 Typically of van der Weyden, the sitter's fingers are highly detailed and prominent, shown as almost resting on the lower left of the panel frame, and are long, bony and highly detailed.The painting is unusually secular for the time, seeking to flatter d'Este's worldly position, rather than highlight his devotional worth or personal humility.The portrait follows the structural conventions of van der Weyden's late career male portraits.