In this final image, Giulia Varano, Duchess of Urbino, a seated woman is depicted wearing an ornate headdress and modest red gown. Adorned with many jewels, Giulia is positioned in three-quarter view and makes eye contact with the viewer. This painting is a portrait because the sitter is an identifiable woman, specifically the wife of Duke Guibaldo della Rovere. It can be assumed that she is of noble status not only because of the significant amount of jewels, but because of her title as duchess.
This title also assumes her role as a woman. It was a standard practice for a duke to find a wife in order to procreate so the family line would stay in power; what Alberti called perpetuating. But her clothes symbolize a concealed sexuality similar to Eleonora Gonzaga della Rovere’s. This attire distinguishes a reserved personality that Titian saw within her. While acting like a portrait because this painting was created in her likeness, and conforming to gender roles, Giulia is also an ideal beauty. She has the typical ideal beauty characteristics defined by Cropper such as the milky skin with rosy cheeks, soft transition between facial features, and dark colored eyes that are emphasized by the heightened oval shape. This depiction of Giulia Varano is a portrait that has qualities of the standardized ideal beauty while simultaneously portraying female gender roles.
