Louise-Marie-Anne de Bourbon, par Pierre Mignard, 1681-1682

Acquired by Louis-Philippe for the Versailles Historical Gallery in 1833, this tile on canvas measures 1.32 m by 1.96 m. The identity of the subject remains uncertain. The artist, Pierre Mignard, was born in Troyes in 1612. He acquired a reputation as a painter of Madonna and portraits during his stay in Rome. He returned in 1657 at the request of Louis XIV. He became a competitor to Charles Le Brun, the first painter of the king. This rivalry lasted until the death of Le Brun in 1690. Mignard then took charge of the first painters and carried out an exceptional activity until his death in 1695. This work depicts a girl whose wealth of clothes and her resemblance to the children of Louis XIV suggest that she is a member of the royal family. This portrait was long considered to be that of Mademoiselle de Blois, legitimate daughter of Louis XIV and his favourite, Louise de la Vallière. Nevertheless, several symbols on the painting indicate that it would be another daughter of the king, unknown in history, Louise Marianne de Bourbon. Born on 12 November 1674, she is the daughter of Louis XIV and his favourite, Madame de Montespan. She tragically died on 15 September 1681 at the age of six. The reason for her disappearance is unknown, but it was common at the time that children died of illness. The young age of this girl and the symbols in the painting suggest that it is a posthumous portrait, that is, after her death. Indeed, the soap bubble she holds in her hand was a symbol of the fragility of life in the 17th century. The watch left on the table represents the speed of time. The shell, filled with soap, is an allusion to the goddess Venus and recalls the beauty of the lost child. It is also important to underline the presence of two animals with the child, a dog and a parakeet. The little dog trying to catch the bubble translates the liveliness that exists in the courtyard. Traditionally, dogs are also a symbol of fidelity. They are regularly represented in women's portraits. The parakeet evokes the purity and innocence of the child. Parakeets are particularly appreciated in the courtyard for the beauty of their plumage and their linguistic ability. Animals are very present in Versailles and are often represented in painting, sculpture and decorative arts. Exotic or familiar, artists are inspired by their beauty, but also by their symbolic or allegorical reach. The 17th century sees the development of a new look at animals. It is an era where the relationship with the animal evolves in the high spheres of society. Its sensitivity and its capacity for affection begin to be recognized by some people, as evidenced by the many anecdotes around the household. The letters of Princess Palatine and her attachment to her little dogs and the relationship of King Louis XIV himself to his animals, in particular his affection for the carps in his basins and for his dogs, to the point of making them portrayed.