The noble lady exhibits a severe and proud expression, a smile just mentioned but full of determination; the well-erected and authoritarian pose is softened by the habit of the red ribbon woven into the hair, which recalls the brocade of the clothes, according to an interpretative taste typical of Delle Piane.

In the painting we appreciate the meticulous detail of the lace of the sleeves and the fabrics on the décolleté, the rich drapery of the dress, the contrast of colors between the golden threads of the embroidery and the iridescent red of the fabric that wraps the figure and that emerges from the the dark background. Finally, the pleasant conduction that characterizes the refined trait is appreciated in the ability to make the light slide on the woman's clothes and complexion.

The artist, a pupil of Giovanni Battista Gaulli in Rome and returned to his homeland in 1684, became the most disputed portrait painter, active for the Bourbons and in great demand by the Genoese noble patronage, especially female, who, enthusiastic of the sensibilities derived from the examples of Rigaud and Nicolas de Largillierre, elected the artist as director of the city's dynastic iconographies.

In fact, both technically and pictorically evident are the French influences, determined by the dense network of political and economic relations that Genoa has with France and the Court of Louis XIV; for this reason a new sensibility arrives in Genoa and, after Van Dyck's influence, the knowledge of the French portrait painters makes its way to which the painter adheres with a simple but elegant pictorial language in the rendering.

The painting is in an excellent state of preservation, enriched by a valuable period frame in carved and equipped wood

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Painting accompanied by certificate of photographic authenticity in accordance with the law.