Very few drawings by Mengs appear to survive for this particular project, with the most notable being an elaborate compositional sheet in the Staatliche Kunstsammlungen, Weimar.2 The present drawing can, however, be compared on stylistic grounds to the manner in which Mengs frequently handled red chalk, with a notable emphasis placed on tight areas of hatching and cross-hatching, to create form. A particularly fine example of these techniques can also be seen in Mengs' red chalk copy of the Farnese Hercules, today in the collection of The Albertina, Vienna.3
1. See S. Roettgen, Anton Raphael Mengs 1725–1779, Munich 1999, vol. I, pp. 49-50, no. 19, reproduced
2. Roettgen, op. cit., pp. 50-51, no. VZ 5, reproduced
3. Ibid., p. 465, no. Z 120, reproduced
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