canvas, 179x116 cm + frame 8 cm, Inv. n. 13

On the base of an opinion voiced by Longhi, the work was assigned to a talented Genoan portraitist and follower of Van Dyck, Giovanni Bernardo Carbone.
In 1964 Golfieri indicated a potential attribution to an anonymous Flemish artist who worked with Frans Pourbus the Younger, but the painting is more similar to the style of Carbone, who in his portraits favours full-length figures dressed in a sophisticated fashion … la Van Dyck, with meticulously detailed objects.
The painting was touched up during the eighteenth century with the addition of the palm tree and, according to Calzi, Archi, and Golfieri, the background and organ painted to replace a table were painted by "another hand". These changes transformed the subject, which was likely a simple seventeenth-century lady, into St. Cecilia. The woman, pretty and expressive, all in all manifests the gifts of a talented portraitist in the details.