A woman wearing a crimson-red brocade dress and gold jewelry fills most of this vertical portrait, but her right hand, on our left, rests on the shoulder of a young boy tucked into the lower left corner of the panel. The woman and boy both have pale, white skin, and both face and look out at us against an emerald-green curtain that falls behind them. The woman has brown eyes, a straight nose, full pink lips, smooth cheeks, and a long neck. Her brown hair is pulled back under a turban densely embroidered with gold. The woman’s dress has puffed shoulders and decorative slashes on the sleeves. One gold chain rests on her throat and the other falls over her chest. She wears long gold earrings, a gold belt, and two gold rings. She holds a brown leather glove in her left hand. The boy’s face is even with the woman’s waist, and he raises his left hand to hold hers, which is draped over his shoulder. He has curly blond hair and dark eyes, and he wears black with a ruffled white shirt just visible at his collar.

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   Who is this elegant lady? A noblewoman surely, and most likely a member of the court of Cosimo I de' Medici, Duke of Florence in the mid-sixteenth century. Her ornate and costly attire establish her as an aristocrat. She holds herself rigidly with the controlled demeanor that distinguishes portraits of members of Cosimo's court. Bronzino was the principal portraitist to the court, and one wonders how much his own coldly idealized, polished style of painting may, itself, have contributed to the taste for the marble-hard perfection and chilly hauteur of his models.

   Tucked in the corner of the panel, the small blond boy was an afterthought, added by Bronzino in a second campaign of painting. X-radiography has revealed that the woman had first stood alone with her proper right hand placed against her dress. Not only did Bronzino insert the ivory-skinned child, but he also brought the woman's apparel up to date: her headdress grew larger and more elaborate; the puffed sleeves of her dress were broadened (a change evident in the darker silhouette of the contours that were painted over the green background); the gloves were added and, probably, the damask pattern on the bodice as well.

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