This essay will discuss how women were depicted in portraiture during the Renaissance period. It will explain how women's bodies were depicted in portraiture such as; wedding celebrant, beloved husbands, fertility figures, mothers, display of wealth, paragons of virtue, passive representative of the husband, indication of fashion and more (Brown, 2003). Subsequently it will include the analysis of the two female portraits of Ginerva de' Benci by Leonardo da Vinci and the Portrait of a Lady by Sandro Botticelli. I will first explain what portrait means and then represent my interpretation of Botticelli's Portrait of a Lady by referring to the instructional "activity dialogue" that describes in detail how to analyze the subject of the body in the portrait (Mckennee et al., 1994). Second, I will discuss how the ideal Renaissance perception of women's body image was influenced by the philosophy of humanism, holy religious virtues, and the understanding of poets (Haughton, 2004). In short, I will explain how the radical change in female portraiture occurred in the late fifteenth century, when the traditional profile view was no longer popular and the straight frontal presentation was fully practiced. To exemplify this transformation, Leonardo's painting of Ginerva de' Benci will be used as a means of analysis as Leonardo was instrumental in this fundamental shift in female portraiture (Garrard, 2006). Overall, it's quite surprising how much constructive interpretation can come from a single portrait, and these expressions will help me expand my language and writing skills. I think practicing the portrait dialogue activity between the viewer and the portrait subject expands the mind to be more creative, which in turn initiates the development...... medium of paper......ty in Renaissance art. Journal of Cosmetic Dermatology, 3(4), 229-233. doi: 10.1111/j.1473-2310.2004.00142.xGromling, A. & Lingesleben,T. (1998). Botticelli 1444/45-1510 [Translated from German; Fiona Hulse] (1st ed.). Cologne, Germany: Neue Stalling, Oldenburg.Long, J.C., (2008). The Birth of Venus by Botticelli as a wedding painting. Aurora, The art history journal, 9, p.1. ISSN 1527-652X.McKennee, A., Malone, L., Hazelroth, S., & Kinney, B. (1994). Teaching resources: what is represented in a portrait? Art Education, 47(6), 25-32. Retrieved from http://www.jstor.org/stable/3193462.Morrison, B. (2004, June 12). Portraits. The Guardian, p. 16.Weinberg, G.S., (January 2004). DG Rossetti's ownership of Botticelli's "Smeralda Brandini". The Burlington Magazine, 146, no. 1210, pp.20-26. Retrieved from: http://www.jstor.org/stable/20073357