Underdrawing
Artists' Techniques
Preparatory drawings, loosely painted with a liquid medium (i.e. brush and ink), are present on most pages.
Architectural features as well as the outlines, faces and clothes of the figures were roughly sketched. Sketches were not always followed closely at the painting stage, as is especially apparent in drapery folds.
The naked bodies of Adam and Eve were carefully drawn, particularly the figure of Adam in the bottom left image on fol. 4r.
A straight line running between or just above the eyes was often drawn to help position them within the face – this is most evident in the figures of the young Virgin Mary and St Anne on fol. 9r.
Select the ‘infrared’ layer when viewing each of the folios on the right to see the underdrawings.
Anne of Brittany praying to St Claude
Anne of Brittany, kneeling at a prayer desk beside a youthful Virgin Mary, is presented by St Anne to the enthroned bishop, St Claude. A book bound in red rests on the prayer desk, which is covered in a blue cloth embroidered with fleurs-de-lis and gold initials A for Anne. The carpet bears Anne’s arms (France impaling Brittany), which are also held aloft by the angel on a pillar in the left margin. The arms are depicted a third time in the lower margin encircled by the motto, PENSON EN DIEU, with sprays of blue flowers on either side. Shown in prayer, Anne serves as a pious model for her daughter, Claude, for whom she commissioned the book.
The loose, rapid brush work of the artist is clearly visible in the dark blue-green background and the light grey floor. Preparatory sketches for the drapery folds appear through the thin layers of the gold mantle of St Claude, shaded and outlined in organic pink, and of Anne of Brittany’s gold dress, which has contrasting outlines in dark indigo. The infrared image reveals the full extent of the thick lines of the underdrawing in the draperies and in the faces, particularly of St Anne.