Lady with an Ermine, a painting by Leonardo da Vinci

Lady with an Ermine is the famous portrait of Cecilia Gallerani painted by Leonardo da Vinci. Although it is not as instantly recognizable as the iconic Mona Lisa, it is considered one of the master’s most important works. In the article below, I will tell you about the painting itself, the woman immortalized in it, and how it eventually came into the hands of the Polish prince Adam Jerzy Czartoryski.

Lady with an Ermine – the history of a famous painting

Around 1489 in Milan, Leonardo received his first major commission from Ludovico Sforza: to paint a portrait of the young, educated, and exceptionally talented Cecilia Gallerani, who was privately the duke’s mistress. Cecilia wrote poetry, knew Latin, and had a better “CV” than most modern politicians. No wonder, Sforza wanted to give this portrait a special character. Leonardo—being Leonardo—decided not to paint a static lady, stiff like a medieval mannequin. Instead, he captured an ordinary moment: Cecilia glances to the side, as if someone has just called her to dinner, while the famous ermine looks as though it, too, wants to know what is going on.

Cecilia tenderly holds the small white animal, yet its meaning is perfectly clear. First, the ermine is a symbol of purity. Second, it was the personal emblem of Ludovico Sforza, who bore the title L’Ermellino, meaning “The Ermine.” If the portrait were painted today, the animal would probably have the Sforza logo engraved on its collar. Moreover, the Greek name for the ermine (galé) sounds suspiciously similar to Gallerani—Cecilia’s surname. A coincidence? In the Renaissance, and especially with Master Leonardo, coincidences did not exist.

The master’s work makes its way to Poland

Lady With an Ermine and Chartoryski family.

The portrait remained in Cecilia’s possession for many years and travelled with her wherever she went. After her death, the painting circulated around Milan until, around 1800, it was purchased under mysterious circumstances by Prince Adam Jerzy Czartoryski. Supposedly, the transaction took place in Venice, but no one knows for sure—apparently it was so discreet that even the gossip-loving aristocracy never heard about it. The painting was brought to Puławy, where someone mistakenly gave it the title La Belle Ferronière. As a result, many historians and art patrons were convinced the painting had been lost, while in fact it was quietly hanging in the Czartoryski collection.

In September 1939, the most valuable Czartoryski treasures, including our Lady, were hidden in Sieniawa. Unfortunately, the Germans found the cache, and the painting was first taken to Berlin and later to the private collection of Hans Frank. There were even plans to place it in Hitler’s museum in Linz. The Lady would have hardly been pleased with such fame. Fortunately, in 1945 the work was recovered, and a year later it returned to Poland—this time for good.

For decades, the painting was analysed, copied, and insured (during one journey for an impressive 300 million euros!). Since 2019, it can once again be admired at the Princess Czartoryski Museum in Kraków, which after renovation looks just as impressive as the Lady herself. The culmination of the story came in 2016, when the entire Czartoryski collection—including the Lady—was purchased by the Polish State Treasury for 100 million euros. The Lady thus made another “transfer,” this time entirely official.

Lady with an Ermine – Kraków’s most closely guarded celebrity

If there is a lady in Kraków who needs no introduction, it is certainly the one who has been holding an ermine in her arms for over 500 years. Or rather, a weasel? Or perhaps an ermine after all? Different versions circulate among tourists, but one thing is certain—Leonardo da Vinci painted a portrait the world will never forget. As mentioned earlier, Lady with an Ermine has been displayed for several years at the Princess Czartoryski Museum in Kraków and can be viewed there without restrictions. It is placed in a darkened room, subtly illuminated so that every detail of the painting is clearly visible.

The painting was created on a walnut panel measuring 55 by 40 centimetres, so it is not particularly large. Nevertheless, some people can spend hours in front of it, studying every trace of the master’s brush. The painting has been examined and analysed many times in great detail. It was during an inspection in 1952 that it was discovered the original dark blue background had been overprinted with black paint. It was also revealed that the left corner of the work had been damaged and rather clumsily repaired. Most likely, during this attempted restoration, the background was painted over.

Many specialists believe that the current appearance of many of Leonardo da Vinci’s paintings differs significantly from their original state. This is especially true of works painted on wood, such as the Mona Lisa and our beautiful Lady with an Ermine. Da Vinci himself experimented with pigments and binders in his works. A well-known example is the background of The Last Supper, where the paint was chosen in such a way that it would peel and flake over time, revealing additional details beneath. Some art historians believe that a Lady with an Ermine was originally painted against the background of a window or glazed opening, which was later painted over.

As Lady with an Ermine is the most valuable painting in Poland, special security measures surround it. One of these is a ban on exporting the work from the country, and any travel is permitted only for the most prestigious exhibitions of particular importance to Polish culture. Thus, admirers of Leonardo da Vinci’s art have no choice but to come to Poland to admire the mysterious lady and her animal.

Lady with an Ermine – facts, information, and curiosities

It is the only painting by Leonardo da Vinci located in Poland—and one of the few in Europe that does not require a visit to a gigantic museum.
The model was Cecilia Gallerani, a young, educated poet and the mistress of Ludovico Sforza, ruler of Milan.
The animal in the painting is an ermine, not a weasel—although in Poland, the colloquial title Lady with a Weasel is commonly used.
The ermine is a symbol of purity, but also the personal emblem of Ludovico Sforza, who bore the title L’Ermellino (“The Ermine”).
The Greek name of the ermine—galé—sounds similar to the surname Gallerani, suggesting that Leonardo encoded a wordplay into the painting.
The portrait is dynamic, which in the 15th century was an absolute novelty—Cecilia is depicted in motion, as if she has just turned her head.
Leonardo painted Cecilia in a three-quarter view, which later revolutionized Renaissance portraiture.
Cecilia’s smile is compared to that of the Mona Lisa—some art historians claim she looks like her younger, more innocent sister.
The ermine has a very muscular front paw, which some interpret as a symbol of the strength and vigilance of Sforza’s rule.
The ermine’s fur was originally white but darkened due to yellowing varnish, which is why it appears slightly tawny today.
The painting originally belonged to Cecilia, who probably kept it until her death in 1536.
For centuries, the painting was not particularly well known—no descriptions or copies from before the 18th century have survived.
Around 1800, the painting was purchased by Adam Jerzy Czartoryski, although it is still unknown where and from whom.
In the 19th century, an incorrect inscription “La Belle Ferronière” was added, confusing it with another painting by Leonardo.
During World War II, the Lady was hidden in Sieniawa, but the Germans discovered the treasure and took it to Berlin.
Hans Frank, the Governor-General, kept the painting in his private collection—the Lady was to decorate his Bavarian residence.
In 1945, the painting was recovered by a Polish-American commission and returned to the country in 1946.
In 2011, during an international loan, the painting was insured for 300 million euros, making it one of the most expensive works ever to travel.
Since 2019, it has once again been on display at the Princess Czartoryski Museum in Kraków, following the museum’s long renovation.
It is one of four female portraits attributed to Leonardo, alongside the Mona Lisa, Ginevra de’ Benci, and La Belle Ferronière.