Like other pictures of the Urbino collection, the portrait entered Florence in 1631 together with the legacy of Vittoria della Rovere. It was ordered and completed at the same time as the previous one. Aretino in a letter to the poetess Veronica Gambar from November 7, 1537, gives the text of her sonnet dedicated to this portrait.
Eleonora Gonzaga, the wife of Francesco Maria della Rovere, came from the genus of the Mantua Marquis of Gonzaga, was the daughter of Francesco II Gonzaga and his wife Isabella d’Este, one of the most educated women of this time. The sleeping dog, depicted next to the duchess, is a traditional attribute of matrimonial fidelity.
Related Paintings 
Portrait of the Urbinian Duke Francesco Maria della Rovere by Titian Vecellio 
La Bella (Beauty) by Titian Vecellio 
Retrato de la duquesa Eleonora Gonzaga de Urbino – Titian Vecellio 
Portrait de la duchesse urbaine Eleanor Gonzaga – Titian Vecellio 
Portrait of a young man (Portrait of Ippolito Riminaldi) by Titian Vecellio 
Portrait of Francesco Maria della Rovere by Titian Vecellio 
Retrato del duque de Urba Francesco Maria della Rovere – Titian Vecellio 
Portrait du duc urbain Francesco Maria della Rovere – Titien Vecellio
Portrait of the Urbinian Duke Francesco Maria della Rovere by Titian Vecellio La Bella (Beauty) by Titian Vecellio Retrato de la duquesa Eleonora Gonzaga de Urbino – Titian Vecellio Portrait de la duchesse urbaine Eleanor Gonzaga – Titian Vecellio Portrait of a young man (Portrait of Ippolito Riminaldi) by Titian Vecellio Portrait of Francesco Maria della Rovere by Titian Vecellio Retrato del duque de Urba Francesco Maria della Rovere – Titian Vecellio Portrait du duc urbain Francesco Maria della Rovere – Titien Vecellio