cause chemical reactions or lack the 'perfect fixedness' of earth tones (Source 2).

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 exact painting: The sources do not provide a detailed breakdown of the specific colors used in 'View of the Arch of Septimius Severus' as an oil painting, as Piranesi is primarily known for etchings.
·Exact medium ratios: While Reynolds’ method is cited, the exact ratios of oil to pigment for Piranesi’s specific practice are not documented.
·Preparatory sketches: No specific preparatory sketches for this oil painting are mentioned, so the underdrawing is inferred from his general practice as a draughtsman.

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 and glazing techniques
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Color palette and pigment selection
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints of different tones of the same — applied to Chiaroscuro and contrast techniques

cross-referenced from

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

Wikipedia bio — Giovanni Battista Piranesi↗
- part 4 — applied to Artistic style and compositional elements
- part 1 — applied to Background and architectural precision

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

This monumental triumphal arch dominates the composition frontally, with light raking from the upper left casting strong shadows within the relief panels and rendering the deep interior passage nearly black. The cavernous central arch opening acts as a visual void that anchors the eye, while the densely carved relief panels in the lower register and the inscription band above create rhythmic visual complexity around this void. Small human figures scattered at the base and foreground establish scale against the massive stone structure. The right side recedes into atmospheric distance with a colonnade, while the left features an isolated tall column—both suggesting spatial extension beyond the arch itself.

value structure

This work operates in high-contrast monochrome: the darkest darks (#2e2e2e) are concentrated in the shadowed interior of the central passage and the deeply recessed relief panels, nearly pure black. The lightest lights (#e7e7e7) sit in the upper sky and the most directly lit upper surfaces of the arch and capitals. Mid-values (#555555 to #c8c8c8) carry the stone surfaces with careful gradation showing form rotation. Squinting reveals a clear rhythm of dark-light-dark-light across architectural forms, with the sky reading notably lighter than the majority of the arch structure itself.

observed palette and mixes

#e7e7e7
Titanium white with minimal additions
Upper sky and brightest highlights on arch capitals, upper moldings, and directly lit stone faces
#dcdcdc
White with touch of raw umber
Lower sky, lighter stone surfaces facing the light source, atmospheric areas in upper right
#c8c8c8
White with more raw umber and touch of black
Mid-light stone, outer faces of columns and arch voussoirs, upper surfaces of relief panels
#8c8c8c
Neutral gray—equal mix of white and black with slight umber
Mid-tone stone, the body of relief panels, column shafts in shadow, ground plane
#555555
Black with white leaning dark, or burnt umber with black
Shadowed deep recesses within relief panels, undersides of moldings, cast shadows beneath the arch
#2e2e2e
Lamp black or bone black, nearly pure
Interior of the central arch passage, deepest relief panel recesses, darkest cast shadows

edges and brushwork

Edges are sharp and crisp where value contrast is strongest—particularly between the black arch passage interior and surrounding stone, and at relief panel shadows. Edges soften noticeably where values are closer, such as gradations across the curved surfaces of columns and voussoirs. The technique shows controlled, methodical tone-building rather than gestural brushwork, with a fine linear sensibility throughout that suggests systematic, deliberate mark-making.

a working sequence

01
Establish perspective framework
Lightly construct the linear perspective geometry using a ruler. Locate the central vanishing point (at or behind the central arch opening). Map the three-dimensional recession of the central passage, the supporting piers on either side, and how the overall structure extends into space. Establish proportional relationships: the width versus height of the main arch opening, the thickness of the piers, and how the tall column on the left and the colonnade extending right relate to the arch's overall mass.
02
Block in architectural masses
Establish the sky as your light reference using the palest value (#e7e7e7). Block in the two large supporting piers, the central arch structure, the tall column on the left, and the colonnade fading into the right distance. Keep values light to neutral at this stage, establishing composition and basic geometry before adding value drama or detail.
03
Establish value structure with darkest accents
Identify and render the darkest areas: the black interior of the central arch passage (#2e2e2e), the very deep recesses within the relief panels below the inscription band, and the cast shadows at ground level beneath the arch. These accents should read distinctly darker than the midtones, giving the arch its volumetric, shadowed presence and defining the composition's value skeleton.
04
Develop relief panels and inscriptions
The lower section features prominent relief panels on both piers flanking the passage—these show carved figures and ornament. Render these with mid-dark values (#555555 to #8c8c8c), suggesting carved forms through value placement rather than obsessive detail. The upper inscription band should read as a mid-tone plane (#c8c8c8 to #dcdcdc), with letterforms suggested through careful tonal placement rather than individual letter carving.
05
Model the arch's three-dimensional form
The central arch consists of voussoirs (wedge-shaped stones) radiating toward the vanishing point. Use your pencil to follow these receding radial lines. Shade the front-facing surfaces of outer voussoirs with lighter values (#c8c8c8 to #dcdcdc), and progressively darken inner surfaces as they recede toward the black void of the interior passage. Capitals and moldings should show crisp shadows where detail undercuts, creating architectural clarity and relief.
06
Define columns and architectural ornament
The tall column on the left and colonnade on the right require clear structural modeling. Show fluting (vertical grooves) through value gradation—faces of flutes lighter, valleys between darker. Capitals and bases should have crisp shadows defining their undercut. The distant colonnade on the right should progressively lighten and simplify as it recedes, using atmospheric perspective to push it backward in space.
07
Place figures and refine foreground
Small human figures cluster around the base—they are essential scale markers. Render them carefully but simply; they appear as darker silhouettes against the lighter ground plane. Position them according to your perspective construction, with apparent size decreasing as they recede spatially. The ground plane has weathered texture—suggest this through light cross-hatching or soft tonal variation in mid-gray ranges (#8c8c8c to #c8c8c8).
08
Atmospheric perspective and final edge refinement
The right side, where the colonnade extends into distance, should progressively lighten and soften compared to the foreground arch. The sky may show subtle gradation toward the horizon. Make final passes over edges: sharpen those with strong contrast (the arch opening, lower relief panels), soften those where values are close (column surfaces, stone gradations). Final verification: is the interior arch passage distinctly darker than all surrounding forms? This dark void is your compositional anchor.

where studies of this painting go wrong

Perspective failure: The receding arch geometry is complex. Misjudging the vanishing point or recession will distort proportions and make the arch feel false or unstable. Verify orthogonals repeatedly throughout.
Over-rendering relief panels: The carved details are rich, but equal detail everywhere will flatten the image and tire the viewer's eye. Let shadowed areas read as complex silhouettes; reserve sharp detail for the most-lit sections.
Central passage as featureless black: The opening is dramatically dark, but it is not a blank void. Enough interior structure should be visible to suggest a walkable passage, not a flat cutout.
Human figures losing scale or competing visually: These figures establish scale. Render them simply and keep them smaller than instinct suggests; over-rendering or oversizing them will disrupt the composition's hierarchy.
Collapsing sky-to-stone contrast: The sky is notably lighter than most stone surfaces. Darkening the sky or lightening mid-tone stone will collapse this essential relationship and flatten the sense of architectural mass.

measured difficulty