The bench with the vase on it is completely included in the underdrawing. The only changes in the painted version are a few changes of position in the tracery, the body of the vase, and in the lilies. There is an interesting observation to be made in the area of the top surface of the backrest. Here, in the underdrawing, we see a series of arc-like lines whose form relates more to the pattern on the adjacent curtain than to the bench (see red mapping lines). These underdrawings suggest that the whole curtain including the pattern and the fall of the folds is underdrawn, even though much of the area reveals no information in the infrared reflectogram because of the metal-leaf applications. This assumption is supported not least by the part of the curtain, planned in the drawing but not realized in the painted version, in the foreground of the prie-dieu. The question arises, however, of why the curtain needed such a detailed underdrawing, for purely technically, this would not have been absolutely necessary a composition using applied pressbrokat leaves. Might the underdrawing perhaps have served as a presentation for the clients?