This miniature portrait on copper depicts a man in his thirties wearing an ochre jacket with silver and gold trim and a double embroidered collar, indicative of a date no later than the 1630s. The sitter’s expressive gaze, subtle smile, and chiaroscuro depth suggest influence from Roman theatrical styles of the 1620s, notably Caravaggio’s followers, Sacchi, and Bernini. However, the synthetic brushwork, precise nasal highlights, and realistic eye modeling point to Giuseppe Vermiglio, a Lombard painter active in Rome from 1604 to 1619. The collar and Spanish-style facial hair support a 1630s dating, after Vermiglio’s return to Lombardy in 1621, where he adapted his style to local trends, collaborating with Daniele Crespi and absorbing influences from Giulio Cesare Procaccini. Vermiglio’s late Roman style—echoed in the sitter’s vivid expression and tousled hair—blends with Crespi’s portrait innovations, as seen in works like David and Goliath, Saint John the Baptist in the Wilderness, and the Funeral of Saint Thomas Becket. The portrait’s naturalistic synthesis also recalls Vermiglio’s Portrait of Abbot Celso Dugnani.