Madame de Canaples wears a French hood and a typical Renaissance dress with a mild crescent rise in the middle neckline. This image is a screen shot from the French Hood Images sitehere. The text accompanying this image states: "This image shows the French hood sitting very close to the head, even as it comes down the neck. The curve of the upper billiments leads me to believe that such billiments (jeweled or decorated bands along the edge of a French hood - gogm) are attached to the black hood (unseen in this image due to very dark background), and not left to dangle free. Most likely the hood is held close to the head by a strap around the chin. The trim (probably pleated using a heated iron, or goffer - gogm) along the front of the hood appears very sheer, and does not reflect like gold. It may be a crisp linen or silk instead."
The National Gallery of Scotland, Edinbugh, states: "This aristocratic lady, shown in three-quarter view, rests her hands on a ledge, enhancing the illusion that she appears to exist in believable space. It also draws attention to her many rings. The portrait was probably painted in 1525, the year that Marie d'Assigny married Jean de Crequi, sire de Canaples. The painting is close in character to a drawing by Clouet (now in Chantilly) which bears an inscription identifying the sitter as Madame de Canaples, a lady at the court of François I."
Shallow necklaces, like the pearl and colored-stone example she wears, were in fashion through the first half of the century to complement square or crescent necklines.
Keywords: 1525, Clouet - Jean, French, straight coiffure, French hood, jeweled headdress, square neckline, long high puffed sleeves, false sleeves, puffed cloth ornaments, cuffs, shallow necklace, rings, chemise
Dec 1, 2009 1:11 PM
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