The Donor Figure in this panel, here attributed to Francesco Ubertini, called Bacchiacca (1494-1557), represents a a young man kneeling as he offers up a ruined building on a plot of land, possibly a church to be renewed; he is seen in profile against a dark green hanging of rich fabric. The figure forms a pair with a second panel in the Portsmouth collection (210/1975/1) representing an old man in a similar pose. The two panels appear to have formed the end sections of the predella panel for an altarpiece.

The young donor wears brilliant red stockings and classicising boots of soft leather, his lilac tunic is cut with a square collar edged by a sky blue border over which he wears a voluminous blue-grey over mantle. He is seen frontally from the right, his left knee is raised, and he holds his right hand to his chest in a gesture that points towards the offering in his left hand. His face is turned from the viewer as if looking into the altarpiece to which this panel once belonged. The bold colouring and striking ‘S’ shaped pose of the figure are typical of Florentine Mannerist painters such as Jacopo da Pontormo (1494-1556) and Andrea del Sarto (1486-1530). The old attribution to Bacchiacca inscribed in an old script on the reverse of these panels appears convincing: he was a versatile and eclectic painter who was apt to use the bright colouring and the compositional solutions of his contemporaries, particularly during 1530s. He specialised as a painter of small figures; Vasari (1511-1574), who probably knew Bacchiacca, claimed he was a pupil of Pietro Perugino (c.1445/50-1523) and a friend of Andrea del Sarto with whom he also had occasion to collaborate alongside Franciabigio (1484-1525) and Pontormo; from about 1540 Bacchiacca was court painter to Duke Cosimo I de’Medici.