This portrait-group belongs properly to the time a few years ahead, since it was undertaken during Titian's stay in Rome.
The imposing signature runs Titianus Eques Ces. F. 1543.
The type is not the nobler and more suave one seen in the Cristo della Moneta and the Pilgrims of Emmaus; it is the much less exalted one which is reproduced in the Ecce Homo of Madrid, and in the many repetitions and variations related to that picture, which cannot itself be accepted as an original from the hand of Titian.