A horizontal composition showing a semi-reclining figure in three-quarter view — neither fully lying down nor fully upright, the body propped on one arm extended behind, the torso raised, the gaze forward. The posture is transitional: the figure caught between resting and rising, the weight on one hand, the body hovering between two states.
The face is among the more alert in this sequence — the eyes looking toward the artist, the head in three-quarter view, a small beret or cap marking the crown. The jaw is firm, the expression neither relaxed nor tense. The hair falls down beside the face.
The extended arm behind the figure is the composition's structural element — the straight line of the arm from shoulder to wrist, the hand open on the surface below. The near knee is drawn up, the foot visible at the lower right with the characteristic toe description. The leg extending behind trails off into lighter marks.
The semi-reclined pose with the propped arm has a classical precedent — the odalisque of Western painting — but Sidney draws it as a live observation, the model simply in that position, the slight alertness of her gaze breaking any sense of passivity. The figure is aware, present, hovering.