It is a painting, by Raffaele Sanzio, in oil on wood (155.2 x 118.9 cm), depicting Pope Leo X, with Cardinals Luigi De Rossi and Giulio de 'Medici, in the fullness of his temporal power.

The pontiff is in the center of the painting, seated on the chamber chair on whose knob you can see a reflection of the window and the room decorated in red. He is facing left and observes the outside of the work. He is dressed in camauro, mozzetta and a fur-trimmed and richly decorated velvet robe in dark red over a white suit. The pontiff is portrayed intent on reading a precious illuminated manuscript, magnifying glass in hand, next to a richly decorated chiseled bell, used to call servants and courtiers, with his arms resting on the table covered with a red cloth.

The composition takes place diagonally, rather than in profile or frontally as usual.

Behind him stand two cardinal cousins, Giulio de 'Medici and Luigi de' Rossi, in the absence of action.

The background is dark but there are few spatial hints showing a pillar of the room, with broken frames. The colors are based on the red scale, the most decisive color is the red reserved for the papal mantle and the decoration of its seat. The cardinals' robes and the painted tablecloth on the left are lighter. Pope Leo X's dress is white, shaded with warm gray tones tending to ocher. The same goes for the arm of Cardinal Giulio De Medici who rests on the back of the papal chair on the right.

The faces of the cardinals are partially in shadow and are not affected by a strong contrast. The face of Pope Leo X, on the other hand, is highlighted because it is more illuminated on the right. The Pope's habit is very elaborate thanks to the velvety folds of the cloak that create interesting ruffles. Raphael paid great attention to the rendering of the fabric. An interesting detail that reveals the artist's technical ability is the polished knob of the back of the chair that reflects the light and the window.

The light illuminates the face of Pope Leo X painted in three quarters and almost totally illuminated. So is her left arm and part of the dress that falls under the tablecloth. Giuliano de 'Medici's sleeve and the missal on the left are also illuminated.

It is a painting, by Sebastiano del Piombo, in oil on slate (105.4 x 87.6 cm), where Pope Clement VII is depicted. Following a model established by Raffaello a couple of decades earlier, the painter painted the pontiff three quarters in length and seated in an armchair positioned diagonally on the plane of the picture. He is facing right with a thoughtful gaze away from the viewer. It was executed after the Sacco di Roma (1527), and Sebastiano, who previously had portrayed Clement VII as a young and daring one, did it again, highlighting the aging of man due not only to time, but to the adversities suffered. In fact, to save himself Clement VII, he not only had to grow a beard, but to bow to Charles V.

He is dressed in dark red mozzetta with gold edges on a white suit. The pope is portrayed in a set manner, with his arms resting on the armrests of the armchair richly decorated with golden studs. His hands are richly adorned with rings; his right hand holds a white handkerchief.

The background is dark but, on the left of the painting, curtains can be glimpsed while on the right, spatial hints are sensed showing light-colored stairs and a wooden frame.

The dark colors of the background bring out the figure of the pontiff. The strongest color is the red of the papal cloak and headdress. The white habit of Pope Clement is white, shaded with warm gray tones tending to ocher, in the points where it is struck by the light.

The pope's face is highlighted more clearly because it is illuminated from the left. The pontiff's habit is very elaborate thanks to the folds of the mantle and robe.