Аннотация:Portraits of the XV and XVI centuries sometimes feature unusual accessories - zibellini. They repeat the shape of wild animals from theMustelidae: ermines, martens, sables. Such jewelry was made of animal fur,sometimes complemented by muzzles, earrings and paws made of preciousmetals and stones. Typically ladies wore zibellini on shoulders, held them inhands or attached them to the girdles with gold chains. The fashion forzibellini spread rapidly, first occupying Italy in twenty years and then spreading over Europe.Proactive discussion is being held about the function of the zibellino. Inthe XIX century one believed that fur was aimed to attract fleas and lurethem away from the costume and hair. We consider the version about themeaning of zibellini as a talisman during pregnancy far more convincing. InOvid’s Metamorphoses (IX, 280-323) the marten was directly connectedwith the servant Galanthis who helped Heracles to be born and as punishment was turned into a beast. It was in the form of the marten that Galanthis often appeared on special birth trays deschi da parto. In the context ofpregnancy zibellino was depicted by Masaccio, Apollonio di Giovanni, Leonardo da Vinci, Lorenzo Lotto, Paolo Veronese; the accessory repeatedlyappears in inventories of property. We managed to discover a mention ofthe zibellino in the Venetian wedding ceremony and prove that the connection with pregnancy was attached to the accessory from the very momentof its acquisition - on the occasion of the girl’s wedding, and was subsequently expressed in direct connection with the wedding belt. Our study also provides a rare example of a golden zibellino head from Musée Cluny,which has not previously been considered as part of an accessory.The zibellino was a luxurious piece of jewelry with the help of thus a ladycould demonstrate her wealth and status. At the same time, it served as anamulet during the period of greatest fragility and defenselessness of theRenaissance woman.