This portrait as it exists today represents a reworking of an earlier version. An x-ray image reveals the composition prior to Van Dyck’s departure for Italy: originally, his vertical right arm was raised languidly to his chin. The final pose, with the arm positioned parallel to the lower edge of the picture, is derived from Italian models. Following his return from Italy in 1627, Van Dyck evidently adapted the painting to the Italian type, adding the chain of honour, which had been conferred on him by the Duke of Mantua in 1622. He was thus commending himself to potential clients in Antwerp.