Francesco Maria I della Rovere stands in three-quarter length, clad in gleaming black armor, his torso turned slightly as he rests a commander's baton on his hip and extends his right arm toward the hilt of his sword. His face, framed by a full beard and dark hair, is illuminated by a shaft of light that accentuates the signs of age on his skin, lending a sense of gravity and experience to his expression. He gazes directly outward, his steady eyes meeting the viewer with a calm, resolute intensity.

Behind him, a deep red velvet drape covers a shelf, its rich folds painted with rough, creamy brushstrokes that contrast with the smooth, reflective surfaces of the armor. The composition sets the figure against a dark, neutral wall, which heightens the luminosity of the armor and the sitter’s face, while the red velvet provides a dramatic backdrop for the objects that signal his rank and achievements. To the left, a large helmet adorned with a white feathered plume rests on the red velvet, its polished surface reflecting light and shadow.

Several ceremonial staffs or batons, decorated with gold and white, lean diagonally against the wall in the upper right corner. The background wall is painted in muted gray-brown tones, with subtle variations that suggest texture but no architectural detail. The light falls most strongly on the sitter’s face, breastplate, and the top of his right arm, while his left side and lower body recede into shadow.

The edges of the painting are bordered by the deep red velvet, which is rendered with visible, expressive brushstrokes and areas of brighter red where the light catches the fabric. Fine lines and highlights define the intricate engravings and rivets on the armor, contrasting with the looser, almost abstract treatment of the drapery and background. Despite the formal arrangement, the portrait is noted for its human intensity, with the painter’s varied brushwork conveying the textures of feathers, velvet, skin, and metal.