There are a few interpretations of the child in the Portrait of Laura Dianti. Art historian Mary Rogers argues that the figure can be seen as an interpretation of her high social status. It was not uncommon at this time for women of high status to be portrayed with African pages at their side. Other interpretations include Rona Goffen’s assertion that the child represents a chaperone for the mistress. The intent of the chaperone image is to promote against the possible lustful gaze of men by attaching a child to the image. The child’s gaze to Laura Dianti, however, invites the viewer to do the same but in a more appropriate adoring manner. Badge She wears a hat badge with a figure in red, which historian Paul Kaplan states is a color often associated with St. Jerome. This badge can be considered a reference to her other name, Eustochia. However, art historian Peter Humfrey argues that because of the lack of a cardinal hat on the figure, it could not be St. Jerome and that the figure is non-representative. Identity of Figures Laura Dianti It was previously thought that the woman figure in the portrait was the second wife of Alfonso I d'Este, Lucretia Borgia, however it was later determined by art historian, Carl Justi to be his third wife, Laura Dianti. It is known to art historians that Laura Dianti was not known by this name during her lifetime and was instead known of as Laura Eustochia. Art historian Jane Fair Bestor believes that it is possible that the Duke of Ferrara gave both names “Laura” and “Eustochia” to the woman upon the beginning of their relationship. It was common at the time for courtesans to change their names to have more poetic meanings, In this case Laura possibly refers to the “Laura” of Petrarch’s poetry. Eustochia would be in reference to Eustochium, a follower of St. Jerome and addressee of a famed letter penned by him about virginity. Laura Dianti first modeled for Titian in a painting titled, Girl with a Fur, and was known to be "the most gracious strumpet in art" for her depiction in Flora, also by Titian. According to Muriel Segal, the two met in Venice while he traveled with his family to his sister's house in the suburbs of the city. At the time of their meeting, she was the lover of the