Louise Loy Smart (1810-1888), sister of Guglielmo Coronini's maternal great-grandmother, Elisabetta, was born in Trieste and was the daughter of Giuseppe Loy and Giustina Pittoni de Dannenfels. From the marriage with Thomas Smart (1789-1869), celebrated in 1827, Luisa had eight children, two boys and six girls, of whom four died prematurely and only two lived to an old age, Guglielmina (1827-1906) and Ada (1837 -1912). The portrait inherited to the Coroninis in 1912, on the death of Ada, the last of the Smart family, can be dated between 1850 and 1855, as suggested by both the age of the woman, already mature but not yet faded, and the characters of the dress that, according to mid-century fashion, gains breadth with the crinoline and corrects the severity of black with the flirtatious touch of the soft lace underarms and the light profile accompanying the neckline. Even if it were not signed, the painting would immediately make one think of Antonio Zona, a portraitist characterized precisely by the ability to emphasize the sweetness of soul that Louise Loy expresses and, in general, good feelings. Born in Gambarare di Mira in 1814 and trained at the Venice Academy, he had contact with Trieste from the very beginning. His painting is the result of a great technical preparation gained in a context of profound transformations and harsh confrontations between conservators and realists. In the end he remained faithful to a late-romantic vision, respectful of the great tradition and attentive to the motions of the heart. Languid and sometimes sweetish poses easily meet the taste of the public and, although he, in many respects, appears to be a follower of Hayez, he is unable to match him in the expressive power of his portraits.