In Caravaggio’s Martha and Mary (Detroit Institute of Arts, ca.1598), Mary’s vice-filled life is represented by a comb and cosmetic jar, set out on the table in front of her, as her sister Martha attempts to convert her to the virtuous path. The painting serves as a metaphor of the period’s starkly opposing attitudes to adornment of the female face and body. In 1575, the women of Cesena argued that if they were forbidden to beautify themselves, they might be forced to “wave goodbye to [their] families and break the chains of female servitude”. Other texts condemn women for their perceived love of clothing, cosmetics and jewellery – written both by early feminists such as Laura Cereta and by misogynistic churchmen who saw vanity as a particularly feminine sin. Men who used cosmetics were even more a focus for social disapprobation, decried for unaccountably behaving “like women”, the sex believed by many to be inferior in both physicality and intellect.

The relationship between cosmetic adornment and gender, between artifice and nature, is culturally and historically contingent. Focusing particularly on sources written and made by Italian Renaissance women, this talk will consider how this period was a flashpoint for discussions about gender and bodily ornamentation. Encompassing a wide range of objects, images and texts from “ladies at their toilet” paintings to witch trial narratives, it will also explore why this may be, showing how even seemingly intimate choices – body hair removal, skin treatments, hair dye – were bound up with larger social and cultural forces in an age of burgeoning colonialism, scientific experimentation, religious division and social turmoil.