It is a different profile of the same model, also belonging to the Padrera Foundation. This one is more ambitious if possible, placing the woman in profile and almost in full body, in an interested attitude, and with the addition of a more defined outline based on reflecting the tiles of the wall, and those of the bench on which the woman sits. girl (very similar in their painting on ceramics to those that we can see, for example, in the Alcázar of Seville, but also in some palaces in Granada). Also here the model does not seem exaggeratedly beautiful, nor is her posture suggestively sensual, just as the romantics had painted their odalisques (so often undressed), thereby demonstrating that Agrasot had opted for realism without concessions to an audience, then eager for eroticisms hidden under its status as a work of art, and gives preference to jewelry and fabrics over female physiognomy.
