In this work, the somewhat hard and dry technique in the treatment of the fabric brings to mind several similar works by Francisco de Zurbarán (1598-1664). In fact, the work was attributed to this painter when it was purchased in 1963, although this provenance seems rather improbable. Particularly odd is the size of the collar, not easily identifiable with any known fashion. This enigmatic work may be of Central European origin or perhaps, as Julián Gállego inferred, a French provincial painting (perhaps from Burgundy) from the late 17^th century or a backwards-looking 18^th century.

The crown on the table recalls the saint’s royal descent. Born in 931 the daughter of Rudolf II, King of Burgundy, at the age of 17 Adelaide was married to King Lothair II of Italy, thus establishing peace between the two kingdoms. However, the peace was broken when Adelaide’s husband was killed by Berengar II, a usurper to the Italian throne who then tried to marry the widow to his son Adalbert. When she refused the match Berengar had Adelaide imprisoned. After escaping with the help of a monk called Martin, in 962 she married again to Otto I, Emperor of Germany. Adelaide played a key role in the policymaking of her time, and acted as regent for her son Otto II and for her grandson Otto III when they were minors. At the end of her life she retired to the monastery of Selz, in Alsace, which she herself had founded, dying there in 999. Her cult and iconography are largely confined to Germany though they spread to France in the 18^th century.