The jewelry simply adorning the chest and the hands of the Wetsuit, as well as the choice of precious silk that frame the head and shoulders, the glove (or handkerchief) strait between the hands, the refinement of the colors of the fabrics refer to the rigid codification of social tax by the sumptuary laws of the florentine of the time, and they tell of the wealth of the woman and the role in the family economy (think of the apron that surrounds the life).
In the lines sharp and dignified face, the look is made even more intense by the lips, the brush explores with great details the physical with a light that is already over the warm rational light ‘urbino’.
The design underlying the painting shows such as Raphael abbozzasse briefly the eyes, the nose and the lips; instead, he was more tiring for him the study of pose, which varied in height, and in the opening of the shoulders, as well as in the position of the hands.
The painter, also because of the difficult three-quarters, is compared here with the portrait of Leonardo da vinci (by Ginevra de’ Benci at the Mona Lisa); it is also strong due to the portraiture of the matrix, nordic, and in the treatment of the hands, superimposed on the lower edge of the painting (to pay attention to the index of the left hand showing something outside of the table), and in the use of the seabed dark, through which it is isolated and the volume is composed of the figure and emphasize the virtuoso rendition of the fabrics.