Adolf von Becker ; Albert Edelfelt

• Adolf von Becker: Maternal Joy
• Albert Edelfelt: Queen Bianca

More than a century ago, when Adolf von Becker and Albert Edelfelt sat with their brushes poised before an empty canvas, both had exactly the same intention: to paint a happy mother. The older of the two, Adolf, enjoyed painting common people and everyday incidents – his happy mother is a buxom Frenchwoman in headscarf and apron. The younger, Albert, sat dreaming about ancient times and figures of nobility. His happy mother is a beautiful queen dressed in a velvet-sleeved silk gown, with a string of pearls in her hair. Scissors are the only thing the two mothers have in common – one wears them hanging from her belt, the other has them tossed aside on her sewing basket.

Deeply immersed in enjoyment, the French child drinks his café au lait as the French do, from a china bowl. Note the presence of royalty in the scene: the only ornament on the wall is a ceremonial portrait of the Emperor and Empress. This portrait and the newspaper on the table help tell us that the painting is set in France.

Edelfelt's picture is set in ancient Norway. The little boy in it is no ordinary noble, but Prince Hakon, bouncing on the knee of his mother, Queen Bianca of Namur. Bianca's song has been sung to little children since time immemorial: Ride, ride, little horseman of mine. Whither shall I take thee, little boy of mine? Yonder, to your fair bride to be. What is her name? Margaret is she. Queen Bianca spoke the truth; in time, Hakon wed Princess Margaret, the future Queen of Denmark, who was also to play a role in Finland's fate.

Adolf von Becker : Maternal Joy ; Albert Edelfelt : Queen Bianca