Portrait of Angelica Agliardi de Nicolinis

The 1565 Portrait of Angelica Agliardi de Nicolinis in the Condé Museum, Chantilly, is the female counterpart to the Bonifacio Agliardi portrait in the same collection and together they represent Moroni's sustained work for this prominent Bergamasco family. Angelica Agliardi de Nicolinis bears both her maiden name (Agliardi) and her married name (de Nicolinis), presenting herself as a member of two linked families. The Condé Museum at Chantilly is one of France's most significant collections of Italian Renaissance art, assembled by the duc d'Aumale in the nineteenth century with exceptional connoisseurial discrimination. The pair's presence in Chantilly reflects the dispersal of Italian family portraits into French aristocratic collections. Moroni's female portrait at 1565 applies his direct, warm observation to a specific Bergamasco woman, avoiding the idealised refinement of Florentine court portraiture.

Oil on canvas with Moroni's mature female portrait technique. The sitter's costume is described with his characteristic material honesty—real fabric with specific texture and weight—rather than the jeweller's-inventory display of Florentine female portraits. The face is rendered with individual warmth, and the composition probably follows his standard half or three-quarter length format for female subjects.