This dynamic figure study, executed in black chalk, captures a male executioner in the act of raising his arms for a violent blow. Likely drawn in a Roman workshop around 1600, the sheet reflects the transition from Mannerism to early Baroque—marked by muscular anatomy, expressive motion, and stark realism. The focus is on posture and force, with facial features left only summarily indicated.

The verso contains two light sketches of veiled female figures, perhaps witnesses to a martyrdom, reinforcing the drawing's narrative potential. The use of both sides of the sheet, the lack of squaring, and the rapid chalk application all point to a preparatory function, possibly within a studio linked to artists such as Cesari (Cavalier d’Arpino) or Ciampelli.

A vivid example of early Baroque draftsmanship, this sheet stands as a compelling fragment of Roman artistic practice at the dawn of the 17th century.