The Virgin supported by the Holy women, 1895,0915.617

This preparatory drawing displays a skeleton arranged to analyze the physical weight and structural collapse of a fainting body. The artist uses precise pen strokes to define the ribs, spine, and pelvis, while surrounding the skeletal frame with delicate, expressive studies of living female faces. It captures the foundational stage of composition for Raphael’s 'Deposition', where he worked from the bone structure outward to ensure anatomical accuracy.

This work reflects the Renaissance intersection of art and natural philosophy, specifically the practice of 'anatomia' to understand the divine mechanics of the human form. It aligns with the principles of Leon Battista Alberti, who argued that artists must understand the skeletal structure to truthfully represent the body's movements and suffering.