The final composition in oil adheres, for the most part, to the arrangement of the present drawing, with a few exceptions. In the drawing there is a pentimento visible where the artist has sketched out a different position for Saint Claire’s head, turning her face inwards, looking towards Saint Bartholomew and it is this revised position that is adopted in the oil painting. Farinati, in his drawing, has placed the Crucifix, that St Jerome genuflects on, at a slant on a stone, and in the painting it lies flat on the ground. The other noticeable difference is that the skull, depicted in the drawing, is omitted from the final composition.
Farinati employs a visually appealing choice of media for the present study, skillfully using pen and brown ink and wash with a delicate application of white heightening. For another work by Paolo Farinati, see lot 21.
1. (Inv, no 4033-IB496), Paolo Farinati 1524-1606 Dipinti, incisione e diesgni per L'architettura, exhib. cat., Verona, Museo di Castelvecchio, 2005-2006, p.179, no. 167
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