as painted by Allessandro Allori c. 1555-57. Concerning the embroidered guards, the garment bears a remarkable resemblance to the gown of Maria's mother, Eleonora. However, as this is a 'younger' gown (meaning, it is younger than Eleonora's - so it was created later than hers), some differences can easily be seen. The high collar, the front split skirt which reveals the heavy cream and golden underskirt - or, rather, its forepart; these elaborate, A-shaped pieces were pinned to an underskirt, and the split overskirt made them look like a full skirt - a fashion which then also travelled over to England and became a trademark of Tudor and Elizabethan fashion. The forepart is often confused with an A-shaped piece which is sewn into the split overskirt - but historically, these were three different items - Overskirt, underskirt and forepart. Due to the 'pinnedness' of the forepart this was often given away as gifts, with matching sleeves (which then were laced to the bodice of the gown). The differences to the later fashions is very obvious - the gown is not worn with a wide farthingale (hoopskirt), but just a small one; and the neck- and wrist ruffles are still missing. The gown is adorned with the typical pearl embroideries and heavy jewelry. Sleeves and Forepart are made of either golden striped, cream silk jacquard or cream silk that had sewn-on strips of golden trims. It must be said that this was probably the last painting of Maria that was ever completed during her lifetime - she died in 1557 at the age of 17.