Drawing Sheet 4 A

Figure Content:

The Temptation of St. Anthony

Sheet Location 4 A

Physical Description

Support

 

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:

 

Sewing holes:

Edges overlapping adj. sheet:

Right and bottom edges

Edges extending below adj. sheet:

Top edge (2-3mm)

Edges abutting adj. sheet:

 

Media

 

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.

 

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.

 

 

Green pencil is used extensively in the water/rock formation along the left side

 

 

Red pencil is used lightly beside the water/rock formation at the LLC

 

 

Greenish blue pencil is used in some of the faces of the creatures and creatures overall

 

 

Purplish blue pencil is used to color an insect-like creature at the center right side

 

Pastel:

Watercolor:

Scratching:

Additional media notes:

 

 

Technical Notes

Composition

 

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)

 

Compositional changes/additions:

Artist’s patches:

Former restoration:

Drawing on verso:

Additional observations:

 

 

Analysis

 

 

Technique

Area/location

Results/observations

Photo microscopy:

 

 

Ultra-violet radiation:

 

 

Infrared radiation:

 

 

Raman Spectroscopy:

 

 

X-Ray diffraction:

 

 

 

Aspect Ratio: 1