The discussion of Tintoretto's use of squaring for establishing figural proportions rather than for direct transfer to a painting is interesting; one example is the Study of a Man with Raised Arms (ca. 1562–66, British Museum, London), related to The Finding of the Body of Saint Mark (ca. 1562–66, Pinacoteca di Brera, Milan). Discussion of Tintoretto's large-scale workshop continues in chapter 4, which considers studies dal vivo inserted into compositional studies—for example, Reclining Nude Seen from Behind (ca. 1580, British Museum, London) for the painting of the Resurrection of Lazarus (ca. 1580, Minneapolis Institute of Art)—as well as figures traced from the recto to the verso of a drawing. ...the immediacy of his studies from life, as visible in his Reclining Female Nude (ca. 1590, Metropolitan Museum of Art), is striking.