The Temptation of St. Anthony
Support |
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Dimensions: | 22.5 x 16.9 cm |
Cut edge: | Left edge |
Paper type: | Ivory wove paper, discolored to tan |
Pinholes: | Top center, ULC, LLC |
Additional notes: |
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Sewing holes: | — |
Edges overlapping adj. sheet: | Right and bottom edges |
Edges extending below adj. sheet: | Top edge (2-3mm) |
Edges abutting adj. sheet: | — |
Media |
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Graphite: | Graphite or light black pencil is used to define the overall composition, most visibly in the figures/creatures in the right half of the drawing.
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Colored pencil: | The extent to which black pencil is used to create the composition is unclear, as possibly two different densities were used; a lighter pencil, or graphite, may have been used initially to define the overall composition; a dark black pencil is clearly used exclusively to create some aspects of the composition, such as the spider and the sun at the center right side of the composition and the creature’s head at the LLC; additionally the black pencil is used to strengthen areas of the composition in the figures and along the left side of the sheet.
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| Green pencil is used extensively in the water/rock formation along the left side
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| Red pencil is used lightly beside the water/rock formation at the LLC
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| Greenish blue pencil is used in some of the faces of the creatures and creatures overall
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| Purplish blue pencil is used to color an insect-like creature at the center right side
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Pastel: | — |
Watercolor: | — |
Scratching: | — |
Additional media notes: |
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Composition |
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Drawing to sheet edges: | All edges |
Drawing into adjacent sheet: | The composition closely corresponds to the sheet above, extending below into 5A uninterrupted; the lines best correspond when the edges are abutted and 4A is shifted slightly to the right
Bird tuft extends above into 2A; serving as the only compositional link between the two sheets
Additionally, at the left edge, lines forming the outer center of the crescent and the tubular form at the top left edge serve as awkward extensions of the composition; the small faces at the bottom right edge are the most clear extensions into 4A (it appears that these connect best when the edges are overlapped)
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Compositional changes/additions: | — |
Artist’s patches: | — |
Former restoration: | — |
Drawing on verso: | — |
Additional observations: |
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Analysis |
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Technique | Area/location | Results/observations |
Photo microscopy: |
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Ultra-violet radiation: |
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Infrared radiation: |
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Raman Spectroscopy: |
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X-Ray diffraction: |
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Aspect Ratio: 1