In 1979, Alfonso E. Pérez Sánchez refuted the attribution to Fray Juan Ricci (1600-1681) this work had when it entered the collection, considering it more in line with the portraits painted in Northern Italy, and more specifically with the artist from Bergamo Carlo Ceresa (1609-1679).

Just as there were many admirers of Italian painting in the Low Countries, in Northern Italy, and more specifically in Lombardy, there was a group of artists who imitated the style of van Dyck (1599-1641). The self-assured poise and the proud posture of the model with his hand resting on his hip fit in well with the manner of the Flemish artists working in Italy and with that of the Italians imitating them. Removed from the stern and rigid frontal depiction of late 16^th century court portraits, particularly Spanish ones, this style spread throughout Europe starting with certain Flemish models from the circle of van Dyck.

The model, portrayed in full body and dressed in military attire, leans his right hand on the desk where his wide-brimmed hat is sitting alongside a writing bearing his name and that of the Corsican city of Bastia (“Al Sig. Capn Leone/Gentile/Bastia”) as well as a ceremonial staff. His left hand rests on his waist, with the poise made fashionable by the followers of van Dyck. Worth mentioning is the utmost refinement in the rendering of the fabrics of the smock, the embroidery of the collar with rich Milanese lace, the pleated cuffs fastened with black ribbons and the intricate belt around his torso to hold the sheath for the sword with its ornate hilt, as well as the large boots adorned with spurs.

The coat of arms seen in the top corner must surely be his family’s shield.