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The Clues in the Jewels: a Case for Companion Portraits of Francesco I and Lucrezia De’ Medici1 Heather L

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The Clues in the Jewels: a Case for Companion Portraits of Francesco I and Lucrezia De’ Medici1 Heather L The Clues in the Jewels: A Case for Companion Portraits of Francesco I and Lucrezia de’ Medici1 Heather L. Sale Holian n the North the unifying mar- Carolina Mu- riage.5 Lucrezia’s I seum of Art in portrait in Raleigh Raleigh resides the was probably paint- finest extant por- ed almost two years trait of Lucrezia de’ later, in early 1560, Medici, fifth child by Alessandro of Duke Cosimo I Allori and his and Duchess Eleo- shop,6 just before nora di Toledo (Fig. Lucrezia’s departure 1). Born in Florence, from Florence for on St. Valentine’s the d’Este court at Day 1544, Lucrezia Ferrara. As such, was joined in a crit- the panel most like- ical marriage of ly functioned as a state in July 1558 commemorative to the future Duke image of the depart- of Ferrara, Alfonso ing princess, bound II d’Este, son of for the ducal court Ercole II. The d’Este of her husband.7 were an old, noble Surprisingly this family who could important state por- trace their origins as trait was never rulers back to the exhibited before eleventh century.2 20058, and given its Ercole II took par- status, the work is ticular pride in his also notably under- family’s antiquity published. Indeed and was enraged by scholarship related the political maneu- to the painting is vers of the parvenu, confined to a short Cosimo I, to estab- paragraph in Karla lish Medici dynastic Langedijk’s seminal precedence in Italy.3 1987 catalogue of The union between Medici portraits, a Medici princess4 Figure 1. Portrait of Lucrezia de’ Medici, by Alessandro Allori and shop. 1560. and a very recently and Ercole’s son Oil on panel. 83.8 by 63.6 cm. North Carolina Museum of Art, Raleigh, Gift of published analysis was desired on both Mrs. George Kuhner. by portrait scholar, sides as a way to Gabrielle Langdon.9 heal the breach between the two ducal families and ensure In their respective studies, both scholars recognized the a political accord between the Ferraran and Florentine critical connection between the image of Lucrezia and courts. This mollifying function was expressed by Ercole another important Allori portrait, that of her brother, the himself in a letter to Cosimo written four months before heir apparent, Francesco I de’ Medici, who they correctly 452 SECAC Review Vol.XIV No. 5 meaning. With the benefit of this new visual information, a deeper understanding of the compelling connection between the two portraits is finally possible, and it is this link which the present essay seeks to elucidate. Lucrezia, who seems to have been sickly much of her life, died in April 1561 of consumption at the age of sev- enteen. Due to her premature death, few portraits of Lucrezia de’ Medici were painted and even fewer are still preserved.11 Most of the extant painted portraits of Lucrezia are smaller copies or abbreviated versions of the Raleigh panel, testifying to its position as an important state portrait. The eminent status of the North Carolina portrait is further proven by an engraving of Lucrezia from Adriaen Haelwegh’s 1675-76 portrait series of the Medici family for which the Raleigh work, or one of its copies, clearly served as the model.12 In her 1987 cata- logue, Langedijk identified the North Carolina painting as the portrait prototype from which all subsequent replicas were produced.13 Although Langedijk did not provide a reason, first hand observation of the Raleigh work reveals that the panel is superior in artistic quality to all known copies. The panel’s fine execution indicates the work of a master painter with minimal workshop assistance, and therefore is most likely the original, as Langedijk noted.14 In the North Carolina work, Lucrezia is standing and is Figure 2. Portrait of Francesco I de’ Medici, Seated, Half Length, shown to slightly above the knee. This general format and in Red Costume, Holding a Portrait Medalion of a Lady, by length is most prevalent among the preserved images of Alessandro Allori (attributed to Angelo Bronzino). 1560. Oil on Medici women depicted by Agnolo Bronzino, Alessandro panel. 82 by 65 cm. Private American Collection. ©Christies Allori and others from the 1560s and 1570s, while after Images Ltd. 2006. this date the format lengthens slightly to a true three- Figure 3. Detail of miniature portrait of Lucrezia, from Portrait quarter length representa- of Francesco I de’Medici, by Alessandro Allori. 1560. Oil on tion.15 Lucrezia is present- panel. 82 by 65 cm. Private American Collection. ©Christies ed before a plain gray Images Ltd. 2006. background, and wears an elaborately slashed identified as holding a miniature copy of the Raleigh por- and finely embroidered trait (Figs. 2 and 3). Aside from Langedijk’s supposition black velvet dress.16 She is that the miniature was included to allude to the presti- lavishly bejeweled with a gious new link between the Medici and the d’Este, real- diamond, ruby, and pearl ized through Lucrezia’s lucrative union,10 neither scholar encrusted belt and head- discussed the formal nor the possible internal connections piece, teardrop pearl ear- between these important Medici state portraits. rings, and a short pearl The current study will suggest that the portraits of necklace. In her right Lucrezia and Francesco, both dated to 1560, were painted hand, Lucrezia conspicu- as companion portraits. A discussion of the personal rela- Figure 4. Detail of Lucrezia’s ously displays for the tionship between Francesco and Lucrezia will further propose pendant, from Portrait of viewer a large gold pen- that the two siblings were as close as a well-bred brother Lucrezia de’ Medici, by dant set with a square, and sister could be in sixteenth-century Italy, and that their Alessandro Allori and shop. 1560. table-cut diamond below Oil on panel. 83.8 by 63.6 cm. a square, table-cut ruby familial bond is visually encoded within Allori’s works. North Carolina Museum of Art, After years of languishing under layers of dirt and darken- Raleigh, Gift of Mrs. George Kuhner. (Fig. 4). The setting is fur- ing varnish, the recently cleaned portrait of Lucrezia is again ther embellished with visually legible. The panel’s restoration has notably increased another teardrop pearl hanging from the bottom of the the visibility of the princess’s jewelry, permitting a previously pendant. Her left hand rests gracefully upon a crystal orb, impossible iconographic study of the gems and their which in turn sits upon a marble tabletop. SECAC Review Vol.XIV No. 5 453 Figure 5. Portrait of Bartolomeo Panciatichi, by Agnolo Bronzino, c. 1540. Oil on panel. 104 x 84 cm. Photo Credit: Scala/ Art Resource, NY. Galleria degli Uffizi, Florence, Italy. Figure 6. Portrait of Lucrezia Panciatichi, by Agnolo Bronzino, c. 1540. Oil on panel. 102 x 85 cm. Photo Credit: Scala/ Art Resource, NY. (Galleria degli Uffizi, Florence, Italy. The Portrait of Lucrezia, is an oil on panel and meas- the broader contexts of Allori’s career and Medici state ures 32 3/4 inches by 24 15/16 inches (83.2 x 63.1 cm) portraiture in general. The work, of which two larger without the frame. However, the top edge of the support copies and two smaller variants are preserved,19 is general- has been cut down perhaps as much as a quarter of an ly dated to 1560, 20 the same date accepted for the repre- inch, while the right and left sides of the panel have been sentation of his sister. The portrait of Francesco was sold planed. Only the bottom edge of the support retains the at Christie’s in 1978 as a Bronzino, but has since been original rounded lip of the ground and paint layers.17 The given, correctly, this author believes, to Allori.21 Like the Portrait of Francesco, today in a private American collec- Lucrezia, it is the finest of the extant versions, causing tion, is also executed in oil on panel, and measures scholars generally to accept the present work as the origi- approximately 32 1/4 inches by 26 inches (82.7 x 65 cm) nal version, and the others as copies, either by Allori, or without its frame, making it almost exactly the same size his shop.22 As such, the painting of Francesco marks the as the piece in Raleigh. If the Portrait of Lucrezia had its first official portrait of the prince executed by Allori, and missing quarter of an inch along the top edge and its now- therefore stands at the beginning of a productive relation- absent portions along the sides, the works, while remain- ship between the patron and the artist. ing nearly identical in terms of size, would match more In his representation, Francesco is depicted in a pose closely in terms of figural placement. Each figure would common among portraits painted by Bronzino of male fit closely, but comfortably within their frames with only a members of court. He is shown to the middle of his thigh slight clearance at the head, arms or hands, and therefore, and seated, in this case, at a desk with his hands resting corresponding as companion portraits often do, in terms upon one another, which in turn lie on top of a book with of placement and format.18 a green binding. In his right hand he holds the portrait The Portrait of Francesco I is an important work, not miniature of Lucrezia. Francesco sits before a plain, rose- only for its relation to the portrait of Lucrezia, but also in colored background and wears a striking red doublet, 454 SECAC Review Vol.XIV No.
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