Despite its small size, this drawing appears to be a brilliant demonstration of Salviati’s ability to create compositions with figures in complex, expressive poses. The drawing’s style and technique can be well compared to such larger sheets as the Resurrection of Christ at the National Gallery of Art in Washington (inv. 2006.11.21; see Catherine Monbeig Goguel in Francesco Salviati ou la Bella Maniera, exib. cat., Rome, Villa Medici, and Paris, Musée du Louvre, 1998, no. 101, ill.); note, for instance, the identical feet of Christ in both sheets.