In the depot of the Museo Nazionale di Bargello in Florence is the unusual marble bust of an infant (Fig. 1 and cover). The portrait shows what seems to be a dead boy, with closed eyes in slightly sunken cavities and a pointed nose in the otherwise well-nourished face with its chubby cheeks, folds of fat around the neck, and rounded upper body. He must have been around a year of age when he was portrayed. Usually, portraits draw their power from the sitter’s eyes and a varying amount of “staging” by means of clothes and attributes—things that speak to us and tell a story. Yet, this little boy is naked, and there are no signs of his identity or social status.
Even if the portrait was not one of a dead child’s and taken earlier in Filippo’s life (as Langedijk seems to think), then why the closed eyes in a prestigious marble bust? Sleep, at least to my knowledge, was not a topic in bust portraits of the Italian Renaissance, nor was a child’s death. For children’s busts, see Kohl [3].
“A’ dì 29 di marzo morse il gran principe di Firenze, Filippo…Seppellissi in S. Lorenzo. Gli stessi medici che lo avevano medicato così fisici come cerusisci, gli segorno la testa, levandone la forma come d’una scodella dove trovorno sotto il primo panno, sopra il cervello, presso a uno bicchier d’acqua; la quale pensorno e credettero tutti conformi che fussi stata la vera causa della morte sua,” see Lapini [7].” Il Principe si fece sparare et si trovò il capo pieno d’acqua,” in a letter of Grand Duke Francesco to his brother Cardinal Ferdinando de’ Medici of April 7, 1589, see the Medici Project results in [8].