_Pitti Gallery, Florence_]
The Bella is what is called a half length portrait, the figure standing,
tall, slender, and perfectly proportioned. The lady turns her face to
meet ours, and whether we move to the right or the left, the eyes of the
enchantress seem to follow us. We fall under their spell at the first
glance; there is a delightful witchery about them.
The small head is exquisitely modelled, and the hair is coiled about it
in close braids to preserve the round contours corresponding to the
faultless curves of cheek and chin. The hair is of golden auburn, waving
prettily about the face, and escaping here and there in little tendrils.
Over the forehead it forms the same perfect arch which is repeated in
the brows. The slender throat is long and round, like the stalk of a
flower; the neck and shoulders are white and firm, and shaped in
beautiful curves.
The rich costume interests us as indicating the fashions in the best
Venetian society of the early 16th century. Comparing it with that of
the Empress Isabella in our other picture,[15] we notice that at the same
period the Venetian styles differed considerably from the Spanish, to
the advantage of the former. Instead of the stiff Spanish corset which
destroyed the natural grace of the figure, the Bella wears a comfortably
fitting bodice, from which the skirt falls in full straight folds. The
dress is of brownish purple velvet, combined with peacock blue brocade.
The sleeves are ornamented with small knots pulled through slashes. A
long chain falls across the neck, and jewelled ear-rings hang in the
ears.[16]
It is pleasant to analyze the details of the figure and costume, but
after all the charm of the picture is in the total impression it
conveys. Applied to this lovely vision of womanhood the words of
Castiglione seem no flattery. In her are united "grace, beauty,
courtesy, gentleness, and refined manners." The essence of aristocracy
is expressed in her bearing: the pose of the head is that of a princess.
There is no trace of haughtiness in her manner, and no approach to
familiarity: she has the perfect equipoise of good breeding.
The picture gives us that sense of a real presence which it was the
crowning glory of Titian's art to achieve. The canvas is much injured,
but the Bella is still immortally young and beautiful.
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