![]() ![]() She specialises in the art of the Italian Renaissance. Her publications include Art and Authority in Renaissance Milan. ![]() ![]() The article therefore draws attention to the importance of spoken descriptions in the dynamics of portrait making as well as to the oral culture around portrait display in the courtly milieu. Evelyn Kathleen Welch MBE is an American-English scholar of the Renaissance and Early Modern. Evelyn Welch is Lecturer at the Warburg Institute, University of Sussex. In addition to introducing Zaninello as a collector, the article introduces new documents that attest to his use of Isabella's portrait as a constituent in dialogic games of surprise staged at dinners he hosted in Ferrara. Such was the success of the Francia portrait that it was borrowed by Isabella to serve as inspiration for another portrait made by Titian (Isabella in Black, now in Vienna) assisted by the literary description of Isabella by Gian Giorgio Trissino, an associate of the Zaninello circle in Ferrara. This paper traces the creation, dissemination and display of a portrait of Isabella d’Este made by Francesco Francia in 1511 from its origins in oral descriptions by Lucrezia d’Este Bentivoglio in Bologna to its status as an object of play within courtly social entertainments hosted by the collector Gian Francesco Zaninello in Ferrara. Abstract: This paper argues that items designed for the bodily extremities such as hair-coverings, hats, fans and other accessories were valued for the ease with which they could be changed and adapted to express a range of different meanings: political, social and individual. ![]()
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