In 1558, in Kraków, the nobleman Krzysztof Kobylieński (Kobylański, Kobyleński, Kobyliński, ca. 1520-1565), published a work titled Christophori Kobilienski, eqvitis Poloni, Variorvm epigrammatvm ad Stanislavm Rozimontanvm libellvs (Jagiellonian Library, BJ St. Dr. Cim. 4417). Beyond its literary merit, this collection of Latin epigrams also contains an invaluable assemblage of period woodcuts and offers a precious glimpse into the artistic culture of 16th-century Sarmatia.

Krzysztof was a descendant of Queen Elizabeth of Pilica (d. 1420), also known as Elżbieta Granowska, the third wife of Jogaila. He was likely a Calvinist and pursued his theological studies abroad - almost certainly in Wittenberg, given that he mentions Philipp Melanchthon in one of his poems (Dixerat hæc quôda doctus mihi forte Melacthon), as well as in Italy (after "Nieznane portrety Zygmunta Starego" by Józef Muczkowski, p. 129). He was probably the courtier at the court of Hetman Jan Amor Tarnowski (1488-1561), and the work contains several references to the latter.

It was likely during his studies abroad that he became acquainted with the works of Erasmus of Rotterdam (d. 1536) and acquired a woodblock depicting the philosopher in profile; this image is considered to be based on a portrait drawn from life by Hans Holbein and cut into wood, presumably by Hans Lützelburger (d. 1526). Erasmus's likeness appears twice in Kobylieński's work. The other woodcuts were likely acquired in Poland or commissioned by the author. Among them are four prints by Hans Baldung Grien (attributed by me), including one depicting Saint Stanislaus, a copy of Hans Springinklee's David and Bathsheba (the original was created around 1518), portraits of King Sigismund I and his son Sigismund II Augustus, as well as prints featuring the coats of arms of the author (Grzymała) and his mother (Leliwa), the arms of Hetman Tarnowski (dated 1557), and those of Andrzej Zebrzydowski (1496-1560), Bishop of Kraków. The epigram dedicated to Zebrzydowski praises the wisdom of this Catholic bishop. In two other poems, the Protestant author pays tribute to two further Catholic bishops: Samuel Maciejowski (1499-1550) and Jan Lubrański (1456-1520). He also devotes a poem to the Latin poet Klemens Janicki (1516-1543), whom Italy honored with a laurel (IN TVMVLVM CLEMENTIS IANICII QVEM ITALIA LAVREA HONORAVERAT).

In the poem AD HIERONYMVM MASAM VENETVM IN LIBELLVM ANDREÆ ZEBRIDOVII EPISCOPI CRACOVIEN., he addresses Girolamo Masa of Venice regarding the booklet of Bishop Andrzej Zebrzydowski. In AD QVENDAM ITALVM, he addresses a certain Italian man released from prison, and in DE CAEDIBVS EIVS TEMPESTATIS PRINCIPVM IN ANGLIA, he laments the death of the Protestant Lady Jane Grey (d. 1554), Queen of England - described as a "young woman distinguished by her birth, renown, and learning" - which suggests that he likely stayed in England around the time of her death, which occurred in February 1554.

In several other poems, the author refers to portraits and paintings. In the poem titled "On the deceptive portraits in a certain citadel" (DE FALSIS IMAGINIBVS IN ARCE QVADAM), he criticizes the inaccuracy of painters who produced flawed or reality-distorting portraits of King Sigismund I and Bona Sforza, of their children Sigismund Augustus and Isabella Jagiellon (Fallaci picta es tuque ISABELLA manu), and of Prince Louis Jagiellon. Kobylieński maintains that "since the face is considered a reflection of the spirit, a poor painting misrepresents its true nature", adding: "Yet, few are the faces whose portraits capture their true beauty with accuracy". Interestingly, on the next page, we see a full-size portrait of King Sigismund Augustus wearing the crown jewels, accompanied by the poem "On the likeness of Julius Caesar" (IN EFFIGIEM IVLII CÆSARIS), which reads: "Here you are truly depicted, bravest Julius Caesar" (Pingeris hicce mere Caesar fortissime Iuli). 

In the poem titled "On the portrait of Emperor Charles V, owned by Count Jan of Tarnów, Castellan of Kraków, rendered true to life" (IN IMAGINEM CAROLI V. CÆSARIS APVD IOANNEM COMITEM A TARNOW CASTEL: CRAC: Ad uiuum expressam), the poet describes the painting belonging to Hetman Tarnowski, most likely executed by Titian or Lambert Sustris "with the artistry of an Apelles". This text is followed by a poem dedicated to the portrait of Hetman Tarnowski (IN IMAGINEM IOANNIS COMITIS A TARNOW CASTELLANI CRACOVIENSIS). Two other paintings described by Kobylieński may also have belonged to the Hetman: one depicting the death of King Louis II Jagiellon (1506-1526) at the Battle of Mohács in 1526 (IN HISTORIAM LVDOVICI REGIS CÆSI DEPICTAM), and the other showing Saint Paul caught up to the third heaven (IN IMAGINEM RAPTI PAVLI). The author also praises the beauty of a silk tapestry from Tarnowski's collection depicting Orpheus playing the lyre, which was most likely produced in Brussels workshops (IN IMAGINEM ORPHOEI APVD IOANNEM A TARNOW Sericea tapeta intexti). 

The work also contains a fable (fabellam) titled METAMORPHOSEOS PVELLAE ET PARVVLI (Kobylieński's work)​, a tale about the metamorphoses of a girl and a boy, inspired by Ovid's Metamorphoses. The woodcut illustrating this tale, likely created in Kraków, depicts the naked girl in a river alongside a ram. A reference to Ovid also appears in the book's preface, where Kobylieński addresses his friend Stanislaus Rosimontanus - identified as Stanisław Różanka (ca. 1520-1572), a Calvinist and physician at the Tarnowski court, educated in Padua between 1553 and 1556, complaining about having received no news from him since his departure from Kraków for Ruthenia.

References to Ovid and his Metamorphoses shed light on why a woodcut, similar to the one illustrating the fable, was placed almost at the beginning of the book, right after the preface. It depicts the mythological musical contest between Apollo, god of music and poetry, and Pan, god of wild nature and rustic music (In Imaginem Apollinis cum Panisco decertantis). The figure of Apollo, shown on the right playing the lute with highly realistic features, serves in this context as a mythological "metamorphosis" of Kobylieński, while the satyrs on the left embody his critics, who are also the targets of the phrase inscribed to the right of the image: "Against incompetent critics" (Contra inoptos æstimatores). 

Given the Venetian works associated with Hetman Tarnowski (his funerary monument and the paintings I have identified), as well as the author's training in Italy, the painting containing his disguised portrait was likely executed in Venice. The composition of the woodcut evokes Titian's Jupiter and Antiope, also known as the Venus of Pardo (Louvre Museum in Paris; INV 752; MR 521), a work the master likely sent around 1552 to Prince Philip of Spain (the future Philip II). The upper section of the composition features a squirrel on the tree, echoing Titian's painting Venus and Cupid, known from a print made by Niccolò Boldrini in 1566. A squirrel also appears in portraits of Barbara Radziwill by Paris Bordone, identified by me, although, in the case of the Kobylieński portrait, it likely carries a different meaning, perhaps related to cunning. Krzysztof clearly sympathized with Sigismund Augustus's second wife, given that he included the epigram about her tombstone in the book (IN TVMVLVM REGINAE OLIM POLONIÆ BARBARÆ). 

Further, in this context, the tapestry from the Tarnowski collection undoubtedly held symbolic significance as well: art and intellect can tame primal, violent instincts and soothe human vices; through his patronage and actions, the hetman thus establishes balance and order - "soothing fierce bears with his melody and the power of love" (Mitis amore tenens saevos modulamine Vrfos), as Kobylieński wrote in his poem. This tapestry was undoubtedly inspired by the series commissioned in Brussels by King Sigismund II Augustus and may well have originated from the same workshops (the tapestry depicting the Paradise Bliss features nude depictions of the King and his third wife). In 1549, Emperor Charles V, who had conferred the imperial title upon Tarnowski in 1547, commissioned a bronze statue depicting himself in the guise of a nude ancient god. Created in Milan by the Italian sculptors Leone and Pompeo Leoni, the work was presented to the Emperor in Brussels in 1556 (Prado Museum, inv. E000273). Furthermore, one of the most significant depictions of Orpheus from the first half of the 16th century is that of Cosimo I de' Medici (1519-1574) in the guise of the Thracian bard: the Duke of Florence was painted nude by Agnolo Bronzino around 1537-1539, thereby symbolizing the establishment of peace and stability in Florence (Philadelphia Museum of Art, inv. 1950-86-1). The Tarnowski tapestry thus very likely served as a portrait of the hetman as well, and was presumably related to the composition found in a 1563 edition of Ovid's Metamorphoses, illustrated by Virgil Solis (1514-1562) and other artists.

Metamorphoses of a girl and a boy from Krzysztof Kobylieński's Variorvm epigrammatvm ... by circle of Łazarz Andrysowicz (Officina Lazari), 1558, Jagiellonian Library. 

Apollo contending with Pan from Krzysztof Kobylieński's Variorvm epigrammatvm ..., containing his disguised portrait, by circle of Łazarz Andrysowicz (Officina Lazari), 1558, Jagiellonian Library. 

​Hypothetical reconstruction of the painting depicting Apollo contending with Pan with disguised portrait of Krzysztof Kobylieński (ca. 1520-1565) by Titian, before 1558, lost. © Marcin Latka 

​Hypothetical reconstruction of the tapestry depicting Orpheus playing to the animals with disguised portrait of Hetman Jan Amor Tarnowski (1488-1561) by Willem de Pannemaker after desing by Michiel Coxie, ca. 1550, lost. © Marcin Latka 

On June 13, 1551, Duke Cosimo I de' Medici and his wife Eleanor of Toledo signed a contract with the Antwerp merchant Jan van der Walle for the purchase of the series of Creation Stories, composed of seven tapestries. This series was probably woven around 1547-1548 and offered for sale in the Augsburg market. According to a memorandum dated August 14, 1549, written in Prague on behalf of Catherine of Austria (1533-1572), daughter of Anna Jagellonica (1503-1547), who was to marry Francesco III Gonzaga, Duke of Mantua, in October of the same year, the Archduchess was interested in acquiring these tapestries.

At least since 1553, Cosimo I kept the entire set, depicting numerous nude figures, in the secret Guardaroba in Florence (after "The Story of the Creation" by Lucia Meoni, p. 304, 311-313). This series, based on cartoons by Pieter Coecke van Aelst, was woven in Brussels by the most celebrated weavers of the time: Jan van Tieghem, Frans Ghieteels, and Jan de Kempeneer, whose fame is linked to the extraordinary tapestries made for King Sigismund II Augustus (1520-1572), still preserved at Wawel Castle in Kraków (almost all of these tapestries were delivered to Wawel Castle before 1553, before the king's marriage to the aforementioned Archduchess Catherine).

This example illustrates the similarities in artistic patronage between the Jagiellonian and Medici families in the 1540s, while contacts between the ruling houses of Sarmatia and Tuscany date back to the consolidation of Medici power in Florence during the first half of the 16th century. Around 1537-1539, shortly after his accession to power in Florence, Agnolo Bronzino created a splendid allegorical portrait of Duke Cosimo, depicting him as the mythological musician and poet Orpheus (Philadelphia Museum of Art, oil on panel, 93.7 x 76.4 cm, inv. 1950-86-1). The Duke of Florence is shown nude, holding a lyre and calming Cerberus, the multi-headed dog, thus symbolizing the peace, harmony, and cultural restoration brought by Cosimo to Florence after years of political chaos.

The "Metamorphoses" of the Roman poet Ovid, which can be regarded as the national poem of 16th-century Sarmatia (compare "Ovidius inter Sarmatas" by Barbara Hryszko, p. 453, 455), contains a clue as to why disguised portraits (also known as portraits historié or crypto-portraits) were more popular there than in other parts of Europe.

Like Bronzino's nude portrait of Cosimo, the portrait historié by Paris Bordone, now in the Hermitage Museum (inv. ГЭ-163), is certainly not the only one commissioned by Sigismund Augustus to legitimize the status of his mistress, Barbara Radziwill (1520/23-1551). Bordone depicted the same model, dressed in a blue tunic, a white chemise, and with a similar hairstyle, in a painting now in the Louvre in Paris (oil on canvas, 105 x 85 cm, inv. RF 1474). The woman wears a necklace of long pearls intertwined between her breasts (Barbara was known for her love of pearls) and holds roses, which explains why this painting is known as another representation of the goddess Flora or as the portrait of a young woman with roses. The painting is generally dated to around 1540 or the second quarter of the 16th century and comes from the collection of Louis-Alfred Caroillon (1814-1904), Count of Vandeul in Paris.

Bordone and his workshop produced several copies of this painting. The finest was in Berlin before the Second World War. Formerly imperial property, housed in the Imperial Gallery, it was loaned in 1938-1939 to the Reich Chancellery in Berlin (oil on canvas, 102 x 84 cm, inv. GG 2833). This version was signed with the monogram P. B. on the stone pedestal in the lower left corner. Another very fine copy, known as "Portrait of a Courtesan", was recorded in 1964 in a private New York collection and had belonged, before 1916, to the collection of Elia Volpi (1858-1938) in Florence (oil on canvas, 104.7 x 86.3 cm, Fototeca Zeri, Numero scheda 38868). A fine copy, probably made by the painters' workshop, is in the Sabauda Gallery in Turin (oil on canvas, 118 x 91 cm, inv. 440 - Sabauda Gallery). The model is identical, but the roses on the pedestal have been replaced by white and red carnations in a glass vase (besides their amorous connotations, these two colors could also refer to the national colors of Sarmatia, in addition Queen Barbara is holding a red/pink and white rose in her portrait at Chatsworth House, inv. PA 725). The woman holds cherries, while above her, a squirrel on a leash devours them. The cherry was commonly seen as a symbol of the sweetness resulting from good deeds (after "Italian paintings from the sixteenth century in Dutch public collections", p. 124). A symbol of sin and carnal love (cupiditas), the squirrel appears as a companion of the goddess Venus, for example in an engraving by Niccolò Boldrini after Titian, dating from 1566 (after "Animals and Courts ...", ed. Mark Hengerer and Nadir Weber, p. 314). This version probably comes from the historical collection of the House of Savoy.

In another series of images, the painter transformed the same model into Venus, goddess of love, accompanied by her son Cupid, god of desire. The version attributed to Bordone, but more likely a workshop copy of a lost original, as evidenced by its style, is located in the Palazzo Montecitorio in Rome, the seat of the Chamber of Deputies, the lower house of the Italian Parliament (oil on canvas, 107 x 93 cm). It is generally dated to the 1540s. Another workshop copy is in Hearst Castle in San Simeon, California (oil on canvas, 116 x 94 cm, inv. 6574, Fototeca Zeri, Numero scheda 38867). Before 1935, the work belonged to the Jewish art collectors Jakob and Rosa Oppenheimer, who were forced to sell it during the liquidation of their Berlin gallery. In the version from the collection of the last King of Württemberg, William II (1848-1921), the painter changed the model's hair color to blond, idealized the face, and added a mountain landscape in the background (oil on canvas, 98.5 x 84.5 cm, Hargesheimer Kunstauktionen Düsseldorf, September 13, 2025, lot 3440). A version or copy of one of these compositions was also in Rome, because in the 17th century a Roman painter reused the model in a painting known as The Temptation (Accademia Nazionale di San Luca in Rome, oil on canvas, 75 x 61 cm, inv. 695).
 
The same composition, though mirrored, was also reused by an unknown Flemish painter, probably in Antwerp, around the mid-16th century. The work is now in the Museum of Fine Arts in Budapest (oil on panel, 80.5 x 65 cm, inv. 365). The sitter and details of her dress, however, are different. The painting depicts Salome, a biblical figure, while the distinctive features of her face and her dress suggest that it is a disguised portrait of a wealthy noblewoman. The sitter's characteristic right ear suggests that she is the same person as in many paintings by Lambert Sustris, namely Zofia Tarnowska (1534-1570), according to my identification. The painting comes from the collection of the Esterházy family, the largest landowners in the Kingdom of Hungary (after "Katalog der Galerie alter Meister" by Andor Pigler, Volume 1, p. 489).

If we consider the number of representations, their provenance and the oldest known locations, the woman depicted was not a simple and insignificant courtesan, as 19th-century authors wanted to see her, but the future wife of one of the most important monarchs of 16th-century Europe.

The same three protagonists as in the Hermitage painting reappear in another series of mythological compositions by Bordone depicting Venus and Cupid, Bacchus and Diana, also known as the Allegory of Spring and Autumn. The original by the Venetian master is lost, while a fine workshop copy was sold at auction in Prague in 2014 (oil on canvas, 97.5 x 142 cm, Arthouse Hejtmánek, May 22, 2014, lot 29). Another workshop copy comes from the collection of the Russian politician, courtier, and art collector Paul Viktorovich Delaroff (1852-1913), who lived in Saint Petersburg (oil on canvas, 107.9 x 160 cm, ACES Gallery in Stamford, September 29, 2024, lot 69).

There are also two reduced versions. One depicts Venus and Cupid only, the other Bacchus and Diana. The version with Venus was trimmed on the right side at an unknown date and is considered to be either the fragment of painting mentioned in 1570 in the collection of the Nuremberg merchant Willibald Imhoff (una grande tavola ... con Bacco, Diana e Venere, dipinta in Venezia da Paris Bordone) or the work mentioned in the auction of M. de Merval in Paris in May 1768, lot 5, under the title "The Seasons". Photographs of the painting before restoration still show the figure of Bacchus on the right (oil on canvas, 99.7 x 93.3 cm, Christie's New York, sale 1529, May 25, 2005, lot 21). Unlike the version with Venus, the version depicting Bacchus and Diana does not appear to have been cut from a larger painting. It is currently in the Kunsthistorisches Museum in Vienna (oil on canvas, 45 x 61 cm, inv. GG 1969). This painting most likely comes from the former imperial collections and is listed in the 1868 inventory. It is known as "Nymph and Hunter". Its probable origin within the family collection of Elizabeth of Austria (1526-1545) justifies the identification of Diana as her disguised portrait. A virgin goddess, renowned for her purity, swiftness, and connection to nature, gazes at the viewer, while her half-brother Bacchus, god of wine, agriculture, and fertility, with the features of Sigismund Augustus, rests his hand on her shoulder (as the daughter of Anna Jagiellonica, Elizabeth was related to her husband). In larger versions, Bacchus offers Diana grapes, the principal sacred symbol of fertility and abundance. Like the painting in the Hermitage Museum, this mythological disguise also served to justify, in the public eye, the status of the king's favorite, Barbara, depicted as Venus.

Further in this context, the painter incorporated two female models from the Hermitage painting into another mythological composition, which was located before the Second World War in Dresden (Gemäldegalerie Alte Meister, oil on canvas, 116 x 187 cm, inv. Gal.-Nr. 204). This painting is first mentioned in an inventory of the Royal Gallery of King Augustus III of Poland in Dresden in 1754. The blonde woman in the center, Elizabeth of Austria, is again depicted as the goddess Diana, while Barbara, standing on the right, is a nymph from her entourage. Another nymph offers a stag's head to the goddess, a reference to the death of Actaeon, who was transformed into a stag by Diana. This painting is considered one of six mythological works by Bordone that adorned the home of an Augsburg art dealer named Jerominus Staininger, mentioned in 1643 (two of them are now in the Kunsthistorisches Museum in Vienna, inv. GG 69 and GG 120). It was therefore probably painted for Cardinal Otto Truchsess von Waldburg (1514-1573), Prince-Bishop of Augsburg, as Vasari states that Bordone painted "another picture for a cabinet, which is in the possession of the Cardinal of Augsburg" (un altro quadro da camera, il quale è appresso il cardinale d'Augusta). Von Waldburg, who studied in Padua and Bologna, had connections in Venice and corresponded with Aretino (after "On Meaning and Function of the Painting Apparition of the Sibyl to Emperor Augustus by Paris Bordone", p. 630). Furthermore, the figure of Mars, the god of war, in allegorical composition with Victoria, is frequently considered a portrait, perhaps of the cardinal himself. Shortly before becoming Bishop of Augsburg (June 1543) and then Cardinal (December 1544), von Waldburg served as Apostolic Nuncio to Poland (from July 29 to November 8, 1542). He maintained a close friendship with Stanisław Hozjusz, whom he met during his studies in Padua and his mission to Poland. He corresponded with Hozjusz, congratulating him in particular on his appointment to the bishopric of Warmia in 1549 (after "Podstawy prawne objęcia biskupstwa warmińskiego przez Stanisława Hozjusza" by Tadeusz Pawluk, p. 284-283).

In his portrait of 1553, considered to be a work by Lambert Sustris, like Bordone, a pupil of Titian (Zeil Castle in Leutkirch im Allgäu, oil on canvas, 99.5 x 79 cm, inv. 784, dated: M D L III), the cardinal is depicted wearing a red coat with wide sleeves and lined with dark fur, very similar to the one seen in the portrait of King Sigismund I at Wawel Castle (inv. ZKnW-PZS 3239).

Finally, around 1553 or earlier, Bordone painted a splendid allegorical portrait of the court jeweller of King Sigismund Augustus - Giovanni Jacopo Caraglio (d. 1565) of Verona in the Republic of Venice (Wawel Castle, inv. ZKnW-PZS 5882), while before 1553 (date included on the copy signed by Enea Vico), Caraglio created a print - The Dispute between the Muses and the daughters of Pierus on Parnassus, an illustration for Ovid's Metamorphoses in which all the gods present "heroic nudity" in confrontation with half-naked mortals (British Museum, inv. 1874,0808.279).

​The Challenge of the Pierides on Parnassus by Giovanni Jacopo Caraglio, ca. 1527-1553, British Museum.

​Portrait of Cosimo I de' Medici (1519-1574), Duke of Florence as Orpheus by Agnolo Bronzino, ca. 1537-1539, Philadelphia Museum of Art. 

Portrait of Barbara Radziwill (1520/23-1551) as Flora by Paris Bordone, ca. 1543-1545, Louvre Museum in Paris. 

​Portrait of Barbara Radziwill (1520/23-1551) as Flora by Paris Bordone, ca. 1543-1545, Reich Chancellery in Berlin, lost. Virtual reconstruction, © Marcin Latka

​Portrait of Barbara Radziwill (1520/23-1551) as Flora by Paris Bordone or workshop, ca. 1543-1545, Private collection. Virtual reconstruction, © Marcin Latka

​Portrait of Barbara Radziwill (1520/23-1551) as Venus (?) with a squirrel by workshop of Paris Bordone, ca. 1543-1550, Galleria Sabauda in Turin. 

​Portrait of Barbara Radziwill (1520/23-1551) as Venus by workshop of Paris Bordone, ca. 1543-1550, Palazzo Montecitorio in Rome. 

​Portrait of Barbara Radziwill (1520/23-1551) as Venus by workshop of Paris Bordone, ca. 1543-1550, Hearst Castle in San Simeon. 

​Portrait of Barbara Radziwill (1520/23-1551) as Venus by workshop of Paris Bordone, ca. 1543-1550, Private collection. 

​Portrait of a lady, most likely Zofia Tarnowska (1534-1570), as Salome with the head of Saint John the Baptist, by Flemish painter, mid-16th century, Museum of Fine Arts in Budapest. 

The Temptation by a Roman painter, mid-17th century, Accademia Nazionale di San Luca in Rome.

Hypothetical reconstruction of Venus and Cupid, Bacchus and Diana with disguised portraits of Barbara Radziwill (1520/23-1551), Sigismund Augustus (1520-1572) and Elizabeth of Austria (1526-1545) by Paris Bordone, ca. 1543-1551, lost. © Marcin Latka

​Hypothetical reconstruction of Venus and Cupid, Bacchus and Diana with disguised portraits of Barbara Radziwill (1520/23-1551), Sigismund Augustus (1520-1572) and Elizabeth of Austria (1526-1545) by Paris Bordone, ca. 1543-1551, lost. © Marcin Latka

Venus and Cupid, Bacchus and Diana with disguised portraits of Barbara Radziwill (1520/23-1551), Sigismund Augustus (1520-1572) and Elizabeth of Austria (1526-1545) by workshop of Paris Bordone, ca. 1543-1551, Private collection (sold in Prague). 

​Venus and Cupid, Bacchus and Diana with disguised portraits of Barbara Radziwill (1520/23-1551), Sigismund Augustus (1520-1572) and Elizabeth of Austria (1526-1545) by workshop of Paris Bordone, ca. 1543-1551, Private collection (sold in Stamford, Connecticut). 

Portrait of Barbara Radziwill (1520/23-1551) as Venus and Cupid by Paris Bordone, ca. 1543-1551, Private collection. 

​Portrait of Sigismund Augustus (1520-1572) and Elizabeth of Austria (1526-1545) as Bacchus and Diana by workshop of Paris Bordone, ca. 1543-1551, Kunsthistorisches Museum in Vienna. 

​Diana and her nymphs with disguised portraits of Elizabeth of Austria (1526-1545) and Barbara Radziwill (1520/23-1551) by Paris Bordone, ca. 1543-1553, Gemäldegalerie Alte Meister in Dresden, lost. © Marcin Latka

​Portrait of Cardinal Otto Truchsess von Waldburg (1514-1573), Prince-Bishop of Augsburg, in Sarmatian coat lined with fur by Lambert Sustris, 1553, Zeil Castle in Leutkirch im Allgäu.