Abstract
Portrait of Eleonora of Toledo and Her Son in the collection of the Detroit Institute of Arts, attributed to Agnolo Bronzino, was recently cleaned and consolidated. Nearly identical to a portrait by Bronzino in the Uffizi Gallery, the Detroit portrait had long been judged by scholars to be a replica, a copy by the artist. Material, compositional, technical, and qualitative evidence collected during treatment supported, wholly or in part, identification of the Detroit portrait as a contemporary copy of the Uffizi portrait, as the product of a workshop, and as the work of Bronzino himself. Art historical research established replication to be a part of Bronzino's practice. Compositional and qualitative comparisons were conducted between the Uffizi and Detroit portraits. Analysis included x-radiography, x-ray fluorescence, infrared reflectography, visual and cross-sectional analysis, and polarizing light microscopy.