What immediately catches the viewers eye in the painting is the bright pinky-orange shimmering of the open overcoat on her brocade dress, like the sleeves.

The polychrome marble floor also mirrors the gray colors of the back wall and the pinky-orange of the dress, enhancing them.

The model pose variations, compared to the artist's previous portraits, seems an improvement, with the more minute proportion of the head and a higher perspective, refining the whole, and thus presenting a more elegant work.

There is no certainty that the painting depicting The Knight with the Wounded Foot, also by Moroni, represents Albani's husband, Faustino Avogadro, even if the two canvases differ in size by only a few millimeters, and have the same framing technique.

It is mentioned in 1857 by Charles Lock Eastlake, and was purchased by the antiquarian Giuseppe Baslini, who sold it to the National Gallery, in London, at the price of 5000 pounds, in 1876.