In contrast to the drawing of the same Quattrocento bust in the Louvre on page XXVIII verso of this sketchbook (see Philadelphia Museum of Art, 1987-53-58b), this one gives a less awesome vision: the bust is seen from a more normal viewing distance, its features are less drastically foreshortened, and while still expressing the Florentine banker's power and pride, they are softened by the more extensive shading and the placement of the bust against a shadowy background. So extensive a treatment of the gallery setting is indeed unusual among Cézanne's copies after sculpture in the Louvre.

The other sketch, of a man's foot, is no doubt also a copy, perhaps of the left foot of Michelangelo's Dying Slave (see Philadelphia Museum of Art, 1987-53-56a). It was installed then in the same gallery as the Filippo Strozzi¸ and its left leg is clearly what appears in the background of one of Cézanne's other copies after the bust (Chappuis, Adrien. The Drawings of Paul Cézanne. 2 vols. Greenwich, Conn., 1973, no. 559). Theodore Reff, from Paul Cézanne: Two Sketchbooks (1989), p. 193.