nins

The NINS collection, declared a Listed Heritage of the Balearic Islands (BC) and created over more than fifty years by the artists Ben Jakober and Yannick Vu, is made up of portraits of children from the 16th to the 19th centuries and makes up the origin of the Sa Bassa Blanca Museum.

Its importance resides in the fact that they are exclusively portraits of infant-age children from different European courts, generally representing children of high-ranking characters. In addition to providing information on courtly stories that will delight history buffs, this collection stands as a graphic document of vital importance when it comes to the study of the evolution of fashion, jewelry and other accessories, details of vital importance when we refer to the study and documentation of these pieces.

This selection allows us to follow the evolution of a certain representation of children and the slow metamorphosis of the costumes, which little by little lose their elegant austerity to reach a frivolous exuberance.

Of undoubted interest is the symbology of the objects with which these children are represented, not only the emblematic accessories and attributes of power, such as sceptres, crowns, thrones, curtains and buffets, but also animals, fruits, flowers; all of them symbolizing and underlining the need for a good education and emphasizing the desirable virtues.

A large part of these portraits were sent from one court to another with the hope that they would facilitate a marriage -often consanguineous- to strengthen the ties between the most powerful royal houses. The portraits of these little princes, whose lives have the flavor of fables and the mystery of legends, remain today as the true testimony of their time and make us enter a hieratic world, more moving than our contemporary concerns. But the look of each one of these "child-kings" facing their destinies and the kingdoms they embody, suggests a deep questioning that cannot leave us indifferent.

Following the particular history of these children, it is evident that these princes and princesses experienced a childhood that has nothing in common with what is understood today by this word; but even with everything, these faces emerging from the past perfectly express the enigma and fugitive nature of childhood...

PORTRAIT OF LUIS I OF SPAIN, PRINCE OF ASTURIAS (1707-1724), around 1710 Miguel Jacinto Meléndez (1679-1734), Spanish school, Philip V, grandson of Louis XIV of France and Maria Teresa of Austria abdicated on January 10, 1724 in favor of his then only son Luís, in order to dedicate himself entirely to his religious devotion. But the young prince died of chicken pox several months later. In this portrait he wears the Order of the Holy Spirit. The crown and sceptre, symbols of the monarchy, appear in the background.

PORTRAIT OF A GIRL WITH A RED SKIRT, around 1786 Attributed to Antonio Carnicero (1748-1814), Spanish school. At the end of the 18th century, Spain experienced a passion for popular costume. Although French fashion is followed with some reluctance, national peculiarities add an original touch. Spanish women wear shorter, simpler, brightly colored dresses adorned with fans, shawls and carnations.

PORTRAIT OF THE INFANT FRANCISCO DE PAULA (1794-1865), 1799 Antonio Carnicero (1748-1814), Spanish school, At the end of the 18th century, Carnicero worked as a painter for Carlos IV, representing some of the most prominent figures of the Spanish court . In this portrait we can see the youngest son of the king, the infante Francisco de Paula, who was at the same time a student of the painter. The fashion "a la marinera" and the garden indicate a more relaxed concept of childhood than in previous centuries.

PORTRAIT OF A GIRL WITH CHERRIES, around 1843 Joan Mestre i Bosch (1826-1893), Majorcan school. This was the first work in the "Nins" collection, begun in 1975 and formed over thirty years, constituting an interesting artistic, historical and social document of the childhood of certain European families from the 16th to the 19th century. This portrait shows a Majorcan girl in a typical composition of 19th century Romanticism.

PORTRAIT OF THE INFANTA ANA OF AUSTRIA (1601-1666), around 1609. Rodrigo de Villandrando (c.1588-1622) Spanish School. She was the favorite daughter of Felipe III, Infanta of Spain of the Habsburg dynasty. She is represented at the age of nine, allowing the work to be dated around 1610. She married Louis XIII at the age of fourteen, becoming queen of France. Her jewelry collection included gemstone crosses, a symbol of her religious devotion.

PORTRAIT OF A YOUNG KNIGHT OF SANTIAGO, around 1622 Andrés López Polanco (around 1575-1641). The red cross on a white shell on the young man's chest is the symbol of the Order of Santiago, made up of the most illustrious knights in Spain. In the lower left corner, you can see the signature of Andrés López Polanco, who worked as a painter for the Spanish court at the beginning of the 17th century.

THE INFANTA MARGARITA TERESA OF SPAIN (1651-1673), around 1665 Attributed to Francisco Ignacio Ruiz de la Iglesia (1649-1704) Spanish School. Margarita was painted by Velázquez in numerous portraits, including his famous work “Las Meninas”. In 1663, at the young age of twelve, Philip IV's daughter was betrothed to her uncle Leopold I of Habsburg, thus becoming Empress of Austria.

THE INFANTS DON CARLOS (1607-1632) AND DON FERNANDO (1609-1641), 1610 Andrés López Polanco (c.1575-1641). These two brothers are infants of the House of Habsburg, sons of Philip III. Don Carlos, two and a half years old, wears the habit of a Dominican, reflecting his family's desire to see him become a cardinal. Don Fernando, ten months old, appears seated in a walker and wears a nursing belt from which various amulets hang. Both hold the Cross of the Inquisition.

PORTRAIT OF THE INFANT ALFONSO OF AUSTRIA 153 “EL CARO” (1611-1612), around 1612 Circle of Bartolomé González (1564-1627). This infant of the house of Austria was the last son of Felipe III of Spain and his wife Margarita, who died during childbirth. The king, true to his memory, did not remarry. This could be a version of the central part of the portrait of the infantes Fernando, Alfonso Caro and Margarita, painted by González in 1612.

PORTRAIT OF MARÍA CONCEPCIÓN MONTANER Gabriel Reinés Pocoví (1807-1885), Majorcan school. Concepción Montaner de Vega-Verdugo was born in Palma around 1845 and died of an unfortunate accident at the age depicted in this 1853 portrait. A mason who worked on the family estate had a dispute with one of the servants. When his rival was leaving the house, he threw debris at her, not realizing that the girl was at her side, taking her life.

PORTRAIT OF CHARLES II OF SPAIN (1661-1700), 61 CHILD, around 1671 Juan Carreño de Miranda (1614-1685). Son of Mariana of Austria, descendant of Emperor Ferdinand III of Germany. The prince, sickly and retarded in his biological heritage due to the numerous marriages between blood relatives celebrated by the Habsburgs, was proclaimed King of Spain before he was four years old.

PORTRAIT OF A YOUNG MAN DRESSED IN RED, 1603 François Quesnel (1543-1619), French school. As the inscription indicates, this young man is exactly seven and a half years old. In all likelihood, he just ditched his children's clothes a little over a year ago. For decorative reasons, the fabric is slashed, following the fashion of the early 17th century. The ruff is smaller than in previous years and in general, the suit has lost the rigidity of the 16th century, when Spanish fashion was the model to follow.

PORTRAIT OF LOUIS XIV (1638-1715) AND HIS FIRST NURSE MADAME LONGUET DE LA GIRAUDIÈRE, 1638 Charles Beaubrun (1604-1692), French school. Louis XIV, son of Louis XIII and Anne of Austria, is depicted at the age of four months with his first wet nurse. Queens had to give birth to as many children as possible to produce an heir and the task of nurturing royal babies was carried out by noble ladies.

PORTRAIT OF LOUIS XIV (1638-1715) AND HIS BROTHER PHILIP DUKE OF ORLEANS (1640-1701), c. 1642 Charles Beaubrun (1604-1692), French school. Anne of Austria had to sacrifice her strong maternal instincts for court etiquette, letting her children live in separate apartments from her own. The little ones were surrounded by a large retinue, which included a governess, a second governess, a wet nurse, a second wet nurse, a nanny, eight servants, an officer in charge of the silver, and a doctor.

PORTRAIT OF PHILIP OF ORLEANS (1640-1701), c. 1646 Jean Nocret (1615-1672), French school. Son of Louis XIII and Anne of Austria and brother of King Louis XIV. According to Madame de La Fayette “the king's only brother, he was very close to his mother, the queen. His preferences were as close to those of women as far from those of the king. He was handsome, well-proportioned, his charm and figure would have been more suited to a princess."

PORTRAIT OF THE DOLPHIN LOUIS XV (1710-1774), c. 1712 Pierre Gobert (1662-1744) and workshop, French school. Louis XV was born on February 15, 1710, the third son of the Duke of Burgundy and Maria Adelaide of Savoy. The couple's first two children, both named Luís, died prematurely between April 1711 and March 1712. Consequently, this third Luís succeeded his great-grandfather, the Sun King, in 1715.

PORTRAIT OF A NEWLY BORN Circle of the Beaubruns, French school, 17th century. It could be Louis XIV. In the 17th century it was still customary to swaddle infants so tightly that they looked like little mummies. It served not only to keep them calm but also to shape their body and prevent malformations of the legs. This practice continued until the end of the 18th century.

PORTRAIT OF LOUIS XIII DAUPHIN OF FRANCE (1601-1643) DRESSED IN A WHITE SILK COAT, around 1616 Frans Pourbus the Younger (1569/70-1622). Louis XIII is depicted at the age of 15, shortly after his marriage to the Spanish princess Anne of Austria, who was his equal in age. At the same time, the heir to Spain, Felipe IV, married Isabel, Luis's sister, reinforcing the ties between the two countries.

PORTRAIT OF LOUIS XIII DAUPHIN OF FRANCE (1601-1643), 1610 Frans Pourbus the Younger, Flemish school. There are several versions of this portrait, one of them full-length is in the Galleria Uffizi, in Florence. Louis XIII was the eldest son of Maria de' Medici and Henry IV, who had been waiting for this heir for a long time. On the death of his father at the hands of the fanatic Ravaillac, Louis became the young king of France.

PORTRAIT OF LOUIS XV OF FRANCE (1710-1774), around 1715 Pierre Gobert and workshop, (1662-1744), French school. The infanta Ana Victoria, daughter of Philip V of Spain, was sent to the French court at the age of three to become the wife of Louis XV. In 1725, it was considered inescapable that the king should have offspring shortly. The young woman was returned to Spain as still too young, and Louis XV married Maria Leszczyńska , daughter of the dethroned King of Poland.

PORTRAIT OF PHILIP THE BEAUTIFUL (1478-1506) 15 Anonymous French 16th century, after an original by the Master of the Legend of the Magdalene (Bernaert van der Stockt) ca. 1490. In the past, mistakenly identified as Louis IX, it is a portrait of the young Philip of Habsburg, known as the handsome, Count of Flanders and future king consort of Castile. Portrayed with a falcon as an allusion to the practice of falconry, habitual in the men of the court.

PORTRAIT OF MARIE-ANNE MANCINI (1649-1714) 156 Attributed to Théodore van Egmont (1627-1672), Flemish school. Théodore, "Peintre Ordinaire du Roi" in the French court, was the son of Juste d'Egmont, a Flemish painter who worked for Louis XIII, being one of his favourites. Marie-Anne Mancini, Cardinal Mazarin's niece, married the Duke of Bouillon. He created a Literary Hall in his own palace that brought together great writers and poets.

PORTRAIT OF A ROYAL NEWBORN BABY WRAPPED IN EMBROIDERED CLOTH 17th century. The total wrapping (arms and legs) was practiced in the first months of life, then the infant used to have his arms free to be able to grasp the objects that were offered to him. Here he is depicted wrapped in elaborate embroidered cloth and lying on a bed.

PORTRAIT OF PHILIPPE D'ORLEANS, DUKE OF CHARTRES (1674-1723), 1681/2 Nicolas de Largillière (1656-1746), French school, 17th century. Largillière was one of the best painters at the court of Louis XIV and Louis XV, portraying such illustrious figures as the Duke of Chartres, regent of France at the death of his uncle and until the young heir Louis XV came of age.

PORTRAIT OF AN EIGHT-YEAR-OLD YOUNG MAN, 1606 Gortzius Geldorp (?) (1533-1616), Flemish school. The sword, a symbol of authority, suggests that the model may have belonged to a noble family. At the age of seven, the children celebrated their "breeching" ceremony, during which they received their first pants and sword, leaving behind the world of childhood and becoming little adults. The short cape around the body was very fashionable in Europe at the beginning of the 17th century.

PORTRAIT OF A PRINCESS, circa 1604 Circle of Frans Pourbus the Younger (1569/70-1622). The sumptuous jewelery and red drapery suggest that the approximately two-year-old girl belongs to high nobility. The garment that covers the head is fastened with a jewel covered with precious stones. Around 1600, court ladies, particularly Spanish infantas, often covered their heads with jewels, which were placed on the sides.

PORTRAIT OF JAN VAN EVERSDYCK, 1580 Nicolas Neuchâtel called Lucindel (1527-1590), Flemish School. Jan van Eversdyck, who could be identified by his coat of arms, was 18 years old in 1580. This wealthy citizen of Antwerp was an important art patron along with his wife Antonia Canis.

PORTRAIT OF A GIRL WITH A BLACK DRESS AND A LARGE LECHUGUILLA NECK, around 1625 Dutch School. The great Baroque masters practiced the chiaroscuro technique, which consisted of concentrating all the light in one point, leaving the rest of the work practically in the dark. This strong contrast between light and shadow created a dramatic effect, especially in portraits. His great teacher and promoter was undoubtedly Caravaggio.

HALF-LENGTH PORTRAIT OF A NUDE BOY, 1580/89 North Dutch School. In the 16th century, deceased children were often depicted nude in posthumous portraits. This hypothesis is confirmed by the roses seen as a symbol of resurrection and hope of eternal life. The two open flowers and the bud possibly represent the parents and the child who died at a very young age.

PORTRAIT OF A MAID WITH A DOG, 1674 Adriaen-Cornelisz. Beeldmaker (1618-1709. Hunting was an activity reserved only for European royalty and nobility, becoming a symbol of wealth and prestige. During the 17th century, portraits of children holding bows and arrows or a spear became widespread and often accompanied by large hunting dogs, such as this large mastiff.

PORTRAIT OF A YOUNG FALCONER, 1639 Mattheus Gilliszoon de Berch (died 1687). During the seventeenth century, the Dutch bourgeoisie experienced an important economic boom, which led them to imitate royalty and nobility, in order to achieve social prestige. Children are often represented as hunters, since hunting is an activity for the privileged classes. Falconers typically wear a short red dress, high boots, a plumed hat, and a leather glove to hold their prized falcons.

PORTRAIT OF A GIRL HOLDING A BREEZEL WITH A DOG AT HER SIDE Jacob Gerritsz. Cuyp (1594-1652). Dutch school. The pretzel, an ambiguous attribute, often symbolizes the struggle between good and evil. In the hand of a child it refers to the ephemeral nature of life and should be interpreted as a symbol of vanity. The dog could represent fidelity and the need for discipline in young children.

PORTRAIT OF A LADY WITH HER TWO SONS AND A DAUGHTER, 1646 The Monogramist CVD, Dutch School. It is probably a portrait of a widow with her three children. The girl is holding a small bag in her hand, like those that appear in various female portraits from the 17th century's thirties and forties. The eldest son holds a whip, symbolizing the educational ideals of the time in which instruction and discipline played an important role.

PORTRAIT OF A DUTCH GIRL WITH A LEMON, 1650 Dutch School. The starched sleeves and pointed collar allow this work to be dated between 1650 and 1660. The combed hair above the cap and the earrings confirm that it is a girl. Dogs often appear in portraits of children, although they often accompany girls, alluding to discipline and instruction. The lemon symbolizes fertility.

PORTRAIT OF A GIRL WITH A WHITE CAP, around 1570/80 Circle of Pieter Pourbus (1523-1584). Flemish school. This 16th-century Flemish portrait reflects the influence of painters such as the Clouet brothers and Corneille de Lyon. The miniaturist treatment of the hair, eyelashes and eyebrows recalls the latter artist. As in other works of the time, the young woman does not look directly at the viewer.

PORTRAIT OF FRANÇOIS DE BOISSCHOT AT THE AGE OF 2 YEARS AND 7 MONTHS Cornelis de Vos (1584-1651), Flemish school. Nothing is known about the early years of Cornelis de Vos. From 1635 to 1638 he worked with Jordaens and Rubens. He was a painter of portraits and family groups in Antwerp. François was the son of Ferdinand de Boisschot, Baron of Saventhem and Chancellor of Brabant, patron of Van Dyck.

PORTRAIT OF A GIRL WITH A LACE CAP Follower of Cornelis de Vos (1585-1651), Dutch school. An inscription on the reverse helps us date this panel to 1598. Its small format could indicate that it is a fragment cut from a larger work, perhaps representing the entire family. The girl wears a red coral necklace, an amulet to protect children against illness and the evil eye.

PORTRAIT OF SUZANNE DE BOURBON, around 1492. Circle of Jean Hey, 15th century Flemish school. Jean Hey, also known as Le Maître de Moulins, was a French painter and draftsman considered one of the greatest of his time. He worked successively at the court of Charles de Bourbon and then at that of Pierre II de Bourbon. Suzanne was Duchess of Bourbon and Auverge and Countess of Marche, from 1503 to 1521. Shortly before her marriage, she received the famous teachings written by her mother Anne de France and a treatise compiled by her preacher brother Pierre Martin on the announcement of her first pregnancy.

PORTRAIT OF A GIRL WITH A FAN. c. 1625/30 Dutch School. The richness of the dress and accessories point to the high position of the young woman. The fan made of ostrich feathers was a highly appreciated luxury item among the aristocracy for its exotic character and lightness. This work was in the collection of the Marquis Charles de Valori.

PORTRAIT OF A BOY IN A SILVER COAT, circa 1600 Circle of Robert Peake (1551-1619), English School. Peake was one of the most successful portrait painters of the late Elizabethan period, whose style is characterized by its archaism. This gentleman appears very elegant with his pants and his sword, which young people received at the age of seven during the "breeching" ceremony, marking their passage from children to adults.

PORTRAIT OF A GIRL DRESSED IN BLUE, between 1730 and 1740 Willem Verelst (active 1734/1752), English School. The ultramarine blue color of the dress was made from lapis lazuli, a mineral from Afghanistan and Peru. Its high cost made it a luxury only reserved for the wealthiest customers. This fact seems to point to the high origin of the young woman, accompanied by a parrot, a symbol of good manners.

PORTRAIT OF PRINCESS CAROLINA MATILDE (1751-1775) Willem Verelst (active 1734/1752), English School. At fifteen, Princess Carolina Matilda, the youngest daughter of Frederick Prince of Wales, married her cousin Christian VII of Denmark, with whom she had two children. It was no secret that the queen was having an affair with her husband's doctor, Dr. Struensee, later executed for political reasons.

PORTRAIT OF CHARLES EDWARD STUART KNOWN AS “BONNIE PRINCE CHARLIE” (Rome, 1720-1788), circa 1728. Antonio David (1684-c.1730), Italian school, Charles was a descendant of the Scottish royal house of Stuart. Like his father James, he tried unsuccessfully to regain the throne of Great Britain with the support of the "highlanders", being known as "the Young Pretender". After his sterile marriage at the age of 52 with the German Louise de Stolberg-Gedern, his character became violent and he took refuge in alcohol, finally dying in Rome.

PORTRAIT OF THE FUTURE PRINCE OF WALES EDWARD VI OF ENGLAND (1537-1553) English school, XVI-XVII century. More than just a copy, this portrait is a careful recreation of the well-known painting in the British Royal Collection at Windsor Castle. During the short reign of Edward VI, Protestantism, with the sovereign's support, continued to spread in England.

ALLEGED PORTRAIT OF A YOUNG GIRL OF THE POULETT FAMILY, around 1630/35 English school, 17th century. The burgundy red color of the dress and the thin black ribbon that encircles this girl's neck are very common symbols of mourning in Europe in the mid-17th century. The missal held by the young woman in her right hand seems to corroborate this assumption. The prayer book could in turn allude to the need for children to receive a good religious education.

PORTRAIT OF MARY BASSETT, 1603 The Unknown Follower of Hieronimo Custodis (active 1589-1593) English School. Although the dress forms are lighter, the accessories still reflect the Elizabethan period's taste for spectacular detail. The tall, stiff headdress adorned with feathers was held in place by a wire frame on which the hair was pinned. Mary holds a bunch of grapes, a symbol of the Eucharist.

PORTRAIT OF KATHERINE BASSETT, 1603 The Unknown Follower of Hieronimo Custodis (active 1589-1593) English School. Katherine Basset's portrait differs from that of her sister Mary in the jewelery and fruit. The damsons in this portrait could well be a symbol of humility and chastity. Both sisters were daughters of the Sheriff of Miskin, Wales, and lived at Miskin Manor around 1610.

PORTRAIT OF CHARLES V (1500-1558) AND HIS SISTERS LEONOR (1498-1558) AND ISABEL (1501-1526), 1506 Unknown copyist of the Master of the Brotherhood of S. Jorge, This triptych represents the children of Felipe el Hermoso and Juana la Loca. The shields and the inscriptions help us to identify Carlos V, future emperor of Germany; Eleanor, queen of Portugal and later of France; and Elizabeth, wife of Christian II of Denmark.

PORTRAIT OF A GIRL IN AN EMBROIDERED RED AND WHITE DRESS Follower of Marcus Gheeraerts the Younger (1561-1635) Flemish school, Marcus Gheeraerts the Younger was born in Bruges in 1561. At the age of seven he traveled to England with his father and teacher. His earliest preserved work is dated 1593. He was the fashionable painter during the 1590s, later becoming a favorite of Anne of Denmark, wife of James I.

PORTRAIT OF ANNE, LADY WENTWORTH (1561-1625) AND THEIR SONS THOMAS (1591-1667), JANE (b. 1592), AND HENRY (1593- 1644), 1596. Circle of Marcus Gheeraerts the Younger (1561-1635) Esc. flamingo Anne married Henry, 3rd Baron Wentworth, with whom she had three children. In 1593, two years after the death of her first husband, she married Sir William Pope and in this work she appears pregnant with their first child together.

PORTRAIT OF FILIPPO ROMANO RICCI, 1690 Antonio Mercurio Amorosi (1660-1737), Italian school. The jewelry that adorns the child could lead one to think that it is the son of an important family. Even so, the frequency with which these decorations appear in Amorosi's portraits suggests that they are repertoire objects, used by the artist to enrich the composition. The Ricci surname was widespread at the time. This child may have belonged to the Roman branch of the family, coming from Tuscany.

PORTRAIT OF A CHILD HOLDING A CANE AND TWO FLOWERS, THE ATTRIBUTE OF SAINT JOSEPH Attributed to Jacopo Chimenti called Jacopo da Empoli (1551-1640) An Italian school, Jacopo Chimenti devoted himself to religious mural painting for many years. His fall from a scaffold while painting his masterpiece, a representation of Saint Ivo, forced him to devote himself to easel painting. Red coral protected children from infectious diseases and the evil eye.

PORTRAIT OF A BOY WEARING A RED ROBE AND A GOLD CHAIN, circa 1545-55 Florentine School. This work seems to be influenced by the portraits of the Medici children found in the Galleria Uffizi in Florence. From the 15th to the 19th century, red coral was used as an amulet against infections and black magic throughout Europe. The two thoughts symbolize humility and memory, indicating that it could be a posthumous portrait.

PORTRAIT OF FRANCESCO BARBERINI (1597-1633), around 1599 Attributed to Ottavio Leoni (1578-1630), Italian school. The model depicted at the age of approximately two years, wears a magnificent red silk suit, embroidered with gold threads according to the fashion of the end of the 16th century. The color of his suit, distinctive insignia of the cardinals, evokes his ecclesiastical future. With his hands he holds a cord tied to the leg of a goldfinch flying at his side, another symbol of the blood of Christ.

PORTRAIT OF A BOY WITH A FEATHED HAT Antonio Mercurio Amorosi (1660-1737), Italian school. Amorosi is especially known for its street scenes, taverns and markets, known as "bambocciate". A more detailed examination of his work indicates that almost half of his compositions are children's portraits, not counting the numerous representations of children in larger format paintings. His models are characterized by their large eyes, often giving them an expression of surprise.

PORTRAIT OF A GIRL WITH ROSES, around 1660 Pier Francesco Cittadini called Il Milanese (1616-1681). Cittadini arrived in Bologna in 1633 together with his two sculptor brothers. At seventeen he was a student of Guido Reni. He was a painter of landscapes, still lifes and portraits, a genre in which he especially stood out. The costume and lace of this work allow us to date it to the end of the 17th century.

PORTRAIT OF FILIPPO EMANUELE OF SAVOY (1586-1605), 1605 Attributed to Jan Kraeck known as Giovanni Caracca (active 1567- 1607). Dutch school. The eldest son of Duke Carlo Emanuele I of Savoy and Catherine Micaela of Habsburg is represented at the age of seventeen, shortly before his death on Spanish soil. The armor is decorated with Savoyard knots. The necklace of the Order of the Annunciation stands out, to which the heirs of the family belonged.

CARLO EMANUELE I, DUKE OF SAVOY (1562-1630), 1580 Jan Kraeck known as Giovanni Caracca (active 1567/1607). Dutch school. At eighteen, Carlo Emanuele I succeeded his father as Duke of Savoy, pursuing with great energy but little skill his policy of reconstruction and enlargement. He was an ambitious politician and cultivated prince, who was friendly with poets and authors such as Torquato Tasso.

PORTRAIT OF A GIRL WITH A DOG AND A MISSAL, circa 1610 Roman artist (Ottavio Leoni?), Italian school. This young woman was initially identified as Margarita Aldobrandini, niece of Pope Clement VIII, although there is no data to confirm this. The luxury of the suit, the presence of the dog as a symbol of fidelity and the missal could indicate that it is a portrait of engagement.

PORTRAIT OF PRINCES VITTORIO AMEDEO (1587-1637), EMANUELE FILIBERTO (1588- 1624) AND FILIPPO EMANUELE (1586-1605) OF SAVOY Circa 1592/95 Jan Kraek, called Giovanni Caracca, (active 1567-1607) Dutch School. This portrait of the Princes of Savoy shows the sons of Duke Carlo Emanuele I of Savoy on one occasion linked to the complex vicissitudes of Carlo Emanuele I's alliance with his father-in-law Felipe II, King of Spain and grandfather of the children. They belong, on their mother's side (children of the Spanish infanta Catalina Micaela) to the Habsburg family. The Savoy dynastic belonging of those portrayed is based on the Savoy knot that is repeated twice on the dog's collar. An inscription on a piece of paper on the back of the painting states: "The signature is on the dog's collar"

PORTRAIT OF EMANUELE FILIBERTO DUKE OF AOSTA (1731-1735), circa 1734 MGB Clementi (1696-1761). This painting had been attributed to Frans Van der Myn, but the decoration worn by the boy indicates that he is a son of Carlo Emanuele III and Polissena d'Assia Rheinsfels. The style undoubtedly points to Clementina, who portrayed the little Savoys on several occasions.

PORTRAIT OF GIOVAN CARLO DE MEDICI (1611-1663) Domenico Casini and Valore Casini (Florence, first half of the 17th century) Italian School. Married to Maria Magdalena of Habsburg. The inventory of the Palazzo Pitti, made between 1663 and 1664, mentions this portrait as part of a series representing the five sons of Grand Duke Cosimo II. The document indicates the names of the children and specifies that only two of the paintings were framed.

PORTRAIT OF MICHELE ANTONIO SALUZZO, WITH HER DOG, 1734. MGB Clementi, called Clementina (1690-1761) Italian School. La Clementina was specialized in the execution of court portraits, we can find several of her works in the Palacio di Caccia di Stupinigi. One of them is the child portrait of Vittorio Amedeo III, dated one year before the portrait on display and where the stylistic correspondence between the two can be clearly seen.

PORTRAIT OF A CHILD. Circle of Santi di Tito, Florentine school, 16th century. The cut of the boy's hose and the narrow shape of his collar suggest a date around 1580/85. The figure is framed between a gray sandstone pilaster and a purple curtain, decorative details frequently used in Florentine portraiture of the third quarter of the 16th century.

PORTRAIT OF COSIMO III DE MEDICI (1642-1723), CHILD Giusto Suttermans (1597-1681). Flemish school. Cosimo married Marguerite Louise d'Orléans, cousin of Louis XIV of France, in 1661, but they separated in 1674 due to their constant quarrels and the conflict between Marguerite Louise and her mother-in-law Vittoria della Rovere, who dominated her son and was known for being one of the causes of the fall of the Medici.