Some of the finest preparatory drawings for the series, now at Birmingham, are for this scene and include several power- ful nude studies for the figure of Saint George; a large and vig- orous compositional design for the saints fight with the dragon shows the figures reversed. 2 In the oil Saint George's armor is again of burnished black, inevitably echoing the depic- tion of Carpaccio's Saint George and the Dragon (ca. 1502-8) in the Scuola di San Giorgio, Venice, of which Burne-Jones had made a copy on his visit in 1862. 3