women of the time also highlights the differences between concepts of masculine and feminine beauty in the Renaissance. Portraits such as Bronzino’s Portrait of Eleonora de Toledo (1545) highlight the correct demeanour and presentation required by married women in order to appear virtuous and hence beautiful. Eleonora, who was the wife of Cosimo de Medici, was highly regarded as the image of elegance and grace. The Duchess is shown seated, in a three-quarter length pose. Her hair is pulled back in a gold hair net decorated with pearls which gently reflect the pale luminosity of her smooth skin. Her gaze meets the viewers with calm serenity, with her arms gently resting around the shoulders of her first son. The dynastic nature of the portrait celebrates not only her fertile feminine virtue as a bearer of Cosimo’s first son, but also her role as a Mother ensuring the propagation of a new Medici dynasty. The use of brilliant blue sky paling behind her head, lends her almost religious grandeur. Unlike La Bella, this portrait does not invite viewers to interact with the subjects. Instead Eleonora’s beauty is defined by her aloofness – she is an image of untouchable regal elegance and nobility. The most stunning feature of the portrait however, is Eleonora’s amazingly intricate and luxurious gown. Bronzino has created an image of pure opulence, with golden thread, buttons and pucker of the cream brocade and black cut velvet reproduced with extreme attention to detail. The delicate fingers of her elongated left hand, point towards a pearl tassel decorating her jewel studded, golden belt, a subtle indication of her extreme wealth. She would have only worn such an ornate gown when attending special function at court – a time where the display of her beauty and grand affluence was of vital importance in the power game between rulers. This particular portrait was a component of a series of portraits which serve...
