A pencil figure drawing of extraordinary intimacy and formal compression — the figure kneeling and folded forward, the face pressed down toward the knees, the head resting on the crossed arms below. The body folds itself entirely: the hips rise behind as the torso descends forward, the head at the very bottom of this fold, the face barely visible between the arms below it.
The head is the composition's most carefully described element: the round form of the skull, the hair described in careful parallel marks following the head's curve, the half-visible profile of the face. The face in this deeply forward-folded position — the chin near the chest, the face looking toward the knees — is the most confined facial view in the figure drawing collection. Confined, hidden, turned inward.
The arms below the head — crossed, the hands indicated — create the base of the composition. The hips rising behind the head create the upper element. Between them, the torso makes its long vertical descent.
This posture is the most physically self-enclosing in the collection: more gathered than the crouching poses (1012, 1013), more hidden than the head-down poses (1131). This figure has withdrawn entirely into itself. The pose has the quality of either grief or prayer — the body collapsed inward at its most private.