This work is attributed to Pietro Nelli, a disciple of Giovanni Maria Morandi (1622-1717), who he followed so closely that in some cases he is considered a copyist of the master’s work. Nelli enjoyed certain fame as a portrait painter to Rome’s aristocracy, although not many works attributed to him are presently known. The study of the physiognomy of the model, rendered with correct naturalism, suggests that the artist must have been trained in painting from life.

Severely composed, the neutral background and the use of dramatic lighting directly influence the energetic yet somewhat disdainful expression and accentuate the volumes. The features, treated with high realism, succeed in depicting a deep gaze that contrasts with the less defined treatment of the clothing. This portrait ought to be ascribed to the tradition of Roman official portraiture which, although established in the 16^th century, was enriched in the 17^th century with contributions from Flanders, especially van Dyck (1599-1641), and also from Spain, particularly Velázquez (1599-1660) after his stay in Rome in 1650.

The inscription on the stretcher —“Pietro Neri”— sows some doubt if it refers to Pietro Martire Neri (1591-1661), for this Lombard painter was a collaborator of Velázquez in Rome. However, the portrait seems to date from after Neri’s death, therefore, for the moment and until the identity of the sitter has been established, it seems appropriate to maintain its attribution to Pietro Nelli.

A label on the back informs us about its provenance: “1823, Palazzo di S.A.R. la Duchessa di Galliera.” The documents of the purchase indicate that it must have arrived to the duchess’s palace from the Contini-Buonacorsi collection. The work appeared on the market in the sale by the Orleans family (Seville).

It portrays an unidentified elderly cardinal, dressed in the clothing fitting his position: a red cassock with silk lining in the same colour, white surplice, cape and red cap.