carmean: the all-important girl on the ball, which fernande olivier... hoenigswald: right here, you can see the same-- the line of the end of her leotard and her feet going down onto the ba. but where the ball is, right-- right here-- here's h hipthere's, carmean: white paint, being the most dense, shows up most strongly in an x-ray, and thus, the white horse is clearly visible as a broad pattern of white markings. aerrea, a sll ild carrng firood is visible at the outer margin. the harlequin, standing hands on hips, is clearly visible, including the line of his tunic costume and the curve of his neck. even more surprising is the head, which is so beautifully preserved, because it cannot be connected to either the early study or to any of the imagery we now see in the picture. it must, in fact, be connected to another image beneath the surface of the picture; a middle layer exists. this second layer contained two boys standing in a landscape, figures o match, in reversed form, an image known in a gouache which we can, in fact, date to march 1905. carmean: