On a dark background, cut transversely by a red curtain, are portrayed Paul III and his nephews, Cardinal Alessandro and Ottavio, sons of Pier Luigi. Tiziano realizes the very personal interpretation of a family portrait making every single physiognomy, every gesture represented the vehicle of a state of mind: in an apparent calm you can feel the climate of suspicion and conspiracies, of fear and mistrust that made the atmosphere so gloomy. of the Farnese house. The portrait was made just when Paul III, who even had close relations with Charles V by arranging the marriage of Octavius with Margaret, the natural daughter of the emperor, moved diplomatically to make agreements with France through the marriage of another nephew, Horace , with Diana of France. Ottavio in an obsequious pose seems to flatter his grandfather who, unstable, with a wary expression, remains in the chair. A symphony of reds is in this case the pictorial medium used for the work, which the artist, who arrived in Rome in 1545, left incomplete to return to Venice in May 1546, disappointed by the lack of answers to the promises that Cardinal Alessandro had cleverly used as a means to persuade the artist to work for the Farnese.