Seven studies of the left leg, both bent, straight and as écorché, one full leg outlined but overlaid with the study of a knee, one of a bent right knee.

Arranged symmetrically, the three studies of a left leg in red chalk dominate the sheet and show the musculature of the lower leg from the principal views. The same combination and arrangement of these three drawings reappear on RCIN 906875. The frontal depiction of the lower leg is repeated on the left next to a study of a full leg, which was overlaid with the study of a knee in black chalk, which might suggest that the red chalk drawings were done before the ones in black chalk. It has been suggested that the study of the lower leg can be related to Figino's painting of St Matthew and the Angel in San Raffaele in Milan and to the apostle in the foreground of the Agony in the Garden in Santa Maria della Passione in Milan.

The study of the full leg of a seated figure in red chalk is repeated re-appears on RCINs 906872, 906876 and 906878 in black chalk. The study of a right leg in movement at the left edge of the sheet reappears on RCINs 906872, 906876 and 906877. For other anatomical studies by Figino in the Royal Collection see 906872, 906873, 906874, 906875, 906876, 906877, 906878, 906884r, 906885, 906886, 906889 and inv.nos 986, 944, 1041, 985, 934, 946, 941, 939, 942, 932, 943 and 947 in the Academia in Venice.

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 left: N^o 8 Figino