Two écorché studies of a leg bent as if the figure were seated, one of the left leg from the knee down, two of the left foot, one of a big toe, one of a wrist and of a bird's talon.

In these studies Figino focussed on the muscular structure of the human leg, drawing them as écorché, omitting the layer of the skin to make the underlying structures visible.

Next to a drawing of the structures of the human hand in the top right corner, he sketched the seated body of female nude in profile, showing one leg in profile while the one in the background bends sideways and disappears behind the structure the figure is seated on. Her upper torso has only been outlined, whereas Figino drew the musculature of the shank very carefully. Between thigh and chest he had sketched a bone joint structure.Below Figino drew the figure's leg from the other side, also indicating the musculature of the thigh and the shank, as well as making a drawing of the shank seen from the front. These three studies are combined and arranged symmetrically in RCIN 906879.

Right at the bottom of the sheet a drawing of a bird's talon in the bottom left corner and a study of a human foot in the bottom right corner show Figino's interest in comparative anatomy. These isolated studies underline that they might have served a scientific purpose, very much in the style of Leonardo's comparative studies. For other studies of comparative anatomy by Figino in the Royal Collection see RCINs 906873, 906875 and 906878 and inv.no. 939 in the Academia in Venice.For other anatomical studies by Figino in the Royal Collection see: RCINs 906873, 906874, 906876, 906877, 906878, 906879, 906884r, 906885, 906886 and 906889.For other anatomical studies by Figino in Venice see: Inv.nos 986, 944, 1041, 985, 946, 941, 939, 942, 932, 943, 947.

In the second half of the sixteenth-century, when Figino was working in Milan, the anatomical drawings by Leonardo da Vinci were easily accessible for artists. Nevertheless, it is surprisingly difficult to find any specific links between Figino’s drawings and those of Leonardo. Not one of Figino’s studies is a direct copy after an extant drawing by Leonardo. But given that the drawings of both artists are so numerous, the absence of any known copy does suggest that Figino was working ‘in the manner’ of Leonardo, rather than directly after his anatomical and figure studies.

Inscribed in pen at lower right: N^o 4 and Michelangl^o