The sitter, shown half-length, has been said to possess a "high and aristocratic air" in her red mantle, holding a jewel-case in her left hand, and her face, with its finely chiselled features, is turned to the spectator.

[1] "One hand", write Crowe and Cavalcaselle, "plays with the locks of hair which fall luxuriantly over the shoulder, the other holds a box of ornaments on a marble pedestal.

Over this comes a parti-colored mantilla of stiff tissue in gay shades of red and ruby, cut into numerous angular sections, lined with bright ultramarine diversified with the snowy texture of a muslin handkerchief.

It is impossible to conceive anything more indicative of quality than this figure, and though we notice a certain want of balance in the mass of the draperies, and a lack of nature in the kaleidoscopic mode of setting them, the harmony of all the bits thus put together is so grateful and bright, the touch is so delicate in grain, that we wonder and admire.

It is now, however, believed to be by Palma Vecchio, and is regarded as one of that painter's finest portrayals, perhaps of one of the famous beauties of the day in Venice — "as noble in her calm repose", says Hippolyte Taine, "as a Greek statue.