Rocznik Muzeum Narodowego w Warszawie (3(39).2014)

Piotr Borusowski Lost and Found. The Drawing of Joan of Arc by Peter Paul Rubens...

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The drawing measures 18.4 x 18.5 cm60 and its entire surface is glued onto a piece of an
album folio measuring 20.2 x 20.8 cm.61 It is executed in pen and brown ink, with strokes of
varied thickness and tone, and black chalk, which in many places, as indicated above, serve
as a legitimate means of expression, emphasizing the light and shade effects and contributing
to the sensation of three dimensionality. It is drawn on smooth, fme light cream paper.62 The
side edges are even, the upper edge is slightly jagged, while the more irregular nature of the
lower edge results from the fact that approximately 1 cm of the drawing has been torn off.63
The sketch is made with a sure hand; the columns and sword are drawn with single, resolute
strokes. Already Müller Hofstede noticed that this sketch did not depict a rough, first idea, but
was a fully-fledged and thought-out work that could be presented to the patron for approval
(videmus).64 Scholars have later seen this meticulousness, rare in designs for paintings, as an
argument against the originality of the work, being more inclined to treat it as a copy after a
painting by Rubens. However, close analysis of the sketch brings some very interesting infor-
mation. In daylight, we may see where the fme, bright line in pen and ink (similar to the one
used to depict the crucifix) is altered, sometimes several times, using thicker and more resolute
strokes. And so, the fingers of Joan’s left hand were initially positioned in a slightly different
way, while her right hand was placed higher (fig. 8). There are changes in the joint between
the backplate and the tasset; the tasset itself and the chainmail underneath it have also been
lowered and widened. Initially, they were drawn so as to reveal a part of Joan’s thighs - the lines
delineating them are still clearly visible. The first, fme line, which outlines the arrangement
of the thighs, knees and ankles, is almost lost underneath subsequent strokes, defining their
width and drawing the poleyns (fig. 9). The original position of the sword’s blade was differ-
ent and the helmet also changed its size - three times. The alterations are even more visible
in U V light (fig. 10). In daylight, the places where black chalk was used are also clearly visible.
Infrared reflectogram (IRR) analysis reveals that the chalk was not only used to emphasize
the light and shade effects - it also delicately marks the contour of Joan’s face, her lips, eye and
brow, the outline of the pedestal on which the crucifix is placed and the blade of the sword.65
However, the most interesting detail is that with the legs - even in daylight we may see a very
fme line, delineating an oval shape slightly to the left of the feet, and then, slightly upwards,
continuing left towards the thighs (fig. 11). The infrared reflectogram gives a clearer indica-
tion that right next to the said oval shape there is another one, while the line going to the left
shifts upwards after a few centimetres. This trace should be interpreted as the first idea for
the position of Joan’s feet and legs. This initial sketch depicted legs in parallel; neither of them
was moved backwards as in the later drawing in pen. Thus, the whole resembled Joan’s pose
from Gaultier’s frontispiece. This is first and foremost a proof that the Warsaw drawing is not
a copy; the artist who executed it came up with creative solutions to problems which arose in

60 Maximum dimensions.
61 Maximum dimensions.
62 Watermark not visible.
63 The original dimensions of the sketch according to Müller Hofstede are 21.9 x 20.3 cm. See Müller
Hofstede, op. cit., p. 305.
64 Ibid.
65 I would like to thank Piotr Lisowski and Anna Lewandowska from the Conservation Workshop of
Canvas Painting for taking the photograph and their assistance in its interpretation.