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Renaissance Studies Vol. 11 No. 3
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180 Cathy Santore
The gift offered by Lais was remembered in the Renaissance and Brantôm
mentions it.9 In antiquity, the mirror was offered by prostitutes to Ven
Meretrix. Tullia d'Aragona, a courtesan who plied her trade for some yea
in Venice, associates herself with Venus and alludes to the ancient practic
of prostitutes dedicating offerings in the temples of Venus when she write
'As was my right I had retrieved (Oh unlucky star!) my trophies from th
temple of the Cyprian and was bearing them away, fdled with pride in th
worth . . Λ10 Tullia wrote this in response to unrequited love.
The majority of dedications made by chaste girls in the Dedicatory Epigra
are to the virgin Athena who receives their spindles, distaffs, weaving com
thread, and work baskets. When such girls make offerings to Aphrodite, t
epigrams (nos 206 and 207) point out that it is to 'Aphrodite the Heavenly
who presideth over weddings', to whom the girls bring their sandals, hai
net, fan, face veil, and gold ankle snake. Mirrors are not included among
the gifts.
Titian equipped his Lady at Her Toilet with the tools of Venus. In his earliest
version (fig. 1), a young woman applies perfume to her waist-length tresses.
She observes her own reflection in a small rectangular mirror held by a young
man. He gazes attentively and intensely at the beauty while his left hand rests
on the rim of a large convex mirror behind the woman. He more than pays
court to her - the sentiment expressed here is akin to homage. Titian presents
a pair of lovers who are following Ovid's dictum (Art of Love, III, 235-6) that
women should extend to their lovers the privilege of seeing their hair being
dressed so that they can enjoy the sight of long, flowing tresses. Renaissance
men would also appreciate this luxuriant display, as respectable women wore
their hair bound up or confined in a net - a fashion that caused Firenzuola
to lament, 'You cover it [hair] till you are brides, and thenceforth I do not
Brantôme, The Lives of Gallant Ladies (1665), trans. A. Brown (London, 1961), 297-8.
Translated in Georgina Masson, Courtesans of the Italian Renaissance (New York, 1975), 118.
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The tools of Venus 181
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182 Cathy Santore
19 Toseph Hall, Quo Vadis? A fust Censure of Travell as it is undertaken by the Gentlemen of our Nation
(London, 1617), 14.
Garzoni, La piazza universale, 259r.
21 Tomas Coryat, Crudities, 2nd edn (1611; reprinted New York, 1905), 404-5.
22 Brantôme, Gallant Ladies, 169.
23 Federigo Luigini, Libro delle bella donna (Venice, 1554), in Giuseppe Zonta, Trattati del cinquecento
sulla donna (Bari, 1913), 261.
24 L. Veniero(P), 'La Zaffetta' (c.1530s; reprinted Paris, 1861), 13, 25, 27.
25 L. Veniero(P), 'La puttana errante' (c. 1531; reprinted Paris, 1883), 104.
26 This inventory is published in Cathy Santore, 'Julia Lombardo, "Somtuosa Meretrize": a
Portrait by Property', Renaissance Quarterly, 41/1 (1988), 44-83.
27 For further discussion of this see Cathy Santore, 'The Fruits of Venus: Carpaccio's "Two
Courtesans" ', Arte Veneta, 42 (1988), 38.
28 Adolf Berger, 'Inventar der Kunstammlung des Erzherzogs Leopold Wilhelm von Osterreich',
Jahrbuch der Kunsthistorischen Sammlungen des Allerhôchsten Kaiserhauses, 1 (1883), part u, cxlv, no. 632.
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The tools of Venus 183
Egon Verheyen, 'Tizians Eitelkeit des Irdischen Prudentia et Vanitas', Pantheon, 24 (1966),
88-99.
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184 Cathy Santore
To the Venetian, Woman + Mirror = Amore. Giacomo Franco30 asso
ciates the mirror with the courtesan in two instances: plate VII, Le Cortegia
si fanno conciar e adiversi Modi la testa, shows the woman seated, holding
mirror in which her face is reflected, while a maid arranges her hair. Th
courtesan's equipment, rings, cosmetic and perfume jars, are scattered on
a low table. The name 'Palma V' is inscribed at the bottom of the engravin
and in larger script, Jacobus franco forma'. If Palma Vecchio had anything
do with the image it was updated by the engraver. It appears that the woman
hair is being lifted so that it can be wound into corni, a style current in t
last decades of the sixteenth century. The following illustration, Una che
concia con due specchi, depicts a woman holding a mirror in each hand. In
another Venetian book of engravings, the Vita del Lascivo (c.1630), mirror
decorate the rooms of courtesans in plates 3, 7, and 9.
The mirror, with or without Vanitas connotations, appears in northern
depictions of prostitutes as well. Crispijn de Passe, in his book of engraving
of courtesans, includes two images in which the women groom themselve
before mirrors, and in one of them a colleague holds the mirror.31
So far removed from moralizing was the Venetian artist's intent that o
casionally the woman disrobes to perform her toilet. A painting in the roy
collection at Prague (1621) is described as Έϊη nackend weib in einem spiege
vom Tician (orig)'.32 The compiler of the tally was able to recognize Venu
with a mirror in another painting, so the 'nackend weib' designation should
not be attributed to iconographical ignorance. 'Une femme nue devant un
miroir, de Titian',33 which appears in Queen Christina's 1656 inventor
may be a second reference to the same painting; Christina received th
Prague collection as war booty. In light of these ascriptions, the nude Lad
at Her Toilet in Washington (fig. 6) might not be as unrelated to Titian as some
claim.34 The woman poses exactly like her counterparts in the versions by
Titian. The placement of her fingers on the perfume jar matches that of th
Barcelona painting most closely, as does the sheen and shape of the jar. Also
a ring adorns the middle joint of the ring finger of that hand in both pain
ings. The similarities of pose and gesture of the women are so strong tha
one could readily believe they derive from the same cartoon or oil sketch
In both works the hand that rests on the perfume jar has the same peculiar
broad flatness. The hand in the Washington painting, though similarl
30 Giacomo Franco, Habiti delle donne veneziane intagliate in rame (Venice, 1610; reprinted Venic
1878).
31 Crispijn de Passe, Le Miroir des plus belles courtisannes de ce temps (η.p., 1631), engravings nos 3
and 4, and that of Margery of Richmond, unpaginated.
32 Heinrich Zimmerman, 'Das Inventar der Prager Schatz- und Kunstkammer von 6. Dezember
162 Y,Jahrbuch der Kunsthistorischen Sammlungen des Allerhochsten Kaiser hanses, 25 (1905), XLII, no. 1037.
33 Jean Denucé, Inventare von Kunstammlungen zu Antwerpen im 16. u. 17. Jahrhundert (Antwerp,
1932), 178.
34 For an opposing viewpoint see Harold E. Wethey, The Paintings of Titian (London, 1971), hi,
212.
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The tools of Venus 185
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186 Cathy Santore
Brantôme is not so sure of Venus' divinity, but his deprecations are stated
with a wink and a grin, as when he writes, 'Venus who was the loveliest of
women and biggest whores [sic] in the world'.47 He comments further, 'Thus
the Queen and Empress of whores, that is, Venus herself, was a Greek
woman.'48 Brantôme quotes La Greca, a Roman courtesan friend of his, as
having said: 'There is no trade in the world more insistent, nor more calling
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The tools of Venus 187
Ibid. 35.
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188 Cathy Santore
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The tools of Venus 189
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190 Cathy Santore
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The tools of Venus 191
Palma Vecchio may also have delved into this subject. The 1555 in
tory of Alvise Odoni lists 'Un quadro de una donna zovene et una
chia',67 which formerly belonged to his father. Marcantonio Michiel saw
in 1532 in the house of Alvise's father Andrea, and described it more f
as Έ1 quadro delle due mezze figure d'una giovine e una vecchia da drie
a oglio, fu de man de Jacomo Palma'.68 The painting in the Odoni c
tion could possibly be related to the one attributed to a follower of P
Vecchio formerly in the San Diego Museum of Art (fig. II),69 which dep
a young woman with violets in her hair sitting in the foreground light, wh
an older woman, submerged in shadow, peers over the girl's shoulder at
object she holds. The truncated presentation of this object makes it diff
to decipher, but enough of it is rendered for the viewer to know that
the foreshortened edge of a frame of either a mirror or a very small p
ing. On those infrequent occasions when a painting appears within a pain
in Renaissance art it is legible to the viewer, and, considering the con
of this picture, it is reasonable to assume the girl is holding a mirror ag
her lap. Her hair streams untidily onto her left shoulder (the fat curls a
bottom of this swatch of hair appear to be repaint). This courtesan with
procuress is about to perform her toilet. Ladies are not portrayed with flow
in their hair or with their camicia untied and open to below the cleav
of the breasts. Her skirt is improperly fastened as well. Despite its er
elements, this is a Lady at Her Toilet moralisée. The old woman looks int
into the mirror. Is it her own reflection she studies or that of the girl?
girl has turned away from the mirror. The pensive, melancholic expres
on their faces perhaps reflects their thoughts after having glimpsed each ot
in the mirror. The image espied reminds one of her bygone youth, the o
of her future.
Bordone expands the cast of characters in his version of the theme in Edin
burgh (fig. 12). In addition to the semi-nude young woman attending to her
toilet assisted by the older woman holding the mirror, a second blonde beauty
glances out at the observer while she adjusts the shoulder of her dress.
Bordone's picture is replete with the courtesan's paraphernalia, but we would
guess the women's profession even without these accoutrements. Ridolfl
describes this painting without explaining the scene.70 His reticence could
Archivalische Beitràge zur Geschichte der venezianischen Kunst, in W. Bode, G. Gronau, and D. von
Hadeln (eds), Italienische Forschungen herausgegeben vom Kunsthistorischen Institut Florenz, iv (Berlin, 1911),
66.
68 Marcantonio Michiel, Notizia d'opere di disegno, ed. Jacopo Morelli (Bassano, 1800), 61.
69 This painting was sold at auction at Christie's on 10 January 1990 and is now in England. It
shows some stylistic affinities with the work of Bonifazio de' Pitati, yet a strong Palmesque flavour
permeates the composition. If Bonifazio's hand is involved, it would not have been the only time
he borrowed a motif from Palma.
70 Carlo Ridolfi, Le maraviglie dell'arte (Venice, 1648), ed. D. von Hadeln (Berlin, 1914-24), I, 234.
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192 Cathy Santore
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The tools of Venus 193
Very different in sentiment is Licinio's Courtesan with Mirror (fig. 18). The
composition seems to derive from Titian's Allegory of Vanity, but no moraliz
ing message is intended. The nudity, the blonde hair rippling to the
shoulders, the oblique glance, and the coquettish tilt of the head common
to a number of courtesan pictures proclaim her profession. So does the
mirror. It reflects what we cannot otherwise see (fig. 19). Up front, so we
should not overlook them, are the comb and perfume vase. An elderly client
has come to visit. His gaze is fixed away from the beauty we see. The presence
of another woman is implied, for what else could distract him from the
blonde leaning on the mirror? The procuress stands behind him awaiting
his selection. We are in a brothel.
The mirror held by a girl whose hair is being fondled is one of the clues
that reveals Cariani's misnamed Seven Members of the Albani Family (fig. 20)
is, in fact, a brothel scene. The squirrel squatting on the table carries no
weighty symbolic significance; it is simply the courtesan's pet. Venetian
courtesans were known to have a penchant for pets. Animal and mirror, the
attributes of the courtesan, are placed where they cannot be overlooked. We
do not immediately notice that the thin fabric of the camicia worn by the
girl with the mirror allows her nipples to show through. The woman with
the fan has daringly forsaken the bib of her dress for this same purpose.
The older woman behind her left shoulder, whose face is half in shadow,
is probably the madam.
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194 Cathy Santore
Simonetta Simonetti, 'Bonifazio de' Pitati', in J. Martineau and C. Hope (eds), The Genius of
Venice 1500-1600 (New York, 1984), 153.
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The tools of Venus 195
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196 Cathy Santore
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Fig.3Titan,LdyatHerToilet,Prague,CastleMusem
Fig.2Titan,LdyatHerToilet,Barcelona,MuseodArtesDcorativ
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The tools of Venus 197
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Fig.4Titan,Alegory fVanity,Munich,AltePinakothek
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198 Cathy Santore
Fig.7Titan,VeusatHerToilet,Washingto,DCNationlGaery
Fig.6 olwerofTitan,LdyatHerToilet,Washingto,DCNationlGaery
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The tools of Venus 199
Fig.9Bordne,PortaiofaLdy,formelyLongfrdCastle,Earlof
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200 Cathy Santore
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The tools of Venus 201
'm
Fig. 11 Follower of Palma Vecchio (Bonfazio de' Pitati?), Courtesan and Assistant, formerly San Diego
Museum of Art, now England
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202 Cathy Santore
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Fig.12Bordne,GirlatMirowthOldWoman dYoungGirl,Ednburgh,NationlGeryofSctland
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The tools of Venus 203
formerlyChicago,ArtInsti ute
Fig.14Palm Vechio,WomanPerfumingHerHair,
Kunsthistorisches Museum
Fig.13Bordne,YoungWomanDresing,Vien a,
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204 Cathy Santore
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The tools of Venus 205
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Fig.18Licno,CurtesanwithMro,Pavi Snt'Alesio,Salmoncletion
KunsthistorischesMuseum
Fig.17GiovaniBelin,Lady tHerToilet,Viena,
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206 Cathy San tore
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The tools of Venus 207
Fig. 20 Cariani, Courtesans and Gentleman (Seven Members of the Albani Fam
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