The central panel of the triptych is a copy with small variations from a work by Memling today in Berlin. The side doors, which can be traced back to other paintings of his, also seem to refer to the style of the master. The work can therefore be assigned to an anonymous master probably from Brugge from the first and second decade of the sixteenth century: in fact, it is characterized by a certain archaism that can be seen in the closed and static rendering of the forms.

The Salvator Mundi theme, constant in Western iconography in the 15th and 16th centuries, is interpreted here with an allusion to the Byzantine derivation that El Greco helps to bring to the West. The figure of Christ probably comes from the Apostolado preserved in Oviedo, a series of paintings that originally included the twelve Apostles and the Redeemer, missing from the Oviedo series. The Christ the Savior who with his right hand raised blesses, according to the Latin gesture, and holds the left resting on the globe, refers to the tradition of the Byzantine icons, thanks to the frontal arrangement, the deep gaze and the rhomboid shape of the luminous halo that surrounds the head.

The work dated 1644, as can be read on the parchment roll held in the mathematician's right hand, has been traced back to Ribera because it can be assimilated to other works by the painter, depicting half figures of philosophers, saints and beggars, similarly represented frontally with the relative attributes in the foreground. Characteristic of the author is in fact the high expressive intensity, given through the explicit realism of details such as the wrinkles of the face and the skilful rendering of the beard and hair.

Luigi Parmeggiani, with gray hair and mustache and a serene expression, is portrayed seated in the center of a room, surrounded by the objects that have characterized his antiques business. At the date of the painting, however, Parmeggiani is 41 years old, and is far from resembling the portrait. However, the painting and signature are authentic, and this generates a contradiction. The mystery is probably revealed by the payment request of a Reggio painter, who in the 1930s perhaps received the task of inserting an elderly Parmeggiani in the place of a pre-existing figure. By carefully observing the painting, in fact, around the seated man there are signs of scraping of the pictorial material and evident new layers of color.

The term "andrienne", originally referring to a theatrical performance, indicates a dress with a comfortable and soft line, initially used in domestic environments. Later this model also imposed itself on official occasions, becoming very fashionable. Also this model is characterized by a large panel on the back held at shoulder height by sewn pleats. The fabric has a vertical design with undulating ivory shoots with blue, purple and pink roses. Along the front opening there are two bands of the same fabric profiled by a silk ribbon that continue around the neckline.

The suit figures as an important example of seventeenth-century men's clothing. It consists of a tight-fitting jacket and breeches reimbursed at mid-thigh, complemented by knitted silk socks, leather shoes, gloves and a leather hat. The dress, made of crimson silk satin with leather applications, has a symmetrical diamond decoration in which stylized flowers, perhaps carnations, are embroidered. The short, very rounded shape characterized a type of dress very common at the court and in the area of Spanish influence, since the seventies of the sixteenth century.