The drawing depicts two standing figures conversing: to the left, Saint John, beardless, holding a chalice in his right hand and turning his head towards the figure on the right, who is probably Jesus. The relatively young, bearded figure does not display any other attributes. However, he also extends his hand, in this case the right, over the chalice. The joining of the hands around the chalice suggests that the bearded figure probably epitomises Jesus Christ. Regarding the chalice, it possibly alludes to the fact that Saint John the Baptist was prepared to drink from the cup of suffering as a witness to the Lord. Nevertheless, there is insufficient evidence to define this iconography accurately. An additional possible interpretation can be found in the theological work performed by one of the chaplains of Granada Cathedral, Lorenzo van der Hamen y León, ‘Al hijo segundo de María Santísima, al solo en sus regalos y favores, a San Juan Evangelista’ a panegyrical eulogy in which detailed comparisons between Christ and Saint John the Evangelist have been developed.

The technique employed is akin to that of Cano’s drawings of Saint John the Evangelist in Patmos (D61), as well as various ink and watercolour drawings in the series of Dominican themes for the convent of Santa Cruz of Granada. Although there is no apparent relationship between this drawing and those of the series of Dominican themes, the technique of applying opaque watercolour to create dramatic chiaroscuros, the style and the atmosphere are so alike that a close date can be assigned to both.

On the other hand, the format of this drawing is in exact proportion to the canvas The Vision of Saint John the Evangelist (The Wallace Collection, London). It appears reasonable to deduce that, at least, one of Cano’s drawings of Saint John the Evangelist could be related to the paintings executed for the altarpiece of Saint Paula.

Veliz, Zahira, Alonso Cano (1601-1667): dibujos, Santander, Fundación Marcelino Botín, 2009, p.264-267; nº 39