Development
An examination of the original reveals that the artist revised the composition and details several times to balance the image, add iconography and tell a more complete story.
Brush strokes and texture indicate that an earlier version had Napoleon's upper body was flanked by two fluted columns about the width of the figure's torso. These strong vertical elements would have distracted from the central figure.
These columns were revised to a carved panel in shadow (on the viewer's left) and a clock with a large face (viewer's right) on level with and somewhat larger than the figure's face. The clock was later repainted with a smaller face moved up and to the right, with the clock body still covering the underlying column brush strokes.
These revisions greatly improved the compositional balance of the painting's upper section, reducing the impression of three vertical columns. They successfully moved the viewers focus to Napoleon's face and expression and away from the presumably accurate stature and middle-heavy build.
The change also allowed incorporating additional symbology, most notably the time (4:13).
Other revisions were added symbols on the table items and lower section, many painted over fleurs-de-lis which are conspicuously rare in the final image.
Read more about this topic: The Emperor Napoleon In His Study At The Tuileries
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