
Louis XIV
At sixty-three the king still turns out one leg to show the dancer's calf he was proud of, under a cascade of ermine and fleurs-de-lis.

At sixty-three the king still turns out one leg to show the dancer's calf he was proud of, under a cascade of ermine and fleurs-de-lis.

Napoleon has already crowned himself and is now crowning Josephine, with the pope seated behind him and reduced to a spectator.

Goya put himself at an easel in the shadows, as Velázquez had, and painted the royal family looking vacant, pompous or merely plain.

The emperor hands a book to a Sufi and ignores the kings waiting below, one of them James I, copied from an English portrait.

Not a calendar page but Anatomical Man, ringed by zodiac signs governing the body. All three brothers died in 1416, probably of plague.

A court lady steps between a lunging bear and the emperor. What survives is a later copy, crowded with the seals of everyone who owned it.

Hundreds of tiny faces hide in the swirling rocks around Persia's first king, painted for a royal copy of the Shahnama made for Shah Tahmasp.

The Infanta and her maids fill the room, but Velázquez has put himself at his easel and the king and queen in a mirror behind.