Portrait of Lucrezia Panciatichi

Lucrezia Panciatichi’s portrait shows the poise and composure of Bronzino’s portraits of women. She is seated in an indistinguishable interior space, her chair has two grotesque faces of vices, and she holds open a Book of Hours. Her hairstyle features a twist of false hair and padding, called a balzo, which added volume, which was falling out of fashion when this portrait was painted. Her structured bodice and large puffed sleeves with an excess of fabric pulled together create the increased weight and size of the garment. The purple-coloured sleeves that emerge from larger sleeves were probably detachable and interchanged. Her jewellery is confined to a few specific pieces: a ring, two necklaces, a belt of jewels, a string in her hair, and the aglets added to her arms. Her collar, with its zigzag ruffles, would need to be starched and pleated after each wear, an open indication of her high rank. 

Below [1] and [2]: These two portraits contain many of the same elements as the portrait of Lucrezia Panciatichi's portrait. Note the chair and hairstyle in the [1] painting and the sleeves and starched ruffed collar in the [2] portrait.

Below [3]: This portrait is of the husband of Lucrezia, Bartolomeo, who worked for the Medici family. Note the emphasis of the architectural background and the pinked sleeves.