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El presente artículo recoge dos “bocetos” grafológicos de Gus-tavo Adolfo Bécquer. El primero de ellos es una investigación pericial caligráfica sobre el grafito autógrafo que Bécquer dejó plasmado en el friso, sobre la puerta de la Iglesia de San Clemente, en Toledo, junto a su amigo Ildefonso Núñez. Además de rastrear en antecedentes los pasos de Bécquer en Toledo, y las pistas documentales históricas que hacen referencia a dicho grafito, esta investigación aporta, como ingre-diente inédito, un exhaustivo estudio pericial caligráfico sobre autenticación de autoría de esta firma del poeta. Para dicho estudio se ha comparado el grafito dubitado de la portada de San Clemente, con numerosos escritos indubitados o de autoría incuestionable del poeta, realizados en distintas épocas, y desde el punto de vista del sistema grafonómico, que compara variables de forma, estructura, ritmo y movimiento, realizando un seguimiento detallado del trazo gráfico, y haciendo hincapié en las particularidades y alteraciones singulares de cada grafía, así como en los gestos personalísimos que, de forma inevitable e inconscien-te, identifican el autógrafo como de mano de su autor. El segundo boceto es un estudio grafológico de personalidad de Gusta-vo Adolfo, basado en sus cartas y escritos, desde su juventud hasta po-cos meses antes de su muerte, en 1870. Este segundo estudio es un retrato, un boceto del natural, del Bécquer más desconocido, que, además, para sorpresa de esta autora, conocía e intuitivamente practicaba la ciencia grafológica.The present article compiles two Gustavo Adolfo Bécquer's graphological “sketches”. The first one is an expert calligraphic investi-gation on the autograph graphite that Bécquer wrote on the frieze over the door of San Clemente's Church, in Toledo, together with his friend Ildefonso Núñez. The article not only traces in precedents Bécquer's steps in Toledo and the documentary historical tracks that refer to the mentioned graphite but also provides, as an unpublished ingredient, the exhaustive expert calligraphic study on authentication of authorship of this signature of the poet. For this study, the doubtful graphite of San Clemente's door has been compared with other undoubtful or unques-tionable autographs of the poet written throughout different moments of his life. The analysis has been carried out from the point of view of the “graphonomic” system, that compares variables of form, structure and movement, accomplishing a detailed follow-up of the graphical outline, and emphasizing in the particularities and singular alterations of every letter, as well as in the most personal gestures that, in an inevitable and unconscious form, identify the autograph as of hand of his author. The second sketch is a graphological study of Gustavo Adolfo's person-ality, based on his letters and autographs, from his youth until a few months before his death, in 1870. This second study is a portrait, a sketch of the native, of the most unknown Bécquer, who, in addition, as a great surprise of this authoress, knew and intuitively was user of the graphological science

Dos bocetos grafológicos de Gustavo Adolfo Bécquer