This double-sided study sheet shows, in exemplary fashion, Bloemaert’s masterly conception and graphic execution of the human figure. On the obverse, the artist has sketched the same model in three different positions, already modelling light and shadows precisely through his use of detailed white heightening. Although the artist’s graphic oeuvre surpasses by far the number of his paintings, one can in this case assume that he already had this shift across media in mind, for all three of the movements traced on this sheet are repeated in the painting The Resurrection of Lazarus (Fig.1). They appear in the painting as the three awestruck eyewitnesses to the miracle. Bloemaert also used the hand studies on the right edge of our drawing for the hands of the kneeling old man who takes the right hand of Lazarus as he springs back to life.