John Marciari, Drawing in Tintoretto's Venice, New York, 2018, no. 76, fig. 165, repr.
Stampfle, Felice, and Jacob Bean. Drawings from New York collections. I: The Italian Renaissance. New York : Metropolitan Museum of Art : Pierpont Morgan Library, 1965, p. 79-80, no. 145, repr.
At no point in his career did Palma settle into a single mode of drawing, although the simple, quick study in pen, ink, and wash remained his favored technique. Even when drawing a fairly complete compositional modello like this one for his altarpiece in San Zaccaria, in later years Palma tended to elaborate a chalk underdrawing--in this case red chalk--with rather quickly applied layers of pen lines and wash. The drawing is the work of an artist entirely in control of his media, and the manner in which the wash and paper reserves convey the fall of light and shadow across the figures of the altarpiece evinces subtlety and sophistication. -- Exhibition Label, from "Drawing in Tintoretto's Venice"