The painting depicts an elegant young woman dressed according to the fashion of the time who is reading inside a room with an open window, from which it is possible to grasp a spot of Villa Borghese, which due to the representative choice and for the adoption of a close-up view, can be considered absolutely innovative.

The background depicts a scene in which the protagonist is a chariot drawn by a pair of horses, depicted during its arrival to the semi-circular stable, situated in front of the south façade of the Casino del Muro Torto.

Outside the window it is possible to see the south-western corner of the Casino, situated on the extreme right hand side. The laurel hedge on the left delimitates the connecting street between the Casino and the Portale delle Aquile at the Muro Torto and which was planned by Antonio Asprucci between 1791 and 1793. Beyond the hedge it is possible to observe a pleasant garden with a fountain at its center and decorated with statues placed along its perimeter.

The garden was surrounded by the Giardino del Lago’s surrounding wall, which was also planned by Antonio Asprucci, along with his son Mario in 1775 and which along with the arches of the Acquedotto Felice¸ the Casino del Muro Torto’s fountains,fed the garden’s water basin already by mid XVIIth century. Among the Giardino del Lago’s dense trees, stands the Esculapio Temple’s top floor with ancient Roman statues which were restoredby Vincenzo Pacetti in his studio. Above the hill on the upper left it is possible to notice a building which was most probably part of the ‘casino’ commissioned by Prince Stanislao Poniatowski at the beginning of the XIXth century, and planned by Giuseppe Valadier, situated in what is today Villa Strohl-Fern and wrecked during the battles between the defenders of the Repubblica Romana and the French invaders in June 1849.

Continuing to observe Bassi’s depiction of the garden, one can detect two small travertine sphinxes placed on the entrance gate’s pilasters, which had also been depicted in the same period by C.W. Eckserberg in 1813 and an engraving by G.B. Cipriani in 1817, which can be found today at the Museo di Roma.