When Klimt came back from his visit to Ravenna, he brought back with him its mosaic-Byzantine style.  It is this portrait that epitomizes this style in his "golden" period.  The effect is kaleidoscopic, where the woman is encased in glittering gold, dotted with coutless geometric figures. 
 
   It is very typical of Klimt to paint lavish ornamentation, specially behind the human figure, sometimes making it difficult to discern where the foreground begins and ends.  Noteable in this painting is the eye-pattern on the dress of Adèle, which Klimt borrows from Egyptian art.   One of Klimt's trademarks is the position and detail of the hands.  Note how lovingly detailed the fingers are clasped.  Scholars say this is Klimt's way of showing intimacy. It shouldn't surprise us that Adèle was one of Klimt's lovers. 
 
   Klimt painted several paintings of Adèle, who is also said to be the model for Judith I which now hangs in the main exhibit of this gallery.