This pen-and-brown-ink study shows the initial idea for Rubens's 1628 painting The Virgin Adored by Saints, in the Royal Museum of Fine Arts, Antwerp. Although the artist apparently had already established the basic layout of the altar, he was still searching for certain combinations of figures and their final positions or attitudes. For example, we see at top center several versions of the Virgin and child. The artist was particularly seeking a proper attitude for the Christ child, who would eventually extend his hand to Saint Catherine, kneeling in front of him, to be kissed. Prominently displayed in the foreground below are Saint Sebastian and William of Aquitaine, while Saint George, approaching from the left, is only hastily sketched in.

This drawing is one of those quick and rare compositional studies that were often not preserved, since they reflected very personal and preliminary ideas and, basically, meant the most to the artist himself. They do allow us, however, to participate vicariously in the creative process from the very beginning.

The verso drawing (not illustrated) gives us a view of the back of the so-called Torso Belvedere, drawn in red chalk; it dates from Rubens's first visit to Rome, in 1601–2, almost three decades before he made the drawing on the recto.