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In a pair of portraits painted by the Venetian artist Titian, the Duke and Duchess of Urbino are presented as ideal representatives of their sexes. Duke Francesco Maria della Rovere, the great mercenary captain, stands upright, his body encased in shining armor. His right arm juts outward from his body, seemingly breaking through the picture plane, as his hand rests upon the war baton he carries as a reminder of his military authority as commander of Venetian troops.
The objects behind him communicate his valor and political commitments: two other war batons bearing the Papal Keys and the Florentine lily lean against a wall the lily has faded over time next to an oak branch marking his della Rovere lineage the della Rovere were a powerful noble family of Italy.
His wife, the Duchess Eleonora Gonzaga, makes the perfect, demure counterpoint to her virile husband. While he stands erect and linear, she sits, swathed in copious folds of costly fabric that suggest the rounded forms of her body. While he is active, she is passive, her containment within the domestic sphere affirmed by the window to her right. The small dog and the costly clock that rests upon the table beside her remind us of her loyalty and patience in reservedly awaiting her husband whose military pursuits often kept him abroad.
Internal virtues, including gender characteristics, were believed to be communicated through outward appearance. In his armored chest and ready arm valor burns…. While sex is determined by biological markers such as genitalia and other genetic differences between male or female, gender refers to the social role that a person plays based upon individual and collective ideas about identity as it relates to being a man or a woman.
