ABSTRACT

Titian's painting of the two-year-old Clarissa Strozzi embodies characteristics of childhood esteemed during the sixteenth century. This chapter examines the painting as product of a dialogue among patron, artist and societal expectations which thus evokes characteristics of childhood, Clarissa's anticipated role as wife and affective and patrilineal issues. It facilitates understanding how the portrait generates meaning by combining elements that intimate development toward her adult role. Titian's portrait of Clarissa Strozzi unites likeness, living naturalism, suggestions of spiritual interiority and external signifiers that constructed her image as representation. Physiognomic likeness portends joyous and affable soul, kindness and spirited nature, qualities which are shaped socially by means of dress and bodily training and morally by means of intelligence disciplined by education as intimated by puppy. Clarissa's active and emotive presence suggests character traits that would allow her to negotiate positions of power and influence as had so many of her Medici and Strozzi ancestresses.