plate no. 8640

View of the Temple of Concord

oilNeoclassicismcityscapearchitectureruinscityscapefigurestreessky

what to study here

It shows how a near two-value structure, with deep foreground darks against light distant forms, can organize a large architectural space and create depth.

The useful lesson here is how a tonal structure is built with almost no middle values. The vision guide describes light coming from the upper left, hitting the columns and the pale distant buildings seen through the colonnade, while the foreground ground, the right-side structure and the column undersides sit in deep shadow. Study how little sits between those two extremes: areas read as clearly light or clearly dark, and that separation carries the picture. Look at the four large columns at center-right. Their vertical lines pull the eye up, and the openings between them lead it to lighter forms beyond. Small figures and scattered debris in the foreground give scale against the columns. The guide also notes that edges are crisp where they catch light and soften where they recede, and that foliage is looser and more irregular than the ruined architecture. Notice the sky too: pale mid-gray that deepens toward the horizon, which pushes the distant buildings back. Copy the value map first, in three or four grays, before you consider any detail.

key decision

The painter kept the foreground, shadowed right-side structure and column shadows very dark and the colonnade surfaces and distant buildings light, with few mid-values between. That contrast creates the spatial recession.

recreation guide

This recreation guide addresses the painting of a Neoclassical cityscape, specifically a view of the Temple of Concord, attributed to the style of Giovanni Battista Piranesi. While Piranesi is historically renowned for his etchings and architectural capriccios, this guide adapts his compositional rigor to the medium of oil painting, utilizing principles of color contrast and traditional layering techniques. The artwork is characterized by a focus on architectural form and the interplay of light and shadow (chiaroscuro) to define structure, rather than the spontaneous brushwork often associated with later landscape traditions. The approach relies on establishing a strong monochromatic foundation to manage value relationships before introducing color, ensuring that the architectural details remain distinct and harmonious.

estimated time

20-30 hours over 5-7 sessions

materials

7 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Linen canvas	Support for oil painting, consistent with historical practices where linen was a common support derived from the flax plant.	Primed linen canvas
Lead White (or Titanium White)	Dominant white pigment for centuries, valued for opacity and fast drying; used for highlights and mixing.	Titanium White (non-toxic alternative)
Ultramarine	Used in the initial grisaille underpainting alongside black and white to establish tone.	Ultramarine Blue
Black (Ivory or Lamp Black)	Used in the grisaille underpainting to establish shadows and depth.	Ivory Black
Yellow Ochre and Red Ochre	Earth tones used for glazing and scumbling to introduce warmth and local color, consistent with ancient palettes.	Yellow Ochre, Red Ochre
Linseed Oil	General purpose drying oil for mixing paints and creating glazes.	Refined Linseed Oil
Oil of Copavia (or Dammar Resin)	Medium for the first and second paintings, as noted in Reynolds' method for establishing a stable base.	Dammar Varnish mixed with solvent

preparation

surface prep

Prepare a linen canvas support, which is historically consistent with oil painting traditions (Source 6). Apply a ground that allows for the visibility of the underpainting, as the technique relies on glazing and scumbling where the underlying painting 'makes itself felt' (Source 3). The surface should be smooth enough to allow for precise architectural rendering but textured enough to hold the oil medium.

underdrawing

While specific preparatory drawings for this oil work are not detailed in the sources, Piranesi’s practice involved rigorous architectural study. In the context of oil painting, a light underdrawing should establish the linear perspective and structural elements of the Temple of Concord. This aligns with the Neoclassical emphasis on form and line as primary elements of design (Source 7).

underpainting

Execute a grisaille underpainting using black, ultramarine, and white mixed with oil of copavia (Source 3). This monochrome layer establishes the chiaroscuro and value structure of the composition. The artist should mentally extract red and yellow colors, focusing solely on the tonal values that would remain if those hues were absent (Source 3). This step is critical for managing the 'laws of contrast of colour' by ensuring that the juxtaposition of tones creates a true gradation of light (Source 1).

color palette

White

Lead White or Titanium White

Highlights and mixing with ultramarine/black for the grisaille base.

Ultramarine

Ultramarine Blue

Cool shadows and the grisaille underpainting.

Black

Ivory Black

Deep shadows and the grisaille underpainting.

Yellow Ochre

Natural Yellow Ochre

Glazing and scumbling to introduce warm tones to the architecture and sky.

Red Ochre

Natural Red Ochre

Glazing and scumbling to introduce warm tones, consistent with the ancient palette of four colors.

composition

The composition should emphasize the architectural subject, treating the cityscape as a topographical view where buildings are prominently featured (Source 5). The arrangement of elements should follow the principles of visual ordering, using line and shape to guide the eye through the structure of the temple (Source 7). The sky is likely included as an element of the composition, with its color chosen to harmonize with the inherent colors of the architecture (Source 1). The artist may substitute true colors with neighboring scales to achieve harmony, particularly in the sky and background (Source 1).

step by step

underdrawing→underpainting→refining→finishing

underdrawing

step 01
Sketch the architectural lines of the Temple of Concord, focusing on perspective and structural accuracy.
Tip — Ensure the lines are light enough to be covered by subsequent layers.
Linear Perspective

underpainting

step 02
Mix black, ultramarine, and white with oil of copavia to create a grisaille. Paint the full tonal range of the composition, excluding red and yellow hues.
Tip — Focus on the gradation of light and shadow to establish form.
Grisaille

refining

step 03
Allow the grisaille to dry completely. Then, apply transparent glazes of yellow and red ochre using oil to introduce warmth and local color.
Tip — Apply glazes thinly to allow the underlying tonal structure to show through.
Glazing
step 04
Use scumbling with semi-opaque mixtures of yellow and red tones to adjust highlights and mid-tones, particularly in areas where the underlying grisaille is too dark.
Tip — Scumbling over a darker ground tends to produce coldness, so use it judiciously to achieve a 'grey bloom' if desired.
Scumbling

finishing

step 05
Review the composition for color harmony, ensuring that the juxtaposition of colors does not disrupt the tonal balance established in the underpainting.
Tip — Be aware that adjacent colors may appear altered due to simultaneous contrast; adjust tones to maintain the intended effect.
Simultaneous Contrast

critical techniques

Grisaille Underpainting

Used to establish the tonal structure of the painting before introducing color. This method allows the artist to focus on form and light without the distraction of hue.

Glazing and Scumbling

Glazing involves applying transparent layers of color, while scumbling uses semi-opaque paint. These techniques allow for the modification of the underlying grisaille to achieve the final color effect.

Simultaneous Contrast

Understanding how adjacent colors affect each other's perception is crucial for harmonizing the composition. The artist must account for the fact that colors will appear different when placed next to each other.

common pitfalls

→Applying color before the grisaille is completely dry, which can lead to muddying of the underpainting.
→Ignoring the effects of simultaneous contrast, resulting in colors that appear unbalanced or distorted.
→Using too much opaque paint in the glazing stage, which obscures the tonal structure established in the underpainting.
→Overworking the sky or background, which can distract from the architectural subject.

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 the Temple of Concord's appearance in this particular painting are not described in the sources, so the artist must rely on general knowledge of Piranesi's architectural style.
·The exact year of the artwork is not available, which limits the ability to pinpoint specific period conventions for the oil medium.
·The sources do not provide specific instructions on the final varnishing process, though it is implied that varnish may be used in the glazing stage.

grounded in

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

Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Understanding simultaneous contrast and color harmony in the final stages.
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Grisaille underpainting and glazing/scumbling techniques.

cross-referenced from

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

Wikipedia: Oil painting↗
- part 4 — applied to Selection of materials such as linen canvas and lead white.
Wikipedia: Composition (visual arts)↗
- part 1 — applied to General principles of composition and visual ordering.
Wikipedia: Landscape painting↗
- part 1 — applied to Contextualizing the cityscape as a topographical view.

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 rakes in from the upper left, striking the classical temple's columns and the lighter surfaces of distant buildings visible through the colonnade, while deep shadows pool beneath the temple, in the right-side structure, and throughout the ruined courtyard. The massive fluted columns dominate the composition's center-right, drawing the eye immediately upward along their vertical lines; your gaze then travels through their openings to lighter architectural forms beyond. Below, small figures and scattered debris ground the composition in the foreground, establishing scale against the soaring columns and creating a dark anchor at the picture's base.

value structure

The composition is built on a clear contrast between the very dark foreground (ground plane, shadowed building on right, deep column shadows) and the significantly lighter mid-ground (the columns' illuminated surfaces, temple interior, distant structures). The sky is a pale mid-gray that gradually deepens toward the horizon. A strong grayscale separation exists: almost no medium values compete—most areas read as either clearly light or decidedly dark, creating visual punch.

observed palette and mixes

#222222
Ivory black with minimal titanium white; or bone black straight
Darkest recesses beneath columns, right-side building shadows, deep foliage masses, and shadow edges defining architectural forms
#4f4f4f
Ivory black + titanium white in 1:1 ratio
Mid-dark transitional tones in the foreground ground plane, shadow sides of columns, and shaded building surfaces
#929292
Titanium white + ivory black in 2:1 ratio
Mid-tone areas of distant buildings, softer shadows in the courtyard, and atmospheric recession
#d1d1d1
Titanium white with a touch of ivory black (9:1 ratio)
Illuminated column surfaces, lighter architectural details, and mid-range sky
#e4e4e4
Nearly pure titanium white with trace black
Brightest sky areas, temple interior visible through columns, and highlights on architectural edges

edges and brushwork

This etching/engraving achieves tonal variation entirely through hatching and cross-hatching—parallel lines of varying density and direction build shadow; closely spaced fine lines create deep blacks, while sparse lines or bare paper create highlights. Architectural edges are crisp where they catch light and shadow-soft where they recede into darkness; foliage is rendered with looser, more organic cross-hatching that breaks the formal geometry of the ruins. The precision of hatching direction (often following the form or the direction of light) is crucial—careless parallel strokes will flatten rather than model.

a working sequence

01
Map the perspective grid and key verticals
Lightly establish the orthogonal lines of the temple colonnade, including the floor recession lines that converge toward the distant center. The four large columns should diminish in apparent width and height as they recede; use a ruler for the entablature lines. Mark the horizon line (approximately at the level of the distant buildings visible between columns). This framework is non-negotiable—perspective errors here magnify through the entire study.
02
Block in the major shadow masses
Identify and block in the three darkest regions: the foreground ground plane (especially the lower left and lower right), the deep shadows beneath and within the colonnade, and the right-side building. These should be nearly solid darks. Use a 4B pencil to establish these zones quickly—don't render detail yet, just claim the territory. This creates the compositional skeleton.
03
Render the temple columns and capitals
The four columns are the focal point; render them with precision. The fluting (vertical grooves) is critical—use parallel hatching to show the cylindrical form, with shadow lines on one side of each groove and light on the other. The capitals and entablature above are heavily detailed with line work; use a sharp HB pencil and a ruler for the architectural moldings. This architectural detail anchors the entire composition and teaches precision.
04
Establish atmospheric recession through value softening
The distant buildings visible through and beyond the colonnade should be rendered in lighter, less distinct values than the foreground temple. Use looser hatching and lower pressure to suggest atmospheric haze. Notice how the rightmost distant building fades considerably—this is atmospheric perspective, not just shadow. The contrast between sharp, dark foreground detail and soft, lighter distant forms creates depth.
05
Render foliage and vegetation
Trees and vegetation frame the composition on both sides and above the colonnade. Rather than uniform solid shapes, use varied, organic cross-hatching that suggests leaf masses and branch structure. The left side foliage is notably lighter and more open; the right side is denser and darker. Vary your hatching direction to avoid a mechanical appearance—foliage should feel natural and atmospheric.
06
Develop figures and foreground detail
Small human figures scattered across the courtyard establish scale and break the architectural monotony. They're rendered with minimal detail—just enough line to suggest posture and position. The scattered debris and ruins in the foreground (fallen stone, broken surfaces) are rendered with careful hatching that follows the surface planes. This foreground detail should be darker and sharper than middle-ground elements.
07
Deepen shadows and refine value transitions
Return to the darkest areas (column shadows, building recesses, foreground depths) and intensify them with additional cross-hatching, working toward full black. Pay attention to shadow edges—some are crisp (where shadow meets light on the columns), others are soft (where atmospheric perspective matters). Use a 2B or 4B pencil layered over your initial work to avoid a flat, single-layer appearance.
08
Refine the sky and distant atmosphere
The sky is pale at the top and gradually darkens toward the horizon. Use very light hatching to suggest this gradation—essentially leaving the paper mostly bare in the brightest areas. The distant landscape in the upper-middle distance should be softer and lighter than anything in the foreground, with minimal line definition. This atmospheric veil of light is what sends those buildings far away.
09
Final details and value harmonization
Step back and assess the overall value distribution. Ensure that your lightest lights are genuinely light (mostly bare paper or very sparse hatching) and your darkest darks are truly dark (dense, layered cross-hatching approaching black). Check that mid-tones are used sparingly, mostly for transition areas. Look for any areas where your hatching pattern becomes obvious or distracting; soften these by varying line direction or density. The final surface should read as a unified tonal landscape, not a collection of techniques.

where studies of this painting go wrong

Perspective collapse: allowing the colonnade lines to diverge instead of converge, or making distant columns too large relative to foreground ones—this destroys the spatial recession and makes the temple feel flat.
Over-homogenizing the hatching: creating uniform parallel lines throughout will make surfaces look mechanical and dead. Vary direction, spacing, and pressure constantly to keep the work feeling alive and responsive to form.
Underestimating the sky's role: the pale, soft sky pushes distant buildings back and creates atmospheric depth. Leaving it too white or making it too dark will collapse the composition's breathing room.
Missing the foliage structure: trees are often rendered as solid, undifferentiated black shapes, but here they show varied density, gaps, and organic irregularity—observe the edge quality and internal texture carefully.
Insufficient value contrast between foreground and background: the drama of this composition comes from deep, dark foreground masses pushing against lighter, softer distant forms. Don't be timid with the blacks; the foreground should feel heavy.

measured difficulty