A seated figure in sanguine chalk — cross-legged on the floor, the body presented from behind in a three-quarter turn that reveals the upper back, the shoulders, and the head turning to the left so that the jaw and a portion of the profile are visible. The pose is new to the third portfolio: where the first and second portfolios focused overwhelmingly on standing figures, this is one of the first seated floor-level poses in the new sequence, the body gathered low and the legs folded beneath. The composition fills the 12.5"×19" sheet from the lower corners — where the feet and the outer edges of the crossed legs anchor the composition — up through the back's height to the hair above.
The sanguine is applied with confident economy on the white paper, the back's contours drawn in two or three sustained strokes and the hair given several overlapping lines at the left side of the head as it turns toward the viewer. The seated cross-legged position creates a wide compositional base — the knees extending toward the lower side margins of the paper — that grounds the figure in a way the standing poses, for all their variety, rarely achieved. The spine's descent is marked by the characteristic single central line, here curving slightly with the seated body's forward lean.
The turned head — showing the jaw's line and the beginning of the profile — introduces a psychological dynamic absent from the pure back views: the model is seen from behind but is in the act of turning, the body in one orientation and the gaze beginning to move in another. This incipient turn, arrested mid-rotation, gives the seated figure a quality of interrupted motion — as if Sidney caught the model turning before she had fully turned. The hair falls at the left side of the face as the head rotates, the strands marking the direction of movement.
As the third portfolio's continuation of the 12.5"×19" sanguine format, this work represents a pose shift from the standing figures that dominated the earlier sanguine portfolio works (1403–1434). The seated cross-legged position — the body gathered, the legs folded, the back presented — introduces a new register of human posture to the portfolio, one associated with rest, meditation, and informality. The sanguine chalk on white paper gives the seated back its characteristic warmth, the red-orange marks against the cool ground producing the same skin-toned intimacy that characterized the standing figure works.