Like others of her generation, Millet created genre paintings that relied on historical research and archeological accuracy. By 1875, three years after his graduation from the Royal Academy, London, he began to produce pictures in which historical costume and specificity of ambience were central concerns, as in the present painting. This portrait of a Turkish soldier resulted from Millet's exposure to exotic figures and costumes during his tenure and correspondent in the Russo-Turkish War. It is related in subject to another portrait, A BAshi-Bozouk, dated 1878 [John Jacob Astor Estate; see H. Barbara Weinberg, "The Career of Francis Davis Millet" in Archives of American Art Journal, 17 (1977), p.5 fig. 4.] In a contemporary interview with George Lathrop, Millet recalled his relationship with the Turkish soldier;
"He [Paolo] was devoted to me, says the artist. He always slept at night lying across the entrance to my quarters, whever we were, so that no one could get in without encountering him; and when I got back to Paris he insisted on carrying out the same plan, sleeping at the threshold of the lower door of the house, to protect me against possible murderers. This man was also an admirable cook, spending hours over the compostion of recherche soups, but satisfied himself on salt pork and bread. He afterward returned to his native country. That he was a semi-savage is plain enough from the expression of his face in the picture, and also from the fact that he was painted at his particular request as in the act of preparing to murder a Bulgarian prisoner, who is bound and seated at his feet. The Albanian [sic] is attired in a rich costume of dark blue knee-breeches with yellow sash, crimson fez, and jacket adorned with gold. He carries a small armory of pistols and sabres thrust through the waist sash in front, and is holding the drawn sabre between his teeth. There is a nice point of etiquette , by the way, Mr. Millet explained, about the manner of wearing that sabre in the belt. When the thin edge of the scabbard, corresponding with the sharp edge of the blade, is turned ouward, it means hostility. When it is turned inward toward the wearer, his intentions are peaceful."