A solitary figure stands against a dark, nearly featureless background, his body turned slightly to the right while his face meets the viewer with a reserved, steady gaze. He wears a vivid red cardinal’s robe that dominates the composition, its folds rendered with broad, textured brushstrokes that catch the light along the shoulders and sleeves. A transparent lace rochet, painted with delicate, almost shimmering strokes of white and grey, falls over the red, giving a sense of layered fabric and ceremonial formality.

Around his neck, three large, ornate decorations hang on blue and white ribbons, their metallic surfaces and intricate shapes described with careful highlights and crisp lines. In his left hand, he holds an open book, its brown cover and fanned pages angled outward, while his right hand rests at his side, fingers relaxed and natural. His expression is calm and composed, the pale face framed by short, light brown hair and a small red skullcap that echoes the deep hue of his vestments.

Light falls from the left, illuminating the sitter’s face, the folds of his garments, and the decorations at his chest, while the background remains in shadow, emphasizing the figure’s presence. The painting’s surface reveals the artist’s hand in visible, confident brushwork, especially in the textures of the lace and the subtle modeling of the face and hands. The composition centers the cardinal within the vertical format, his form almost touching the top and bottom edges, reinforcing his stature and the gravity of his office. This is Cardinal Luis María de Borbón y Vallabriga, created by Francisco de Goya in the 1800s.

A crucifix is suspended from his neck, painted with fine detail and set among the other decorations, reinforcing the religious significance of his rank.