“Talora in Abito di Femmina, Talora di Maschio”: Roleplay in Portrait Miniature with Mica Costume Overlay, from Florence to Europe

Portrait miniatures featuring semi-transparent costume overlays have been the subject of limited academic scrutiny, primarily associated with royalist and Catholic propaganda during the English Revolution. Most extant portraits depict female sitters, identified as queens, early actresses, and royal mistresses. Previous scholarship, predominantly focused on England, France, and other northern European countries, has emphasized the influence of court theater, masques, and noble entertainments in interpreting these works. While acknowledging these theoretical premises, this study proposes an alternative origin for portraits with costume overlays. Through a careful analysis of Filippo Baldinucci’s (1624–1696) Notizie dei Professori del Disegno, this paper aims to demonstrate the Italian origins of this artistic genre. The development of this unique form of amusement can be attributed to Baccio Del Bianco (1604–1657). Baldinucci, who advised Cardinal Leopoldo de’ Medici on purchasing and collecting Old Masters’ works, does not categorize mica-overlaid portraits as fine art. Nevertheless, he commends their “utility” for the “intended audience.” This study posits that these works should be interpreted as instruments for gender role-play, disseminated throughout Europe by influential women. The phenomenon originated in Florence during a period of female regency, which significantly influenced various aspects of local artistic production.