illustrations are described as "striking and boldly executed, but [...] have few claims to be fine works of art". The vessels are for the most part painted according to a standard formula, with distinct repetitions even in the more elaborate depictions. Anthony's style is signified by a "naive draughtsmanship and conformity to a pattern [...] consistent with the abilities of a government official with a decent amateur grasp of form and colour". The rolls were all of roughly the same length, about , and would most likely have been presented side by side for display on a table or hung on a wall. The focal point of the whole composition is in the second, middle roll where the exceptionally well-executed painting of the Galley Subtle is placed. That this ship was intended to be the centrepiece illustration is made clear by the presence of the pinnace Mary James in the first roll, which is otherwise reserved for (sailing) ships. This appears to have originally been placed at the beginning of the third roll, among the other pinnaces and rowbarges, but was moved to achieve more equal lengths. In his pursuit of living up to the image of a Renaissance prince Henry is known to have been particularly fond of galleys, something which would have been known to Anthony. The lettering, framing lines and floral pattern decorations are painted in red or black with the exception of the first three ships of the first roll, which also feature gold. Most of the illustrations were first sketched with plummet outlines and were then painted over in washes. Ship timbers are a light brown that are shaded in the bow and stern to achieve depth, decorations and anchors are highlighted with red, and green is used for guns. Contours are in black and the sea is in shades varying from "greyish green" to "a richer blue". The first two rolls were done with roughly the same amount of detail while the lesser rowbarges (essentially small galleys) were done more hastily. The first two ships of the first roll, the Henry Grace à Dieu and the Mary Rose, have traces of a grid pattern, indicating that they were transferred from a different drawing while the rest are done in freehand. Overall, the ships follow a formula depending on the type of ship. The exceptions are stern galleries of some of the galleasses and the