A large pencil reclining figure drawing seen from behind — the body curled slightly, the lower legs visible at the right, the upper body extending to the left where the arms and the back of the head are visible. The composition is the most spaciously laid out of the back-view reclinings: the figure occupies the upper portion of the paper, the lower portion entirely empty white.
The back, hip, and legs are described with clean pencil contours: confident outer edges, shadow marks only at the hip and thigh where the form is deepest. The arms at the upper left are the most complex zone — both arms visible, one bent under the head, the hand barely indicated at the lower left.
The feet at the right edge of the composition are described with the characteristic toe-by-toe attention: both feet visible, the toes individually present, the weight-free posture of lying down apparent in the feet's relaxed arrangement.
At the upper right of the composition — barely visible in light pencil — a signature or notation. This drawing has the quality of a work Sidney considered complete, the notation suggesting he assessed it after finishing.