The ointment jar the woman holds is an attribute of Mary Magdalene, but this seems to be a portrait of a woman in the guise of the saint. The sitter’s hairstyle and distinctive necklace can be associated with early sixteenth-century medals and specifically with an anonymous portrait of the Spanish Queen Isabella I of Castile in the Museo del Prado, Madrid. The sitter’s identity is not known: a nineteenth-century label on the back of the picture identifies her as Mary Tudor, while other suggestions have included Marie of Anjou, Eleanor of Austria and the latter’s sister Catherine.
The edges of a book are visible underneath the ointment jar, indicating that the woman was not originally conceived as the Magdalen. Although Netherlandish in style, this painting was probably produced by a Spanish or Portuguese artist influenced by Netherlandish art. The panel’s thick gesso ground is more commonly found in paintings from southern Europe.
The ointment jar the woman holds is an attribute of Mary Magdalene, but this seems to be a portrait of a woman in the guise of the saint. The sitter’s hairstyle and distinctive necklace, decorated with pearls and scourges, can be associated with early sixteenth-century medals and specifically with an anonymous portrait of the Spanish Queen Isabella I of Castile (1451–1504) in the Museo del Prado, Madrid. Although the two paintings show different sitters, the similarities in their jewellery and hairstyle suggest that this may represent a figure in the Spanish court at the time of Queen Isabella. Unsuccessful attempts have been made to identify the sitter: a nineteenth-century label on the back of the picture identifies her as Mary Tudor, while other suggestions include Marie of Anjou, Eleanor of Austria and the latter’s younger sister Catherine. The edges of a book visible underneath the ointment jar indicate that the woman was not originally conceived as the Magdalen.
In addition to the elaborate necklace, the sitter wears other items of jewellery – brooches, a diadem, bracelets and rings. The brooches encrusted with pearls, rubies and sapphires clasp her damask sleeves together. Around her wrist the woman wears a gold bracelet, set with oval rubies and miniature sapphires, and her fingers are adorned with three jewelled rings. Her head is crowned with a thin diadem decorated with miniature pearls and rubies. The opulence of her costume and jewellery is echoed by the lavish patterned green drapery in the background, against which the sitter’s pale face appears to glow. A series of parallel lines faintly visible along the left side of her face and jawline were not originally intended to show: the paint layers on her face have become more transparent over time, revealing the strokes the artist used to indicate areas of shadow.
Although Netherlandish in style, this painting was probably produced by a Spanish or Portuguese artist influenced by Netherlandish art. The panel’s thick gesso ground is more commonly found in paintings from southern Europe.
