7

The portrait

The portrait presents the bust-length image of Bianca Cappello

(fig.1).2

Captured in
a light three quarter pose, the lady with a hint of a smile on her lips directs her gaze
towards the observer. The fineness of the brushstroke, the precision of the details,
the perfection of the volumes, the delicate flesh tones and the preciousness of the
colour all convey a character of distinction. The lady, whose full face reveals her
mature age, has grey-blue eyes, slightly pink flesh tones and red-blonde hair. The
»horn« hairstyle is enriched with a pearl that falls onto the hairline. This acts as a
pendant to a string of smaller pearls fixed into her hair; the very light mesh veil is
crimped at the top and falls gathering into soft folds on her left shoulder. The veil is
embellished in the upper part with tremoli, small gold discs in this case, sewn to the
veil that when moving (trembling) reflect the light. The lady is wearing a blouse
with an open neck decorated in gold along the neckline over a fine chemise with
lace decorated hem. The collar is embellished with a very elegant lace crimped into
cylinders. The gown in blue fabric is woven with threads of gold and silver that
make up a geometrical design. There are three strings of pearls, hanging long over
the bust of the gown, and a choker. Earrings with drop pearls set in gold - only one
is visible - decorate the earlobes. The patch of colour provided by the carnation
threaded into the neckline between
the lace and the skin is very effective.


(fig.

2) Traditionally related to
love and marriage, the flower in
this context seems to allude not so
much to Bianca Cappello’s marriage
 to Francesco I de Medici (celebrated
 six years before the portrait
was painted) as to love, and in any
case is a very striking decorative
element, possibly chosen by Bianca
 herself. The clothing corresponds
 to those of married Florentine
 ladies

(fig.

3) as described by
Cesare Vecellio in his work entitled
 De gli habiti antichi, et moderni
 di diuerse parti del

mondo.3
The reduced size of the painting
 and especially the close up
view leave no room for any characterisation
 of the setting. All attention
 is focused on the lady’s
face and her elegant clothing.

Fig. 3: Nobile Firentina (Florentine Noblewoman)
woodcut, in: Cesare Vecellio, Degli habiti antichi, et
moderni, Venice 1590