At this point patterning on the doublet was well under way and itís time to figure out exactly what is going on with those
closures and trim shadowed in the dark. The closures are a type of frog that looks to have tassels at the ends. It was brought to my attention that
Italians liked to borrow from Persian/Turkish style so this would make
I had acquired a slightly better copy of the painting and with some digital magic created this detail image . If you look at the bottom frog you can see what looks like a knot and the fringe hanging. It could be a separate treatment to the end of the frog or the ends of the cording making the frogs secured into a small tassel.
In the other images of the painting you canít tell what the treatment is running down the edge of the entire garment and on the edges of the sleeve tabs. Up the front of the doublet it looked like plain ďpipingĒ and on the tabs something else. On the clearer detail image you can see itís all slashed edging. The closer edge under the frogs is still blurry but if you look at the other side at the top and on the sleeve tabs you can see the slashing clearly.
While trying to figure out what was actually happening at the ends of the sleeve tabs I come across two paintings where she may be wearing the same doublet.
Bernadino Campiís painting of her (she studied with him for a while) and
this 1552 Self Portrait .
I never did get a good image of what exactly is going on with her doublet sleeves so I conjectured that they are slashed panes that faired slightly in the middle (creating the nice poofy yet unsupported look), no stuffing (you can see the copper under sleeve color), and joined the tabs at a small band. All edges trimmed with the same slashing effect.