Florence at the turn of the sixteenth century, like the other Italian regions, had developed
its own distinctive fashion style.
As a married woman this young lady would have worn her hair up, but it was the fashion to
allow the curls which framed the face to flow free.
Stockings were made from bias-cut fabric of wool, velvet, silk or linen, or were hand-knitted
in wool or silk.
Silk stockings, such as the pair the young woman is wearing, were the most valuable,
both in the time it took to knit, and the silk yarn used.
Garters could be buckled or tied beneath the knee, but the fastening was always to the
outside of the knee so as not to inhibit movement.
Sixteenth century Italian shoes are rarely seen in paintings, but indoor shoes seem to
have been made of soft white leather and may have been embroidered or pinked and slashed.
They were flat, made with or without a tongue, had thin soles and could be slip-on or fastened
with buckles, bows or laces.
For outdoors overshoes called chopines would be worn; these raised the feet and hem a few
inches off the floor.
The young lady is wearing a silk gown over her chemise while dressing.
The chemise, or camisia, was the garment worn next to the skin.
It was long and voluminous, with sleeves that were wide and extended beyond the wrist.
It was most usually made from linen, but could occasionally be made from silk.
The camurra was the gown worn over the camisia.
Its bodice was stiffened and helped to shape the body.
It could be laced up at the front, where metal rings were often used for lacing, or through
hand-worked eyelets at the sides or back.
The Florentine fashion was for a wide and slightly off-the-shoulder neckline.
The skirt was richly gathered and full.
The camurra was an informal garment worn in the home, but the fabrics could still be very
expensive.
Sleeves were separate from the bodice and were tied into place at the shoulder, with
puffs of the camisia intended to be seen.
The sleeves could match the garment or contrast with it, they could be elaborate and be embroidered
and bejewelled, or they could be soft and simple.
The slightly extended length of the young lady’s sleeves was a subtle display of wealth.
In a formal setting, the camurra would have been covered by one or two elaborate overgarments
and finished with fine jewellery.
But this young woman is wearing an informal over-gown, the guarnello, associated with
children, pregnancy and perhaps breastfeeding.
They were usually made in linen, but this one is silk with gold silk embroidery controlling
the gathers at the neckline.
The guarnello would be worn loose during pregnancy, but hers is tied at the waist with a sash
A gold wire coif or cuffia was placed at the back of the head to cover the hair.
This provided the means by which a fine linen or silk veil could be pinned into place.
In 1503, a silk merchant from Florence, Francesco del Giocondo, commissioned a portrait of his
young wife to adorn a wall in their new home, and perhaps to celebrate the safe arrival
of their third child.
The artist commissioned was Leonardo da Vinci.
His painting of Madonna Giacondo is an intimate portrayal of a young married woman.
She is not wearing jewellery, her dress, though wealthy, is homely, and her subtle smile seems
intended for Francesco’s eyes only.
It was to be a celebration of their life together, perhaps intended to be hung in the privacy
of their chamber.
But Leonardo never gave the painting to the Giacondo family, perhaps distracted by newer
commissions, he took many years to complete the portrait, and then kept it with him for
the rest of his life.
Over the centuries the paint pigments and glazes have darkened, and cleaning in an earlier
century has thinned the silk veil over her forehead and removed her eyebrows and eyelashes,
but nothing has dimmed that smile.
Leonardo da Vinci’s portrait of Mona Lisa is now regarded as the finest example of Renaissance
portraiture and is the most famous painting in the world.