In this innovative portrait Hogarth has applied the paint in thick broad strokes which accentuate the folds in the draperies and serve to heighten the sculptural aspect of the work. The white lace ruffles on the bodice appear to stand proud from the dress as an independent feature, forming an ‘s’ curve around the pink floral bow. This device may well be an early attempt by Hogarth to give visual form to his so-called ‘Line of Beauty and Grace’, a serpentine curve which Hogarth perceived as the basis for the most beautiful forms to be found in art and nature.