It should be identified with a painting owned by Cardinal Alessandro d’Este and described as a Portrait of Apollo with Marsyas by Guerzino di Cento in the inventory of Roman assets passed to Princess Giulia d’Este upon his death (1624). The painter strips the mythological tale of any narrative delay and the composition, by virtue of the close cut, becomes a direct study of the characters, made more intense by the vibrant beating of light and the expressive use of shadows, which veil a moment of almost sensual disturbance of the young god, boldly challenged by the faun. The canvas belongs to the most fervent moment of the Cento painter's activity and is of particular importance not only for the reconstruction of the youth phase but also for that of Este collecting, where the role of Cardinal Alessandro is of great importance.