splatters, and subtle faux pas, veil upon veil of color gathers—emerald green, ocher orange, sunflower yellow, red turning to wine, and Prussian blue—all hedged in and .held at bay by a boundary, reinforced repeat- edly, of the same blue. It is underneath that blue boundary— that blue-upon-blue demarcation between the linen's tabula rasa and the tapestry's bright, complicated films of color—that we begin to sense the presence of the very first steps of the drawing, the roughing in of the composition in the loosest of looping graphite lines. Upon closer inspection, and then technology-aided examination, we find pencil lines swirling in a scribble—some- times continuous, sometimes broken—that meanders from apple to apple to white pot to milk pitcher to folds in the linen and then partial edges, and finally to the fragmentary contours of the tapestry on the right, and in Detail 11 Detail 12 106 CEZANNE IN THE STUDIO