A man in voluminous red robes sits in an ornate armchair, his upright posture and direct gaze commanding attention. The sitter wears a red biretta and a matching mozzetta, their vivid color dominating the composition and contrasting with the intricate silver embroidery of his alb beneath. His hands, resting on the arms of the chair, are adorned with rings and lace cuffs, while his face is framed by a close-cropped beard and round spectacles.

The background is divided between a patterned gold wall covering on the right and dark wooden paneling on the left, with a green curtain providing a vertical accent behind the sitter's head. A folded letter or document lies on the checkered floor at the cardinal's feet, introducing a note of narrative or official business to the scene. The light falls from the left, catching the gleam of the silk and the texture of the lace, while deep shadows under the chair and robes add weight and depth to the figure.

El Greco’s brushwork is especially visible in the energetic, almost sculptural handling of the cardinal’s garments, where bold strokes and subtle color modulations create a sense of movement and richness. The composition centers the cardinal, with his triangular form filling the canvas and his head aligned just above the midpoint, emphasizing his status and presence. The gold-patterned wallpaper on the right side of the background features swirling, floral motifs rendered with loose, textured brushstrokes.

The armchair’s back is decorated with three visible gold buttons set against a red velvet fabric. The checkered floor is composed of alternating brown and gray tiles, receding diagonally into the background. The sitter’s left shoe is just visible beneath the hem of his robe, peeking out from the shadow cast by the folds of fabric. According to the Metropolitan Museum of Art, the painting entered the museum’s collection as part of the H.

O. Havemeyer Collection in 1929 and is displayed in gallery 619.