The support is an oak panel measuring 435 x 318 mm (fig.1). It is composed of two planks placed vertically and glued together at a butt joint (fig.2). The left plank is 76 mm wide, the right 237 mm. Although the front of the panel is smooth, the back has been left with saw marks and a rough bevel on all but the left side (fig.3). The two upright edges are cut unevenly. There is a dark reddish brown stain over the back of the panel.
The ground is off-white in colour and is about 70 microns thick. It is made of marine chalk and animal glue (fig.4).1 It is covered by thin, pale grey, oil based priming, which is approximately 10 microns thick (fig.5).
No underdrawing is evident. Brushstrokes at the top edge suggest that the figure was originally conceived within a painted oval; this was confirmed during inspection with infrared when very faint spandrels were visible (fig.6). Close examination of the head reveals that it was laid in with grey paint (darker than the colour of the priming), which was allowed to dry before the flesh tones were applied.
It is possible that the hair was sketched in with a thin brown wash (fig.7) before being built up with more substantial, opaque colours applied with descriptive brushwork. Other than the sash, which was put in last on top of the paint of the doublet, and a few of the shadows in the linen, the image was built up wet-in-wet with thin, slightly lean paint and a limited palette. The black clothing was mixed from bone black and lead white.
Regularly spaced pinholes through the paint into the wood on all edges probably relate to a net stretched over the image for the purpose of making an engraving. An engraving was done by Lucius, Viscount Falkland in 1810. The painting was cleaned in 1972. The varnish is a modern, synthetic resin.