Back اليونورا دى جارزيا من توليدو ARZ Eleonora di Garzia di Toledo Breton Eleonora von Toledo (1553–1576) German Ελεονώρα ντι Γκαρθία του Τολέδου Greek Leonor Álvarez de Toledo y Colonna Spanish Leonora Álvarez de Tolède French Leonora Álvarez de Toledo Italian Леонора Альварес де Толедо Russian Eleonora di Garzia di Toledo Swedish
 | This article may require copy editing for grammar, style, cohesion, tone, or spelling. (April 2024) |
Eleonora di Garzia di Toledo | |
|---|---|
 Alessandro Allori, Eleonora ('Dianora') di Don Garzia di Toledo di Pietro de'Medici, circa 1571. | |
| Born | March 1553 Florence, Duchy of Florence |
| Died | 10 July 1576 (aged 23) Villa Medici at Cafaggiolo, Grand Duchy of Tuscany |
| Cause of death | Murder |
| Noble family | House of Alba |
| Spouse(s) | Pietro de' Medici |
| Issue | Cosimo de' Medici |
| Father | García Álvarez de Toledo y Osorio |
| Mother | Vittoria d'Ascanio Colonna |
Eleonora di Garzia di Toledo or Leonor Álvarez de Toledo Osorio (March 1553 – 10 July 1576),[a] more often known as "Leonora" or "Dianora",[b] was the daughter of García Álvarez de Toledo, 4th Marquis of Villafranca, Duke of Fernandina. Leonora was born in Florence, where she was brought up by Cosimo I de' Medici, Grand Duke of Tuscany and his wife Eleanor of Toledo, her aunt and namesake. Betrothed to their son Pietro at the age of 15, she blossomed under the wing of Pietro's older sister, the artistic patron Isabella, into a vivacious and witty beauty. Her marriage, like Isabella's, was not a success, and she followed her mentor's example of taking lovers. For this reason, Pietro had her brought in 1576 to the country retreat of Cafaggiolo, where he strangled her to death with a dog leash. Cosimo's successor, Francesco I, tacitly approved the murder, and Pietro was never brought to justice for it.
Until recently, little was known of Leonora di Garzia di Toledo, and she was not identified as the sitter of several portraits of her. The facts of her life have emerged from the growing scholarship on Isabella de' Medici, with whom she has much in common.[2] In the view of art historian Gabrielle Langdon, "Her story is valuable in revealing attitudes and legalities attendant on the lives and decorum of women in the early-modern Italian court".[3]
Cite error: There are <ref group=lower-alpha> tags or {{efn}} templates on this page, but the references will not show without a {{reflist|group=lower-alpha}} template or {{notelist}} template (see the help page).