1600s Spanish children trapped in the bodies & costumes of their elders

 1550s Alonso Sanchez Coello (Spanish painter, ca.1531-1588) Carlos, Prince of Asturias, also known as Don Carlos (1545-1568), was the eldest son and heir-apparent of King Philip II of Spain

During this period, children of titled or landed nobles were dressed as miniature adults reflecting their particular social status, where children were often married or promised in marriage at very young ages to cement social, political, & economic alliances.  The portrait of an heir asserts their position of birth, wealth, & power of the family.  From the 16C to the 18C, sumptuary laws dictated what people of an established social status were allowed to wear, such as rich textiles, laces, jewelry, & accessories.  It was hoped that these laws would maintain the social order with the aristocracy at the top of the heap.  Unfortunately, or fortunately, these mandates were difficult to enforce.  

 1560s Alonso Sanchez Coello (Spanish painter, ca.1531-1588) Portrait of Rudolf II, Holy Roman Emperor, King of Hungary and Croatia, King of Bohemia and Archduke of Austria (1552-1612)

  1569 Alonso Sanchez Coello (Spanish painter, ca.1531-1588) Infanta Isabella, daughter of King Philip of Spain

 1570s Alonso Sanchez Coello (Spanish painter, ca.1531-1588) Infanta Isabella Clara Eugenia (1566–1633) and her monkey

 1570s Alonso Sanchez Coello (Spanish painter, ca.1531-1588) Of Austria Archduke Wenceslaus of Austria (1561-1578) He was the young Grand Prior of the Order of Malta.

 1575 Alonso Sanchez Coello (Spanish painter, ca.1531-1588)  Portrait of Infante Ferdinand of Spain holding a bird

 1575 Alonso Sanchez Coello (Spanish painter, ca.1531-1588) Infantas Isabella Clara Eugenia and Catalina Micaela of Spain

 1579 Alonso Sanchez Coello (Spanish painter, ca.1531-1588)  Infantes Don Diego and Don Felipe Detail

 1580 Alonso Sanchez Coello (Spanish painter, ca.1531-1588) The Infant Don Felipe

 1580s Attributed to Alonso Sanchez Coello (Spanish painter, ca.1531-1588) Isabella Clara Eugenia and Catharina, Daughters of Philip II, King of Spain.  Also portrayed are a bird & dog.

 1602 Juan Pantoja de la Cruz (Spanish artist, 1553–1608)  Infantin Anna (1601-1666) Ana Maria Mauricia Infanta, daughter of Philip III and Margaret of Austria, was the eldest of 8 children.

 1602 Juan Pantoja de la Cruz (Spanish artist, 1553–1608)  Infantin Anna (1601-1666) Ana Maria Mauricia Infanta, daughter of Philip III and Margaret of Austria, was the eldest of 8 children. Detail

 1602 Juan Pantoja de la Cruz (Spanish artist, 1553–1608)  Portrait of the Infanta Ana Mauricia of Austria. (Daughter of Philip III and Margaret of Austria, Styria kings)  There were a few exceptions to the adult-clothes-only rule, including toddler dresses, coral teething necklaces & pieces of coral, such as the one being held here, for teething purposes

 1604 Juan Pantoja de la Cruz (Spanish artist, 1553–1608) Infant Anna

 1607 Juan Pantoja de la Cruz (Spanish artist, 1553–1608)  Infantin Maria Anna (1606-1646)

 1607 Juan Pantoja de la Cruz (Spanish artist, 1553–1608) The Infantes Don Felipe and Doña Anna

 1610 Bartolomé González y Serrano (1564–1627), A 9-year old Anne of Austria, future Queen of France, and her brother, a 5-year old Philip, future Philip IV, the King of Spain portrayed with a small dog

 1612 Bartolomé González y Serrano (1564–1627), Alfonso, the son of Philip III of Spain

 1612 Bartolomé González y Serrano (1564–1627), Infante Carlos (1607-1632) with his sister, Infanta Maria Anna (1606-1646)

  1612 Bartolomé González y Serrano (1564–1627), The children of Philip III of Spain (Ferdinand, Alfonso and Margarita)

 1613 Bartolomé González y Serrano (Spanish artist, 1564–1627) Portrait of Alfonso el Caro and Ana Margarita with dog

1600s Families by Gonzales Coques c.1615-1684

Gonzales Coques (Flemish Baroque Era Painter, ca.1615-1684) A Family Group by a Garden Fountain

Gonzales Coques (Flemish Baroque Era Painter, ca.1615-1684) A Family in a Garden Landscape

Gonzales Coques (Flemish Baroque Era Painter, ca.1615-1684) Family in Garden Landscape

Gonzales Coques (Flemish Baroque Era Painter, ca.1615-1684) Family of Jan Baptista Anthonie

Gonzales Coques (Flemish Baroque Era Painter, ca.1615-1684) Family Portrait

Gonzales Coques (Flemish Baroque Era Painter, ca.1615-1684) Gentleman with two daughters 1664

1662 Married Couple in the Park attributed to Gonzales Coques (Flemish Baroque Era Painter, ca.1615-1684)

1600s Children of the Spanish court dressed just like their parents by Velazquez 1599–1660

1653 Diego Rodriguez de Silva y Velazquez (Spanish painter, 1599-1660) Infanta Margarita.

Diego Velázquez Recorded a nuanced, Even anxious, royal view of childhood In His paintings in Spain of the princes 17C & amp; princesses, children dressed as adults.

1654 Diego Rodriguez de Silva y Velazquez (Spanish painter, 1599-1660) Infanta Margarita.

1656 Diego Rodriguez de Silva y Velazquez (Spanish painter, 1599-1660) Infanta Margarita.

1659 Diego Rodriguez de Silva y Velazquez (Spanish painter, 1599-1660) Infanta Margarita in a Blue Dress.

1650 Diego Rodriguez de Silva y Velázquez (Spanish painter, from 1599 to 1660) The Infanta Margarita (Perhaps by Mazo finished) Detail

1656 Diego Rodriguez de Silva y Velazquez (Spanish painter, 1599-1660) Las Meninas or The Maids of Honor. Detail In Las Meninas, the 5-year-old Infanta Margarita Teresa stands looking at us, Accompanied by her ladies in waiting (meninas) & amp; 2 dwarves, while works were Velázquez portrait of her parents, the King & amp; queen. The Infanta is beautiful & amp; confidant, Attended by her own micro-short; goal as she looks out of the painting at her relatives (who are standing Where the spectator of the painting stands) she is performing. And she is under pressure to look & amp; act like an adult princess. She Will never be a child.

1631 Diego Rodriguez de Silva y Velazquez (Spanish painter, 1599-1660) Prince Balthasar Charles, Prince of Asturias with a Court Dwarf.

1632 Diego Rodriguez de Silva y Velazquez (Spanish painter, 1599-1660) Retrato del Príncipe Baltasar Carlos

1659 Diego Rodriguez de Silva y Velazquez (Spanish painter, 1599-1660) Infante Philip Prosper, Prince of Asturias (1657-1661).

1635 Diego Rodriguez de Silva y Velazquez (Spanish painter, 1599-1660) Charles Prince Baltasar Carlos as a Hunter with, his dog.


Velazquez, a precocious artistic genius, Got His start painting tavern scenes in His native town of Seville. At age of 24, Philip IV Diego appointed as Spains's court painter, a position he Held for the rest de son life.

Diego Rodriguez de Silva y Velazquez (Spanish painter, 1599-1660) Self Portrait

A Sleeping 17C Baby

Bernardo Strozzi (Italian painter, 1581-1644) Sleeping Child

One of my favorite turkey paintings

Stanley Spencer, (English painter, 1891-1959) Turkeys 1946

Origin of the name "Quakers" 1650

Origin of the name "Quakers" 1650
From It Happened Today

George Fox 1624-1691

IN 1643, some English lads visited a fair. All claimed to be Christians. George Fox joined them in ordering a jug of ale. “I, being thirsty, went in with them, for I loved any who had a sense of good, or that sought after the Lord.” But, “When we had drunk a glass apiece, they began to drink healths, and called for more drink.” One called out, “Whoever won’t drink pays!” Fox was upset that “Christians” would challenge each other to a drinking bout. So he rose, took a coin from his pocket and laid it on the table, saying, “If that’s the way it’s going to be, I’m leaving.” 

Fox went home, but was so troubled by the incident he couldn’t sleep. Instead, he walked up and down, praying and crying to the Lord. Soon he left home and wandered alone, seeking answers. He became convinced that only those actually born of God are Christians, and they must worship God not with outward show, but with the spirit. 

Certain that no one had answers for his unhappiness, he reached a crisis: “When all my hopes in them and in all men were gone, so that I had nothing outwardly to help me, nor could I tell what to do, then, oh, then, I heard a voice which said, ‘There is one, even Christ Jesus, that can speak to thy condition’; and when I heard it, my heart did leap for joy.”  Ever after, Fox relied on inner illumination from the Lord. He formed a group called the Society of Friends. These believers worked against many intolerant and wicked practices in society, often getting into trouble for refusing to take off their hats to important people, preaching publicly without licenses, and refusing to take oaths to anyone but Christ. 

For being different, Fox was jailed many times, once in a dungeon that was the latrine hole for other prisoners. On this day, 30 October 1650, he was brought before Justice Bennet of Derby on a charge of blasphemy. Quoting Isaiah 66:2, he urged the judge to “tremble at the word of God.” In mockery, Bennet called him a “quaker,” and this is thought to be the origin of the name “Quakers.” 

George Fox died in 1691, exclaiming on his deathbed, “I am clear! I am clear!” For many years he had kept a journal. Two hundred years after his death, Baptist preacher Charles Spurgeon addressed a body of Quakers, saying of that journal “It is a rich mine. Every page of it is precious as solid gold.”

Illuminated Manuscripts - 15C Craftsmen & Shopkeepers in Nuremberg, Germany

Textile Dyer. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

In 14C Germany, a wealthy trader by the name of Mendel established a charitable endowment in the city of Nuremberg, called Twelve Brothers House Foundation (Zwölfbrüderhausstiftungen). A dozen older citizens were given a place to live in exchange for their performing work duties.  In the 15C, Mendel's grandson began having sketches made of each of the brothers engaged in their chosen craft together with detailed notes about the tools & practices relating to their work. 

Bookbinder. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Organ Pipe Maker Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Brewer. Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Cooper Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Butcher. Landauer Twelve Brother's House manuscript  Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Baker Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Candlestick Maker. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Goldsmith. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Carpenter. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Stonemason. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Court Messenger. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Apothecary. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Gardener. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Roof Repairer. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Glaizer. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Leatherworker. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Gunsmith. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Armour Maker. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Metal Worker. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Bell Maker. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Nailsmith. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Merchant. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Swordsmith. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Knifesmith. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Tailor. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Weaver. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

Hatmaker. Landauer Twelve Brother's House manuscript Nuremberg City Library, Germanic National Museum Amb 279.2 ° Folio 0a recto (Landauer I)

In the most strict definition of the term, an illuminated manuscript only refers to manuscripts decorated with gold or silver, but in both common usage and modern scholarship, the term is now used to refer to any decorated or illustrated manuscript from the Western traditions.