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 probably 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. 

The Radziwills, one of the wealthiest noble families in 17th-century Europe and the most powerful in the Grand Duchy of Lithuania, owned one of the most important portrait collections in Sarmatia. As imperial princes, they collected effigies of members of European royal and noble families and owned numerous portraits of various family members and relatives. Extant inventories, such as that of Boguslaus Radziwill (1620-1669) from 1657 (AGAD 1/354/0/26/84), confirm the breadth of their art collections and their European character.

Today, however, apart from a few canvases from the Nesvizh collection, almost nothing has survived. Many original portraits that survived the Deluge (1655-1660) and the Great Northern War were reproduced in a series of engravings produced between 1747 and 1758 by the Jewish-born engraver Hirsz Leybowicz (Lejbowicz). With his father, Lejba Zyskielowicz of Sokal, at the Radziwill court in Nesvizh, they created the copper plates for Marcin Franciszek Wobe's Icones familiæ ducalis Radivilianæ ..., published in Nesvizh in 1758 (National Library of Poland, A.781). 

Earlier, probably shortly before the Deluge, several of these or similar portraits were also reproduced as drawings, most likely intended as preparatory studies for engravings, now in the State Hermitage Museum (known as the "Album of Drawn Portraits of Polish Figures", ink and bistre on paper, 33 x 28 cm). They were transferred from the Library of the Academy of Sciences in St. Petersburg in 1941 and likely originally formed part of the Nesvizh collection.

The images of Anna Radziwill née Kettler (1567-1617) from the Hermitage collection (inv. OP-45857) and the Leybowicz print, based on similar originals as the painted portraits in the National Museum in Warsaw (inv. MP 2472 MNW) and the Vilnius Picture Gallery, as well as the effigy of Janusz Radziwill the Younger (1612-1655) from the Leybowicz print, similar to that from the full-length portrait in the National Art Museum of Belarus in Minsk (considered as the work of Daniel Schultz), prove that all these images were based on painted originals.

Many of the finest portraits in both series are effigies dating from the first quarter of the 17th century. The portraits of women, in particular, display a rich variety of clothing, fabrics, lace, and sumptuous jewelry, primarily inspired by Spanish fashion with local influences (jeweled headdresses). Among the most remarkable are the portraits of Anna Sapieha (1603-1627), daughter of the Chancellor of the Grand Duchy of Lithuania Leo Sapieha and Elizabeth Radziwill, who married Albert Ladislaus Radziwill in 1618 (Hermitage Museum, inv. ОР-45867), and that of Tekla Anna Valovich (also Valavičiūtė or Wołłowicz, 1608-1637), daughter of the Lithuanian Vice-Chancellor Jerome Valovich and Elżbieta Gosławska, who married Alexander Louis Radziwill in 1623 (Hermitage Museum, inv. ОР-45870). Equally interesting is the image of the Ruthenian princess Lavinia Leonilla Koretska (ca. 1587-1641), daughter of Prince Joachim Koretsky and Anna Chodkiewicz, who married Prince John Albert Radziwill (1591-1626) in 1609, as well as that of her husband in national costume, undoubtedly pendant portraits (Hermitage Museum, inv. ОР-45871, ОР-45872).

Similar portraits of Anna Sophia Zenovich (ca. 1615-1664), daughter of the castellan of Polotsk Nicolaus Boguslaus Zenovich and Anna Chodkiewicz, who in 1628 became the second wife of Albert Ladislaus Radziwill, and that of Regina von Eisenreich (ca. 1589-1637), a Bavarian aristocrat and lady-in-waiting to Queen Constance of Austria, first wife of the Grand Chancellor of Lithuania, Albert Stanislaus Radziwill, whom she married in 1619, probably come from the same series of portraits. The same is true for the portrait of a lady wearing a large ruff and a hat, which, in Leybowicz's engraving, was reproduced as an effigy of Anna Elizabeth Radziwill (1518-1558). Interestingly, this image resembles the portraits of Princess-Infanta Anna Vasa (1568-1625), the Lutheran sister of King Sigismund III Vasa, painted by Lavinia Fontana, identified and attributed by me.

Several of these women came from Calvinist (originally Orthodox) families, who converted to Catholicism at the beginning of the 17th century. Based on the costumes and the age of the sitters, all of these portraits can be dated to the 1620s. The likely author of the portraits could be Jacob van Doort (d. 1629), a Flemish or Dutch painter who, according to my findings, painted portraits of members of the Calvinist branch of the Radziwill family at that time. The style of the work suggests that van Doort is the most likely author of the portrait of Teodor Denhoff (ca. 1570-1622), Voivode of Pärnu, now in Wilanów Palace. This portrait would have been painted around 1620-1622, when Denhoff was Voivode of Cēsis (Venden) in Latvia (inscription at top right: TEODORVS / DENHOF PALAT: / VINDENSIS). The same is likely true for the portraits of Countess Maria von Rautter (1576-1626) and her husband, Count Friedrich zu Dohna-Schlobitten (1570-1627), which come from the Drogosze Palace and were lost during World War II.

The second group of effigies is the one which, according to the costumes of the models and their dates of life, can be dated to the 1630s. This group, among the drawings kept in the Hermitage Museum, includes the effigy of Janusz Radziwill the Younger in Sarmatian costume, coat and hat lined with fur (inv. OP-45876), the portrait of his first wife Catherine Potocka (d. 1642), daughter of Stefan Potocki and Maria Mohylanka and granddaughter of the Prince of Moldavia Ieremia Movilă (inv. OP-45877), and that of Albert Stanislaus Radziwill (1593-1656) in a dark doublet, with a seal matrix on the table (inv. ОР-45874). These portraits are characterized by the richness of fabrics, lace, and jewelry, which, combined with a characteristic pose, hand resting on the table, and a three-quarter length representation, brings them close to the portrait of Prince Zaslavski by Bartholomeus Strobel and, more specifically in this context, to the portrait of Janusz Radziwill the Younger in a red and silver doublet, also by Strobel, housed in the National Art Museum of Belarus (oil on canvas, 114 x 90 cm, inv. ЗЖ-109). This latter portrait was painted in 1634, approximately two years after his return from the Netherlands. 

Janusz came from a Calvinist branch of a Lithuanian magnate family. In September 1628, he embarked on a four-year journey, primarily through Germany and the Netherlands, returning to Warsaw in the autumn of 1632. He began his studies in 1629 at the University of Leipzig, and from 1631, studied in Altdorf. He completed his higher education at the University of Leiden. Shortly before his return to Sarmatia, a magnificent full-length portrait of the prince, dressed in a silver and gold doublet and breeches, was painted in Leiden by David Bailly (1584-1657). This painting comes from the collection of King Frederick I of Prussia (1657-1713) and is now in the National Museum in Wrocław (oil on canvas, 202 x 114.7 cm, inv. MNWr VIII-578). It is interesting to note that in 1633, when the prince was back in his native country, the Dutch engraver Willem Hondius produced in The Hague an engraving reproducing a similar effigy of Janusz, but in bust form and wearing armor (Czartoryski Museum in Kraków). The inscription at the bottom confirms the identity of the portrayed person and that the engraving was published in 1633 in The Hague, as well as the fact that the original painting was painted by Bailly (Cujus effigiem à Celeberrimo Bailio depictam ...). The prince's age indicated on the print (ÆT SVÆ XIX) suggests that the original portrait dates from around 1631. Bailly likely continued to work for Radziwill after his return to the Polish-Lithuanian Commonwealth, as well as for other Polish-Lithuanian-Ruthenian clients, as evidenced by his self-portrait from the 1640s, now in Wilanów Palace (inv. Wil.1752). He could potentially be the author of the portrait of Janusz's first wife, Catherine Potocka, reproduced in the Leybowicz print, resembling the posthumous portrait of her with the prince's second wife, Maria Lupu, painted by Johann Schretter in 1646 (National Art Museum of Belarus, inv. 3Ж-125). It is certain that Leybowicz did not base his portrait of Catherine on the one by Schretter, as he mistakenly confused a similar image of Maria Lupu with that of Katarzyna Tomicka (ca. 1517-1551). Therefore, there undoubtedly existed separate portraits of Janusz the Younger's two wives. Since Catherine's features differ from the drawing in the Hermitage, where she wears a similar costume but has a more elongated nose, it is highly probable that the prototype was created by different painter. Janusz married the Catholic Potocka in September 1638, against the wishes of his father.

The portraits of Albert Stanislaus made by Strobel were probably all destroyed during the Deluge and the Great Northern War, as Leybowicz reproduced in his engraving another likeness of the Grand Chancellor of Lithuania, similar to the full-length portrait held in Minsk (inv. ЗЖ-141). Another interesting fact is that the likeness of Albert Stanislaus's second wife, Anna Krystyna Lubomirska (1618-1667), in Leybowicz's series depicts her at an advanced age (CHRISTINA ANNA COMITISSA in Wisnic ...); it should therefore be dated to the 1660s, so several years after her husband's death. Anna Krystyna was the daughter of the Voivode of Ruthenia and Kraków Stanisław Lubomirski (1583-1649) and Zofia Ostrogska (1595-1622) and she married Albert Stanislaus on March 30, 1638 (therefore shortly before Janusz's marriage to Potocka). A portrait depicting her at the time of her marriage to Radziwill undoubtedly existed. In this regard, the portrait of Zofia Zborowska (SOPHIA De Zborow / ZBOROWSKA ...), who died after 1618 and was the wife of George Radziwill (1578-1613), castellan of Trakai, is particularly interesting. This is due to the fact that the lady is dressed in a fashion typical of the 1630s or early 1640s and is reminiscent of the aforementioned portraits of Catherine Potocka and Maria Lupu, as well as Lucretia Strozzi from Leybowicz's series. It is possible that, as with the image of Katarzyna Tomicka, Leybowicz confused the portrait of Anna Krystyna Lubomirska from around 1638 with a lost portrait of Zofia Zborowska.

​Portrait of Teodor Denhoff (ca. 1570-1622) by Jacob van Doort, ca. 1620-1622, Wilanów Palace in Warsaw. Virtual reconstruction, © Marcin Latka

​Hypothetical reconstruction of the portrait of Anna Sapieha (1603-1627) by Jacob van Doort, 1620s, lost. © Marcin Latka

​Hypothetical reconstruction of the portrait of Tekla Anna Valovich (1608-1637) by Jacob van Doort, 1620s, lost. © Marcin Latka

​Hypothetical reconstruction of the portrait of Lavinia Leonilla Koretska (ca. 1587-1641) by Jacob van Doort, 1620s, lost. © Marcin Latka

Hypothetical reconstruction of the portrait of John Albert Radziwill (1591-1626) by Jacob van Doort, 1620s, lost. © Marcin Latka

Hypothetical reconstruction of the portrait of a lady, said to be Anna Elizabeth Radziwill (1518-1558), perhaps Princess-Infanta Anna Vasa (1568-1625), by Jacob van Doort, 1620s, lost. © Marcin Latka

​Hypothetical reconstruction of the portrait of Regina von Eisenreich (ca. 1589-1637) by Jacob van Doort, 1620s, lost. © Marcin Latka

​Hypothetical reconstruction of the portrait of Anna Sophia Zenovich (ca. 1615-1664) by Jacob van Doort, 1620s, lost. © Marcin Latka

Portrait of Janusz Radziwill the Younger (1612-1655) by David Bailly, ca. 1631-1632, National Museum in Wrocław.

​Hypothetical reconstruction of the portrait of Janusz Radziwill the Younger (1612-1655) by David Bailly, ca. 1631, lost. © Marcin Latka

​Hypothetical reconstruction of the portrait of Janusz Radziwill the Younger (1612-1655) by David Bailly, ca. 1631, lost. © Marcin Latka

Hypothetical reconstruction of the portrait of Janusz Radziwill the Younger (1612-1655) by David Bailly, ca. 1638, lost. © Marcin Latka

Hypothetical reconstruction of the portrait of Catherine Potocka (d. 1642) by David Bailly, ca. 1638, lost. © Marcin Latka

​Hypothetical reconstruction of the portrait of Catherine Potocka (d. 1642) by David Bailly, ca. 1638, lost. © Marcin Latka

Hypothetical reconstruction of the portrait of Catherine Potocka (d. 1642) by David Bailly, ca. 1638, lost. © Marcin Latka

Portrait of Janusz Radziwill the Younger (1612-1655) by Bartholomeus Strobel, ca. 1634, National Art Museum of Belarus in Minsk.

​Hypothetical reconstruction of the portrait of Janusz Radziwill the Younger (1612-1655) by Bartholomeus Strobel, ca. 1638, lost. © Marcin Latka

Hypothetical reconstruction of the portrait of Catherine Potocka (d. 1642) by Bartholomeus Strobel, ca. 1638, lost. © Marcin Latka

​Hypothetical reconstruction of the portrait of Albert Stanislaus Radziwill (1593-1656) by Bartholomeus Strobel, ca. 1638-1646, lost. © Marcin Latka

​Hypothetical reconstruction of the portrait of Anna Krystyna Lubomirska (1618-1667) by Bartholomeus Strobel, ca. 1638-1646, lost. © Marcin Latka