Immediately obvious is the drawing of an originally slightly bowed head in profile, which is covered by a turban-like cloth wreath with decorations projecting all around. The lines of the hair, planned to be open, are less clear; they take the form of loose or squiggly strands reaching from the back of the head to the waist or beyond. That the woman’s entire figure was originally envisaged to be seen from the side is seen by the outline of the back against the hatched background and also by the lines of the folds in her garment and in that of the companion to the left. In the painted version she was turned to display a half-rear view, which involved changes not only in the shoulders, back and lower part of the garment, but also numerous revisions to the fall of the folds. In addition, headdress ornaments were dropped, as was the ermine-trimmed cloak. Her hair is no longer open, but done up in a long plait. The fine dotted lines along the pattern of the fur-trimmed garment draw attention to the use of the pouncing technique during the painting process.