A second ink portrait of a man in a close-fitting skullcap — clearly the same model as 1046, here drawn in a slightly different orientation. Where 1046 showed the face directly frontal, this version tilts the head very slightly, and the eyes look to the left rather than directly forward. The comparison of the two drawings reveals how Sidney worked: the same subject, the same session likely, two approaches yielding two different psychological impressions.
The skullcap in this version is rendered with more marks — the band at the brow edge described with a heavier line, the small knot at the crown more clearly indicated. The face below shows the same mustache and beard as 1046, described with the same hatching vocabulary.
The slight leftward orientation of the gaze changes the portrait's emotional register: where 1046 looked directly outward and engaged, this version looks slightly past the viewer, the attention directed at something to the left of the composition. The expression is more private, less performative.
Together, 1046 and 1066 are the most complete record of Sidney returning to the same subject — the same cap, the same mustache, the same face — and finding two different portraits in it.