The stretched format of the picture and the thickening darkness as background give the countess a particular fragility, accentuated by a light, airy dress of light gray-brown color with pink veins and a hairdress, in which wind seemed to hide. In all appearance of the girl, even of the royal family, there is a sadness that can be seen in the living brown eyes, and in the folded hands that Maria Teresa as if purposely trying to squeeze more tightly.
The Countess was at that time not the best time in her life: her husband, the omnipotent prime minister of the Spanish government, Don Manuel Godoy, had an imperious character, besides, this man was the lover of the queen. Goya was already drawing the countess, and now, knowing this young woman well and sympathizing with her, noticed her deeply hidden sadness. The portrait, conceived by the ceremonial, shows the spectator a lively and charming man.
Another curious fact is also connected with this picture. After the painting was bought by the Prado museum from the hands of a private collector for 24 million euros, it turned out that on top of this portrait was painted a portrait of the Marquis de Vilafranca, and on top of it a portrait of Countess Manuel Godoy’s husband. It was possible to install it with the help of the latest equipment