It is one of Lotto's oldest works and testifies to the complex figurative culture that characterized the artist's early days. The setting of the portrait, built on the inclined oval of the face, and the rigorous study of the light, which caresses the shapes, cutting them out from the black background, refer to the Venetian works of Antonello da Messina. The clear and enameled execution, in particular of the details, such as the copper-colored curls that seem embossed in the metal, is linked to Flemish painting.