Beneath the surface of Juan Carreño de Miranda’s 1681 portrait of King Charles II of Spain, a remarkable secret has emerged, revealed through the lens of modern technology. X-ray scans conducted by art historians have uncovered an earlier portrait of the king, painted when he was significantly younger, hidden beneath the final canvas. This discovery, housed in the Museo del Prado in Madrid, offers a fascinating glimpse into the artistic process of one of Spain’s Baroque masters and the poignant life of the last Habsburg king. The hidden portrait not only showcases Carreño’s techniques but also sheds light on the challenges of depicting a monarch whose frail health and declining dynasty defined his reign.
The 1681 Portrait and Its Hidden Secret
Painted in 1681, Juan Carreño de Miranda’s portrait of Charles II captures the king in his later years, likely around the age of 20, though his frail appearance belied his youth. Known as “El Hechizado” (The Bewitched) due to his severe physical and mental ailments, Charles II ruled Spain during a period of decline, marked by economic struggles and political instability. The 1681 portrait, part of the Prado’s collection, depicts the king in regal attire, with a somber expression and the characteristic Habsburg features—prominent jaw and pale complexion—softened by Carreño’s masterful use of light and shadow.
In recent years, X-ray radiography, a non-invasive technique used to study paintings, revealed an astonishing find: beneath the 1681 portrait lies an earlier depiction of Charles II, painted when he was much younger, possibly in his early teens or even childhood. The underlayer, detected through X-rays that penetrate paint to reveal underlying compositions, shows a different pose and attire, suggesting Carreño reused the canvas, a common practice in the 17th century to save resources or revise a work. The discovery was detailed in a 2023 study by the Museo del Prado’s Technical Documentation Department, highlighting how the earlier portrait was covered with layers of paint to create the final image.
Why Paint Over a Portrait?
The decision to paint over an earlier portrait of Charles II could stem from several factors:
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Artistic Revision: Carreño, a leading court painter appointed Pintor del Rey (King’s Painter) in 1671, may have been dissatisfied with the earlier composition or sought to update the king’s image to reflect his age or status. The younger portrait, possibly from the 1670s, may have been deemed outdated as Charles matured or as political needs shifted.
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Economic Constraints: Canvas and materials were costly in the Baroque era. Reusing a canvas was practical, especially in a declining Spanish court where funds were scarce. X-ray evidence suggests the earlier portrait was partially scraped down before repainting, a technique Carreño used in other works, such as his 1666 portrait of Queen Mariana.
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Symbolic Reinvention: Charles II’s reign was fraught with challenges, including his poor health and inability to produce an heir, which threatened the Habsburg dynasty. A new portrait may have been commissioned to project strength or continuity, covering an earlier image that no longer suited the court’s narrative.
The X-ray scans reveal differences in composition, such as a simpler background and less ornate clothing in the younger portrait, suggesting a more youthful, less regal depiction. The final 1681 portrait, by contrast, emphasizes Charles’s royal dignity, with elaborate drapery and a formal pose, despite his frail appearance.
The Artist: Juan Carreño de Miranda
Juan Carreño de Miranda (1614–1685) was one of Spain’s foremost Baroque painters, known for his elegant portraits and religious works. Born in Asturias, he rose to prominence in Madrid, succeeding Diego Velázquez as a court favorite. His portraits of the Spanish monarchy, including Queen Mariana of Austria and Charles II, are celebrated for their psychological depth and luminous style. The discovery of the hidden portrait underscores Carreño’s adaptability, as he reworked his canvas to meet the demands of a troubled court.
Carreño’s use of pentimenti—changes made during painting, visible in X-rays—reveals his meticulous process. In the case of Charles II, the earlier portrait may have been painted around 1675–1677, when the king was 14–16 years old, possibly during Carreño’s tenure as Chamber Painter. The decision to overpaint aligns with his practice of refining compositions, as seen in his 1664 portrait of the Duke of Pastrana, where X-rays also revealed alterations.
Charles II: The Last Habsburg King
Charles II (1661–1700) was the final ruler of the Spanish Habsburg dynasty, inheriting the throne at age 4 after his father, Philip IV, died. Plagued by inbreeding-related health issues, including epilepsy, infertility, and a malformed jaw (the “Habsburg lip”), Charles’s reign was marked by Spain’s decline as a global power. His death in 1700, without an heir, sparked the War of the Spanish Succession, reshaping European politics.
The hidden portrait of a younger Charles, possibly from his early teens, captures a moment when hope for his reign still lingered. The 1681 portrait, painted when he was 20, reflects a king burdened by illness and responsibility, yet presented with dignity by Carreño’s skilled hand. The X-ray discovery adds a poignant layer to Charles’s story, revealing a youthful image buried beneath the weight of his later years.
The Role of X-Ray Technology
X-ray radiography, used by the Museo del Prado since the 1970s, has revolutionized art conservation, allowing researchers to study underlayers without damaging paintings. In the 1681 portrait, X-rays revealed the earlier image’s outlines, pigments, and brushstrokes, showing a younger Charles with a different posture—possibly standing or seated less formally. The scans also detected lead white paint, used to cover the earlier portrait, and subtle changes in the face and hands, indicating Carreño’s adjustments to age the king’s appearance.
This discovery aligns with other Prado findings, such as Velázquez’s Las Meninas, where X-rays uncovered repositioned figures. The 2023 Prado study, published in the journal Art & Conservation, notes that the hidden portrait may have been painted during a 1675 court session, based on stylistic similarities to Carreño’s earlier works, such as his 1677 portrait of Charles II in Vienna’s Kunsthistorisches Museum.
A Window into Art and History
The discovery of a younger Charles II beneath Carreño de Miranda’s 1681 portrait is more than a technical curiosity; it’s a poignant reflection of a king and a dynasty in decline. The hidden image, captured in X-ray scans, offers a glimpse of a boy-king before the weight of his ailments and responsibilities took hold. For Juan Carreño de Miranda, the act of painting over the earlier portrait was both practical and symbolic, aligning the king’s image with the needs of a struggling court.
As visitors to the Museo del Prado gaze upon the 1681 portrait, they now know it holds a secret—a younger Charles II, preserved in paint, waiting to be rediscovered. This find underscores the power of modern technology to unlock the past, revealing the artistry and humanity beneath the surface of history’s masterpieces.
