A near-frontal ink portrait on the same warm ochre paper as Work 1494, in the same bold ink — the face in slight left three-quarter, the head tilted slightly forward so that the eyes look downward-left of the viewer. The face is young but fuller than 1494's profile: the forehead broad, the brows heavy and emphatic as the drawing's darkest marks, the eyes below described with the iris circles and the heavy upper lid. The nose is brief and specific below, the lips stated in two strokes. The hair above is swept in a geometric mass — a flat top and angled sides — the ear visible at the left, the hair falling at the right side of the face.
The downward-cast gaze gives this face a quality of absorption or concentration — the subject looking at something below and to the left of the frame, the attention elsewhere. Combined with the frontal or near-frontal orientation, the downward gaze creates a portrait that presents the face fully while withholding eye contact: the face is available to the viewer, but the eyes are not meeting back. This combination — open presentation, averted gaze — gives the portrait a quality of being observed without being aware of it.
The ink marks here are slightly more numerous than in 1494: the brows receive heavier hatching, the shadow at the left cheek builds toward tonal density, the hair's geometric flat-top is described with more structural specificity. This additional mark-making density suits the frontal presentation, which requires more interior description than the profile mode to convey the face's three-dimensionality. Among the ink portrait series, this is one of the most fully described faces in the frontal view.