Marie de' Medici cycle

1377:, the messenger god, in the presence of both of her priests, as she gives her consent to have discussions with her son concerning her clash to his governmental direction. Rubens uses several methods to portray Queen Marie in precisely the light that she wanted to be seen, as her young son's guardian and wise advisor. Enthroned on a pedestal with sculptures of Minerva's symbols of wisdom and two putti holding a laurel wreath to represent victory and martyrdom, the representation of Marie de' Medici is quite clear. Her humble, yet all-knowing gaze conveys the wisdom that she holds. She is also placed compositionally in a tight and unified group with the cardinals, signifying a truthful side opposed to Mercury's dishonesty. Rubens gave Mercury an impression untruthfulness by illustrating his figure hiding a caduceus behind his thigh. The effect of the two groups of figures is meant to stress the gap between the two sides. Rubens also added a barking dog, a common reference used to indicate or warn someone of foreigners who came with evil intention. All of these symbols, Rubens displayed in this ambiguous and enigmatic painting to represent or "misrepresent" Marie de' Medici in the manner that portrayed her as the prudent, yet caring and humble mother of a young and naïve monarch. Overall, this painting is the most problematic or controversial, as well as the least understood out of the entire cycle. This image is of, once again, Marie claiming her of regal authority yet was nonetheless the first step towards peace between mother and son. 1409:. Though the painting shows Marie de' Medici's desire for security with the representation of the Temple of Security, the symbols of evil at bay, and the change of smoky haze to clarity, there is also underlying symbolism of unrest to the acceptance of the truce. The round shape of the temple, like those built by the ancients to represent the world, and has an Ionic order that is associated with Juno and Maria herself. The temple defines itself, by also including a plaque above the niche that says "Securitati Augustae" or For the Security of the empress. She is shown with the snakes of the caduceus emblem having uneasy movement and the forced escorting of the queen by Mercury into the Temple of Peace give the feeling of a strong will not to be defeated. It can also be debated that the painting is not really about peace or security, but really an unrelenting spirit that does not give into loss. As she is a divine power, she is heroically depicted in a classical setting using neoplatonic hierarchy and visual cues of light on her face. These ultimately imply that this allegory of Marie de' Medici is an apotheosis. Additionally, the inclusion of two differently adorned personifications of Peace hints at the fact that Rubens wanted to confuse or excite the viewer to look deeper into this particular painting as a whole. 1552:. Rubens must have seen these paintings and therefore influenced his own style for depicting the Queen's mother. Although, surprisingly, Rubens' version is considered even less remarkable than the models. This portrait of Johanna of Austria is overall an inexpressive image of a woman. He excluded the traditional 16th Century hieratic poise for a relaxed interpretation, where she wears regularized drapery and Rubens adorns her in that of the state of always being sick and weak. In contrast, no model for the portrait of the Queen's father is known, although it is questioned if he used ideas from one from Paris that, in which he wanted to convey the authoritative appearance of historical figures. Specifically, the statues of Fracesco and Ferdinando de Medici. The two portraits are stylistically very different, and even out of place, from the rest of the paintings in the gallery. These paintings of her parents in Marie de' Medici's reception hall look bleak in comparison to the portrait of Marie, where she is looking beautiful if not vain. Although Rubens made great use of allegorical images throughout most of the paintings in the gallery, the two portraits of the Queen's parents are compositionally straightforward and unremarkably executed. Moreover, they are considered to be far from "likenesses" of either sitter. 1511:

Marie is depicted as much larger than her son and occupies much more space. Her larger, less obscured body is turned frontally on the picture plane, which emphasizes her importance. Her importance is further highlighted by her equal height to her son, the King. Her son who is obscured in part by the Wing of Time, kneels before the queen and presents her with the token of amity, the clasped hands and flaming heart within a laurel crown. Compositionally, Rubens gives the queen greater importance in this panel through the use of gestures and gazes. In the work, Truth gestures toward the Queen while Time looks toward her from below. Both figures ignore the King. Rubens artfully projected both mother and son into the future, depicting them as more aged and mature than in the preceding panel (Peace is Confirmed in Heaven). It is at this point that the Medici Cycle changes to the subject of the Queen Mother's reign. With the death of son Louis' court favorite, Charles d'Albert de Luynes, mother and son reconcile. Marie receives ultimate vindication by being re-admitted to the

447:. It is generally thought that Hermes endows the princess with the gift of eloquence, to go along with the Grace's gift of beauty. However, the caduceus, which is seen in six other paintings in the cycle, has also been associated with peace and harmony. The object may be seen as foretelling of Marie's peaceful reign. It can be interpreted that the combined efforts of these divine teachers represent Marie's idyllic preparedness for the responsibilities she will obtain in the future, and the trials and tribulations she will face as Queen. It is also suggested that the three gods, more importantly, offer their guidance as a gift that allows the soul to be "freed by reason" and gain the knowledge of what is "good" revealing the divine connection between the gods and the future Queen. The painting displays an embellished Baroque collaboration of the spiritual and earthly relationships, which are illustrated in a theatrical environment. Acting as more than just static symbols the figures portrayed take an active role in her education. Also present are 1349:. They are used literally to portray the actual time of the event and shield the queen from spectators as they illuminate her path. Rubens painted a scene of the event in a more heroic nature rather than showing the accuracy of realistic elements. According to historical records of the Queen's escape, this painting is not truthfully reflecting the moment of the occurrence. Rubens did not include many of the negative aspects of the event, fearing that he would offend the Queen, which resulted in the paintings non-realistic nature. The Queen Marie is depicted in a humble way, yet the illustration implies her power over the military. She does not express any hardships she had gone through by the escape. The male figures in foreground reaching for her are unknown. The larger figures in the background represent the military, who were added to have a symbolic meaning of the Queen's belief in the command over military. 462: 932:(1839–1906) registered for permission to copy the goddess as many as ten times. It should be kept in mind that Rubens' energetic manner of placing all these allegorical themes is substantially resultant from classical coins as documented through communication with his friend and notable collector of antiquities, Nicolas-Claude Fabri de Peiresc. The right side of the panel shows the succession of the new Queen, dressed in solemn clothing suited to a widow. She is framed by a triumphal arch and surrounded by people at the court. The Queen accepts an orb, a symbol of government, from the personification of France while the people kneel before her and this scene is a great example of the exaggeration of facts in the cycle. Rubens stresses the idea of the Regency that was offered to the Queen, though she actually claimed it for herself the same day her husband was murdered. 79:, the son of Marie de' Medici and successor to the throne, which may have influenced the Queen's decision to commission Rubens for the cycle by the end of the year 1621. The immortalizing of her life, however, seems to be the most apparent reason for the Queen's choice to commission a painter who was capable of executing such a demanding task. Peter Paul Rubens had already established himself as an exceptional painter and also had the advantage of sustaining close ties with several important people of the time, including Marie de' Medici's sister, the wife of one of Rubens's first important patrons, the Duke of Gonzaga. The information about the commission in the contract Rubens signed is far from detailed and focuses mainly on the number of pictures in the cycle dedicated to the Queen's life, and is far less specific when it comes to the cycle praising her husband 1997: 500:

Rubens had a way of depicting France that was very versatile in gender in many of his paintings in the cycle. Here France takes on an androgynous role being both woman and man at the same time. Frances's intimate gesture may suggest a closeness between Henry and his country. This gesture would usually be shared among male companions, telling each other's secret. The way France is also dressed shows how female she is on top revealing her breasts and the way the fabric is draped adding notions of classicism. However her bottom half, most notably her exposed calves and Roman boots hints at a masculinity. A sign of male strength in the history of imagery was their stance and exposed strong legs. This connection between the two show that not only are the gods in favor of the match, the King also has the well wishes of his people.

271:. The paintings are now displayed in the same order in the Louvre. There is an additional claim that Marie had envisioned these paintings to be studied alternately, left to right, so the thoughtful viewer would have had to crisscross down the gallery. Coolidge also argues that Marie envisioned the subjects as falling into pairs, and further into groups. Therefore, Marie's visual biography was divided into three main chapters: childhood, life as a married queen, and the regency as a widow. All of the paintings have the same height although they vary in width in order to fit the shape of the room they were intended for. The sixteen paintings that covered the long walls of the gallery measure about four meters tall by three meters wide, the three larger paintings at the end of the room are four meters high by seven meters wide. 672: 199: 411: 1595: 1299:

Louis steers the vessel. Each of the rowers can be identified by the emblematic shields that hang on the side of the ship. The second rower's shield depicts a flaming altar with four sphinxes, a coiling serpent and an open eye that looks downwards. These characteristics are known to be that of Piety or Religion, both of which Maria would want her son to embody. What is also known as a parade boat, Rubens referencing Horace's boat, is adorned with a dragon on front and dolphins on the stern. Louis looks upwards to his mother for guidance on how to steer the ship of state. In the violent clouds are two Fames, one with a Roman buccina and the second with what seems to be a trumpet. Louis guides, while the ship's actual movement is due to the four rowing figures, personifying

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column. She is paired with Marie by the color of their hair, and similarly Louis is paired with Religion, or the Order of the Holy Spirit. The pairing of Marie with the figure of Force gives power to the image of the queen, while Marie's actual pose is more passive, showing very effectively her graceful acknowledgement of her son's authority henceforth. It is an interesting painting to examine within the context of the tense relationship between the young king and his mother. Marie had clung to power past the end of her regency, until Louis seized power in 1617 and exiled her to Blois. Rubens obviously would have known this and so chose to ignore the tension surrounding Marie's relationship with her son, instead emphasizing her poise in the transfer of power.

722: 209:(1577–1640) was a highly influential artist in Northern Europe, widely believed to have played an important role in shaping the style and visual language of his time. The overseer or creator of more than three thousand woodcuts, engravings and paintings in various mediums, Rubens's works include historical, religious and allegorical paintings, altarpieces, portraits and landscapes. He is particularly known for his portrayal of human figures, lush and richly colored fabrics and well-developed themes often derived from both Christian and classical traditions. Rubens's studies of classical, Greek, and Latin texts influenced his career and set him apart from other painters during his time. Early in his career, Rubens studied under Flemish artists such as 1544:. On either side of the fireplace in the gallery are the portraits of the Queen's parents. The portrait of the Queen's father, Francesco I, is on the right and faces the passageway towards Marie de' Medici's private chambers. Francesco I is depicted wearing an ermine-lined mantle with a cross around his neck which represents the Tuscan order of Saint Stephen which his father founded. The portrait of the Queen's mother, Johanna of Austria, is on the left at the place where visitors enter. She is shown wearing a gown of silver cloth with gold embroidery and wears nothing that suggests her esteemed background. The model, or overall design, for this portrait of Johanna of Austria goes back to a painting by 607: 1222:, all indicated by their traditional attributes, all bestowing their bounties on the Queen. (Cupid has his arrow; Prudence carries a snake entwined around her arm to indicate serpent-like wisdom; Abundance also appears with her cornucopia, also a reference to the fruits of Marie's regency. Minerva, goddess of wisdom, bears her helmet and shield and stands near Marie's shoulder, signifying her wise rule. Saturn has his sickle and is personified as Time here guiding France forward. Fame carries a trumpet to herald the occasion.) These personifications are accompanied in turn by several allegorical figures in the guise of four putti and three vanquished evil creatures ( 20: 711:

the chariot we see the allegorical figure of the city herself with a crown of her battlements: Lyons. Rubens needed to be very careful in the representation of the couple's first meeting because allegedly Henry was very much involved with a mistress at the time of the marriage. In fact, due to the king's other engagements their introduction was delayed, and it was not until midnight nearly a week after Marie arrived that Henry finally joined his bride. By presenting him as Jupiter Rubens implies the promiscuity of the man and the deity. Simultaneously by placing King and Queen together he effectively illustrates the elevated status of the couple.

1591:. The commissioned artist being active in an opposing political parties was cause for Richelieu to object. He was thus actively seeking for an Italian artist to replace Rubens, which resulted in Rubens only sporadically continuing his work. After Marie's banishment in 1631, the project was to be completely abandoned, which seems a travesty seeing as Rubens was very optimistic about the project and its effects on his career; "I have now begun the designs of the other gallery which, in my judgment, because of the nature of the subject will prove to be more splendid than the first so that I hope I shall rather gain than decline." 1010:. It represents the conduct of the Queen and the great care with which she oversees her Kingdom during her Regency. For example, how she overcomes the rebellions and the disorders of the State. It also suggests that she perpetuated the policies and ideals of the late King in his life and in death. The painting subjects are placed in a celestial setting which doesn't give way to a particular place, time or event. The scene is painted with a variety of mythological figures. This, along with its setting makes it difficult to figure out the subject matter of the work. The mythological figures include 1759: 1955: 286:. Four of the images are devoted to the marriage, possibly because marriage at Marie's relatively advanced age of twenty-seven was quite rare for a woman at the time. This half ends with a depiction of Marie's coronation. The wall opposite the gallery's entrance presents an image of the assassination and assumption of Henry IV, as well as the proclamation of the widowed Marie's regency. From there, the second half of Rubens' cycle begins addressing the more controversial issues from Marie's reign. For example, both the altercation and reconciliation with her son 788:, Henry IV entrusts Marie with both the regency of France and the care of the dauphin shortly before his war campaigns and eventual death. Set within a grand Italian-style architectural setting, the theme is somewhat sobering. Prudence, the figure to the right of Marie, was stripped of her emblematic snake to lessen the chances any viewer would be reminded of Marie's rumored involvement in the King's assassination. The efficacy of the form is lost in order to ensure Marie's representation in a positive light. Other changes include the removal of the 1479: 760:, the goddess of divine order, referring to Louis XIII's birthright to one day become king. The baby is quite close to a serpent, which is a representation of Health. Rubens incorporates the traditional allegory of the cornucopia, which symbolizes abundance, to enhance the meaning of the painting by including the heads of Marie de' Medici's children who have yet to be born among the fruit. While Marie gazes adoringly at her son, Fecundity presses the cornucopia to her arm, representing the complete and bountiful family to come. 1983: 1969: 1815: 1731: 1689: 1843: 1941: 1717: 1773: 1583:. Consequently, the project was abandoned completely due to approval of the plans for the gallery being repeatedly delayed by the French court. Richelieu, who now had full control of the cycle, refused to speak to Rubens about completing the Henry Gallery based on the falsehood that he was tending to affairs of the state. Richelieu's true motivations were most likely political. During this time, Rubens was in Madrid preparing for a diplomatic mission to London, working towards the rapprochement of 1745: 1787: 1913: 1801: 1703: 1927: 1871: 1885: 1857: 1899: 1829: 3338: 1665:

as a victorious Roman emperor holding an olive branch, the symbol of peace. However, because Henry never actually entered Paris in this fashion, the scene is supposed to represent only a symbolic triumph. Henry's action and setting (the buildings and a triumphal arch) were not really possible in Paris at this time, reassuring that the scene is not based on historical fact, but a classical metaphor and Henry's goal of remaining King of France. This painting coincides with

92: 1420: 1388: 1360: 1331: 1285: 1180: 1127: 1077: 771: 624:. Rubens has again, turned something ordinary into something of unprecedented magnificence. He depicts her leaving the ship down a gangplank (she actually walked up, not down, but was illustrated this way by Rubens to create a diagonal element). She was accompanied by the Grand Duchess of Tuscany and her sister, the Duchess of Mantua, into the welcoming, allegorical open arms of a personified France, wearing a helmet and the royal blue mantle with the golden 363: 969: 888: 811: 530: 1468:

The hydra's death is not at the hand of Apollo as might be expected. Instead it is left to an Amazon-like vision of Providence/Fate. With the removal of the scales she carried in an earlier sketch that would have connected her to Louis XII, we are left with an entity who with no help from Louis, slays the adversary as he appears oblivious and unconcerned. Marie de' Medici however, emerges as a loving mother, ready to forgive all evils and pain endured.

258: 800:(sphere of earth) which signifies the domain and power of the Roman emperor, and as a subtle assertion of the claim of the French monarchy upon the imperial crown. While Rubens was certainly aware of the inherent meaning of the orb and employed it to great effect, it appears that Marie and her counselors instigated its introduction into the cycle to add allegorical and political grandeur to the events surrounding Marie's regency. 2011: 245:, than any other of his Italian influences or his own contemporaries, although it is suggested that Rubens's compassion and concern for Brouwer's career may have been the influential cause for his collection of Brouwer's work. This record of visual history and the influences of his contemporaries, some who became lifelong friends of Rubens, would make an imprint on his art throughout his entire life. 924:. As with all of Ruben's allegorical paintings, these two figures are chosen for a reason. Jupiter is meant to be the King's celestial counterpart, while Saturn, who represents finite time, is an indication of the end of Henry's mortal existence. This particular theme, within the painting as a whole, has found other great masters receiving inspiration and fascination from Rubens' tormented figure of 1464:, would likely have intended a more direct personal allusion to Constable de Luynes, but Rubens preferring to keep to allegory, avoided specifics that could later prove embarrassing. The artist chose the high road, relying on Ripa's visual vernacular, to portray a scene where virtues defeat vices and embrace peaceful reconciliation making little more than an allusion to a vague political statement. 174:. Furthermore, unlike her husband, Marie's life was neither graced with triumphant victories nor punctuated by vanquished foes. Rather, implications of political scandal in her life made any literal depiction of the events far too controversial for Rubens to execute without incurring the disapproval from others in government. Far from failing, Rubens demonstrated his impressive knowledge of 341:

length, and the third cut the thread. In Rubens' depiction, however, the scissors necessary for this cutting are omitted, stressing the privileged and immortal character of the Queen's life. The last panel of the cycle, in accordance with this theme, illustrates Queen Marie rising up to her place as queen of heaven, having achieved her lifelong goal of immortality through eternal fame.

1632:, he met with Henry of Navarre to make peace and recognize him as rightful heir. Although Rubens depicted this reconciliation as taking place in a throne room, contemporary reports recorded that it was actually in a garden full of spectators. The sketch shows Henry of Navarre bowing down in Henry III's presence, which eyewitness accounts confirm was accurate. Rubens represented a 301:. Panegyric writings were usually written during an important political event, the birth of a prince for example, and were used to exalt the qualities and ancestry of a ruler. A formal chronological structure is followed in Panegyric writings detailing the ancestry, birth, education and life of the individual. Rubens followed this structure in his series of paintings about 249:

was welcomed by Rubens as an opportunity to apply his skills within a secular scene. The benefits of Marie de' Medici's commission continued throughout the rest of Rubens's career. Not only did he further establish and publicize his skill, but also the similarities that exist in his later works, such as stylistic components and themes, undeniably reflect the Medici series.

735:. Rubens designed the scene around the theme of political peace. The birth of the first male heir brings a sense of security to the royal family that they will continue to rule. In those times an heir was of the utmost importance, especially if Henry wanted to showcase his masculinity and discontinue with the pattern of the royal reproductive failure. The word 1242:), France being seen as a subjugated province, and the inclusion of Saturn in the scheme might all point to this interpretation and certainly would not have been lost on Rubens. Fortunately, and perhaps solely due to the controversy surrounding this painting, Rubens mentioned its significance in a letter to Peiresc dated 13 May 1625. It reads, 1561:

depicting "the encounters he was engaged in, his combats, conquests, and sieges of towns with the Triumphs of said victories." Marie and Henry's separate wings were designed to meet in an arcade that would unite the two galleries. The paintings of each gallery would have been exhibited as an integrated pair, unifying all forty-eight scenes.

1460:, considered the most dangerous of Marie de' Medici's foes quickly stepped in to fill the gap. Rubens’ deliberate vagueness would be consistent with his practice of generalizing and allegorizing historical facts especially in a painting about peace and reconciliation. Marie, desiring vindication for the death of her close personal friend, 149:, had first met Marie at her proxy wedding in Florence in 1600. In 1621, Marie de' Medici commissioned Rubens to paint two large series depicting the lives of herself and her late husband, Henry IV, to adorn both wings of the first floor of the Luxembourg Palace. The first series of 21 canvases depicts the life of Marie in largely 1269:"This subject, which does not touch on the particular political considerations ... of this reign, nor have reference to any individual, has been very well received, and I believe that had it been entrusted altogether to me the business of the other subjects would have turned out better, without any of the scandal or murmurings." 752:, the king is seen domesticated by marriage. The queen's personification as Minerva would facilitate Henry's military prowess and her own. As a Flemish painter Rubens includes a dog in the painting, alluding to fidelity in marriage. In addition to the idea of political peace Rubens also includes the personification of Justice, 179:

was understood by well-educated artists and citizens alike, and a familiar device used in artistry. Rubens painted extravagant images of the Queen Mother surrounded by ancient gods and at times even deified her using these devices. The ambiguity of the figures was essentially used to depict Marie in a positive light.

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upon a dais classical pillars, swathes of luxuriant cloth, genuflecting personages with arms extended, and allegorical figures present. In Rubens's painting, Minerva, Prudence, Divine Providence and France; in the Caravaggio, St Dominic, St Peter the Martyr, and a pair of Dominican friars. Also present in each are

1098:, Juliers was of great strategic importance for France and thus the French victory was chosen to be the glorious subject of Rubens' painting. The scene is rich with symbolism highlighting her heroism and victory. The Queen thrusts her arm high with an assembler's baton in hand. In the upper part of the image 905:, this particular painting within the Medici Cycle as a whole, was placed originally by Rubens as a series of three. The other two having similar design measurements, it was consigned as the middle painting in a pseudo triptych of sorts as it adorned the halls of Marie de' Medici's Palais du Luxembourg. 876:

shower the blessings of peace and prosperity upon the head of Marie by pouring the golden coins of Jupiter. Also, her pet dogs are placed in the foreground of the painting. Rubens inspiration for the blue coronation orb emblazoned with golden lilies was Guillaume Dupres’ presentation medal struck in

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is French for dolphin, a term associated with princely royalty. Henry's promiscuity made difficult the production of a legitimate heir, and rumors circulated to the extent that Henry's court artists began to employ strategies to convince the country otherwise. One of these strategies was to personify

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household during his travels in Italy, Rubens appears youthful and stands behind the bride, holding a cross and gazing out at the viewer. It is highly unlikely that Rubens actually had such a pronounced presence in this scene when it took place. Those who attended the ceremony for Marie include Grand

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While this cycle was one of Rubens's first great commissions, Marie de' Medici's life proved a difficult one to portray. Rubens had the task of creating twenty-one paintings about a woman whose life could be measured by her marriage to Henry IV and the births of her six children, one of which died in

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corresponds to the Olympian peace scene in the Marie cycle, with Henry's peace as earthly and Marie's as celestial. Henry's painting, beginning the West Wall of the gallery, depicts the scenes following the capture of Paris. Henry's army casts the rebels out of Paris by throwing them over a bridge

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is the culminating point of the North End of the gallery. Being the king's last major battle fought, this served as an optimal location. Rubens wanted it to be at the end of the gallery as a "large and important" piece with an advanced state of execution. The painting shows Henry parading into Paris

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The original commission for the Marie de' Medici cycle included a corresponding gallery illustrating the life of Henry IV that was never completed, although Rubens began work soon after he completed the Marie de' Medici cycle. The Henry cycle called for twenty-four monumental scenes of Henry's life

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Though this particular painting is one of the most straightforward in the series, there is still some minor dispute about its significance. Rather than accept this as a depiction of Marie as Justice, some hold that the real subject of the painting is the "return to earth of Astraea, the principle of

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It appears that Rubens did not make any sketches for the Henry IV cycle while he was engaged with the first gallery. In one of his letters the artist describes the theme as "so large and magnificent that it would suffice for ten galleries". Judging by another statement of his on 27 January 1628, he

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It is not hard to imagine the much-maligned scapegoat Luyens as the one suffering divine punishment and being thrown into the pits of hell while assuming all the blame for the animosity between Louis XIII and his mother. In this painting, Louis XIII, represented as an adult, is depicted as Apollo.

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I believe I wrote you that a picture was removed which depicted the Queen's departure from Paris and that, in its place, I did an entirely new one which shows the flowing of the Kingdom of France, with the revival of the sciences and the arts through the liberality and the splendour of Her Majesty,

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river, along the French-Spanish border. In Rubens' depiction, the princesses stand with their right hands joined between personifications of France and Spain. Spain with a recognizable symbol of a lion on her helmet is on the left, whereas France, with fleur-de-lis decorating her drapery, is on the

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brandish hymeneal torches, a small zephyr blows a warm breeze of spring and scatter roses, and a circle of joyous butterfly-winged putti surround Felicitas Publica with the caduceus, who showers the couple with gold from her cornucopia. Below, the river Andaye is filled with sea deities come to pay

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with her lion. Fame in the right side of the painting pushes air through the trumpet so powerfully that a burst of smoke comes out. In the painting Marie de' Medici is highly decorated and triumphant after the collapse of a city, she is depicted across a white stallion to demonstrate that, like the

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side of this painting, as the two works are highly corresponding in their presentation. Through a causal nexus, this painting would have been available to Rubens and thereby plausible for its influence to exist within Rubens's own genius on canvas. As a comparison, there are within each, two women

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who unites them. A rainbow extends from the left corner, a symbol of concord and peace. The lower half of the painting is dominated by imagery of Lyons. Reading from left to right, we see the cityscape with its single hill. The lions pull the chariot (which is a pun on the name of the city), and in

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analogies to veil an often unheroic or ambiguous reality. Within this context Rubens' approach to 'historical truth' may appear selective or, worse, dishonest, but he was neither a historian in the modern sense, nor a journalist; the Medici cycle is not reportage, but rather poetic transformation.

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When Rubens was commissioned to paint the Marie de' Medici cycle, he was quite possibly the most famous and skilled artist in Northern Europe, and was especially appreciated for his monumental religious works, commissioned by various councils and churches in the area. However, the Medici commission

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are depicted as beautiful, nude goddesses spinning the thread of Marie de' Medici's destiny; their presence at Marie's birth assures her prosperity and success as a ruler that is unveiled in the cycle's subsequent panels. In Greek and Roman mythology, one Fate spun the thread, another measured its

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and artistic traditions, by using allegorical representations to both glorify the mundane aspects and sensitively illustrate the less favorable events in Marie's life. During the sixteenth and seventeenth centuries iconography of the Christian world, as well as that of the Greek and Roman pantheon

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taking the crown of Henry III, with the intention of placing it on the willing future Henry IV, although the actual transfer of power didn't occur until Henry III's assassination several months later (1 August 1589). A page stands behind Henry of Navarre holding his personal badge: a white plumed

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represents the historical scene of the transferring of power from mother to son in abstract, or allegorical means. Marie has reigned as regent during her son's youth, and now she has handed the rudder of the ship to Louis, the new king of France. The ship represents the state, now in operation as

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below). The fact that the Henry IV series was not realized can be attributed in part to Marie de' Medici being permanently banned from France by her son in 1631. She escaped to Brussels, and later died in exile in 1642 in the same house that the Peter Paul Rubens's family had occupied more than

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on the East Wall of the gallery is a scene of Henry's most decisive battle to unify the city of Paris. Primarily gray, the sketch shows the king in crimson velvet to stand out in "the most famous of all the battles of Henry IV." He is shown in the center of the scene raising a flaming sword. His

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to heaven which symbolizes truth being, "brought to the light", as well as the reconciliation between the Queen and her son. The illustrations of Time and Truth occupy almost 3/4 of the lower canvas. The upper part of the canvas is filled with renderings of Marie and her son. In the composition,

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appears crowning her with laurel leaves which is a symbol of victory. Also symbolizing victory is the imperial eagle which can be seen in the distance. The eagle in the sky compels the weaker birds to flee. The Queen is accompanied by a womanly embodiment of what was once thought to be Fortitude

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The historical period that encompassed the subject matter for the paintings was a time of political upheaval in which Rubens sought not to offend the reigning French monarch. Rubens thus turned to mythological allusions, emblematic references, personifications of vices and virtues and religious

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The Flight from Blois is a depiction of Queen Marie escaping from confinement at Blois. The Queen stands in a dignified manner, suggesting her poise in times of disarray, amongst a chaotic crowd of handmaidens and soldiers. She is led and protected by a representation of France, and guided by

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are sitting atop clouds looking down on Henry as they provide the viewer a key example of marital harmony and thus show approval for the marriage. A personification of France is shown behind Henry in her helmet, her left hand showing support, sharing in his admiration of the future sovereignty.

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or Temperance. At the center in front of the mast stands France, with a flame in her right hand illustrating steadfastness and the globe of the realm, or the orb of government, in her left. Force, extending her oar and heaving to, is identified by the shield just beneath her showing a lion and

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Also worthy of note in this painting is the first appearance of the orb as a symbol of the "all-embracing rule or power of the state". This particular image appears to carry significant weight in Rubens's iconographic program for the cycle, as it appears in six (one quarter) of the twenty-four

784:, when portraying controversial events. Marie commissioned paintings that truthfully followed the events of her life, and it was the job of Rubens to tactfully convey these images. More than once, the artistic license of the painter was curbed in order to portray Marie in the right light. In 68:

Much speculation exists on the exact circumstances under which Marie de' Medici decided to commission Rubens to paint "such a grandiose project, conceived in truly heroic proportions". John Coolidge suggests the cycle may have even been commissioned to rival another famous series of Rubens,

241:, and collect drawings done by other artists. However, the artist was also an avid collector of both reproductions and original works, not only from the masters of the Italian Renaissance, but more predominantly from his contemporaries. Rubens owned more prints from his contemporary, 475:

and, as such, one must remember royalty were considered above corporeal existence. So from birth, Marie would have led a life more ornamental than mortal. This painting of classical gods, along with allegorical personifications, aptly shows the viewer how fundamental this idea was.

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divine justice, in a golden age." They support this claim with a statement in Rubens's notes which indicates that "this theme holds no special reference to the particular reason of state of the French kingdom." Certain symbolic elements, such as the wreath of oak leaves (a possible

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both scenes also show Marie de' Medici receiving the orb of state. She is conducted to the altar by the Cardinals Gondi and de Sourdis, who stand with her along with Mesieurs de Souvrt and de Bethune. The ceremony is officiated by Cardinal Joyeuse. The royal entourage includes the

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was designed and painted entirely by Rubens on the spot to replace another, far more controversial depiction of Marie's 1617 expulsion from Paris by her son Louis. Completed in 1625, this is the final painting in the cycle in terms of chronological order of completion.

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around the infant's head should not be seen as a reference to Christian imagery; rather, it should be read according to imperial iconography which uses the halo as an indication of the Queen's divine nature and of her future reign. Though Marie was born under the

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Here, we can see evidence of the adaptability of Rubens' style which made his career so successful. His willingness to fit his ideas with those of the patron equipped him with the perfect tools to be in charge of such a delicate and heavily anticipated subject.

706:) identified by the fiery thunderbolts in his hand and the eagle. The joining of the couple's right hands is a traditional symbol of the marriage union. They are dressed in the classical style, which is naturally appropriate to the scene. Above the two stands 1253:

Considering the haste with which Rubens completed this painting, his lack of specific reference to a golden age in his letter, and the existence of several contemporary depictions of Marie as a figure of Justice, most historians are content with the simpler

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in case of an infant ruler. However, even after Louis came of age at thirteen in 1614, the queen continued ruling in his stead. In 1617, Louis XIII finally decided to take governing matters in his own hands at the age of fifteen and the queen was exiled to

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is the last scene on the North End of the West Wall, showing the completion of Marie's divinely assisted preparation. It would be one of two paintings most visually apparent upon entrance into the gallery through the southeast corner. Rubens composes

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stood in the King's place and is pictured here slipping a ring on his niece's finger. All the surrounding figures are identifiable, including the artist himself. Although he was present at the actual event twenty years earlier, as a member of the

868:) carry the train of the royal mantle. Above in the tribune appears Henry IV, as if to give sanction to the event. The crowd below in the basilica raise their hands in acclamation of the new Queen, and above, the classical personifications of 908:

The painting is separated into two distinct, but related scenes: the elevation of Henry IV to the heavens (his assassination on 14 May 1610 resulted in the immediate declaration of Marie as regent) and the assumption of Marie to the crown.

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did not engage much in sketching before that date. Of the oil sketches executed later by him, only nine survive, along with five large unfinished canvasses. Most of the sketches represent actual battles in which Henry was involved, such as

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river that passes through Florence, Marie's city of birth. The cornucopia above the infant's head can be interpreted as a harbinger of Marie's future glory and fortune; the lion may be seen as symbolic of power and strength. The glowing

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infancy. At this time, women did not in general receive such laudatory tributes, although Rubens, if anyone, was well equipped for the job, having a great respect for "the virtues of the opposite sex", as seen in his commissions for the

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The Henry IV cycle was planned to be composed of scenes from the king's military career. The violence of these images would contrast nicely with the relative peace and regal quality of the scenes in the Marie de' Medici cycle. The

652:. It is melody and song as Rubens combines heaven and Earth, history and allegory into a symphony for the eyes of the viewer. On a side note, Avermaete discusses an interesting idea that is particularly present in this canvas. 507:

and Henry IV, a number of portraits were exchanged between the two. The king was pleased with her looks, and upon meeting her was impressed even more by her, than with her portraits. There was great approval of the match, as

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in Paris. Rubens received the commission in the autumn of 1621. After negotiating the terms of the contract in early 1622, the project was to be completed within two years, coinciding with the marriage of Marie's daughter,

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right. Anne, at age fourteen the older of the two, turns back as if to take leave of Spain, while France gently pulls her by the left arm. In turn, Spain can be seen taking the thirteen-year-old Elisabeth by her left arm.

443:. Apollo being associated with art, Athena with wisdom, and Hermes the messenger god for a fluency and understanding of language. Hermes dramatically rushes in on the scene and literally brings a gift from the gods, the 1197:

Here Marie is shown in allegorical fashion as the personification of Justice itself and flanked by a retinue of some of the primary personifications/gods in the Greek and Roman pantheon. These have been identified as

681:

This painting allegorically depicts the first meeting of Marie and Henry, which took place after their nuptials by proxy. The upper half of the painting shows Marie and Henry as the mythological Roman gods

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play with a shield on which the Medici crest appears, suggesting that Heaven favored the young Medici from the moment of her birth. The river god in the picture's right corner is likely an allusion to the

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The final painting coincided with Marie's interest in politics after the death of her husband. She believed that diplomacy should be obtained through marriage and it is the marriage of her daughter

471:

To fully appreciate and value this particular cycle piece and the collection as a whole, there is one historical principle to take into account. This painting was created on the cusp of the age of

4200: 1000:, possibly resulting in an alliance between France and Spain. To Marie de' Medici these unions were probably the most significant part of her reign, for peace in Europe was Marie's greatest goal. 519:

Rubens is able to coalesce these characters together into a single united front. He creates equality between all of the figures in the painting by cleverly balancing corporeal and ethereal space.

75:, which he designed in his studio at the same time as the first several paintings of the Medici Cycle. It has also been suggested that Rubens prepared a number of oil sketches, by the request of 1996: 297:

As a narrative source for the Marie de' Medici cycle Rubens used an ancient genera of writing in which ideal kingship, and good government were explored. This genera of writing is called the

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Worthy of note is a possible contemporary inspirational influence on Rubens for the right side of this painting. Although originally started but may or may not have been finished in Rome,

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1610 at Marie's’ request portraying her as Minerva with Louis XIII as Apollo-Sol . The symbolism carried the message that she was charged with the guidance of the young, soon-to-be king.

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Louis and his mother were not reconciled for over four years, and finally in 1621 Marie was permitted to return to Paris. Upon her return, Marie focused on building and decorating the

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for distanced viewing by employing accents of red. For example, the robes of two cardinals near the right edge. These accents also create a sense of unity with the neighboring work,

792:, originally positioned behind the king calling him to his destiny, war, and death. Rubens was forced to remove these mythical figures and replace them with three generic soldiers. 4688: 1189:

This particular painting in the Marie de' Medici Cycle is noteworthy for its uniqueness in execution. While the other paintings were completed at Rubens's studio in Antwerp,

52:. Twenty-one of the paintings depict Marie's own struggles and triumphs in life. The remaining three are portraits of herself and her parents. The paintings now hang in the 344:

Early interpretations explained Juno's presence in the scene through her identity as the goddess of childbirth. Later interpretations suggested, however, that Rubens used

4296: 1107:, also referred to as Generosity, because of the riches held in her palm. One of the pieces in her hand is the Queen's treasured strand of pearls. Other figures include 978:

This painting commemorates Marie taking over the government as new regent, and promoting long-term plans for peace in Europe by way of marriages between royal houses.

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The price of Marie de' Medici Cycle was roughly 24,000 guilders for the 292 square meters, which calculates to about 82 guilders, or 1,512 dollars, per square meter.

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Originally the paintings were hung clockwise in chronological order, decorating the walls of a waiting room expanding from a royal apartment in Marie de' Medici's

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wearing a crown of roses, carries the bride's train in one hand and the nuptial torch in the other. The scene takes place below a marble statue, which depicts

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and many powerful Florentine nobles had been advocates of the marriage and had worked at convincing the king of the benefits of such a union. The couple were

4288: 4360: 5335: 628:. Her sister and aunt flank Marie while two trumpets are blown simultaneously by an ethereal Fame, announcing her arrival to the people of France. Below, 5310: 4696: 3896: 1160:

homage to the brides: the river-god Andaye rests on his urn, a nereid crowned with pearls offers a strand of pearls and coral as wedding gifts, while a

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blows the conch to herald the event. The wedding, which was thought to secure peace between France and Spain, took place on a float midway across the

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He surrounded her with such a wealth of appurtenances that at every moment she was very nearly pushed into the background. Consider, for example,

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on 11 May 1625. The cycle of paintings dedicated to the life of Henry IV was never completed, although some preliminary sketches survive. (See

4144: 83:. The contract stated that Rubens was to paint all the figures, which presumably allowed him to employ assistants for backgrounds and details. 954:: rudder, globe, and rosaries. All these and more, combine to make a persuasive argument and show a certain artistically respectful nod from 461: 4784: 4520: 4448: 4280: 4024: 3944: 1515:

in January 1622. This picture represents how time thus uncovers the truth in correspondence to the relationship between Marie and her son.

580:, who negotiated the marriage. As in other scenes in the Medici Cycle, Rubens includes a mythological element: the ancient god of marriage, 1496:

and his mother, the Queen, reconciling before heaven. The Queen and Louis XIII are depicted floating in heaven, connected by the symbol of

756:. The return of Astraea to earth is symbolic of the embodiment of continuing Justice with the birth of the future king. Louis is nursed by 660:, where everyone has eyes only for the voluptuous Naiads, to the disadvantage of the queen who is being received with open arms by France" 3751: 1814: 1730: 1637:

helmet, while the dog at his feet represents fidelity. The two ominous figures behind Henry III most likely represent personifications of

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rise from the sea, after having escorted the future Queen on the long voyage to procure her safe arrival in Marseilles. To the left, the

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It is important to note that the reasons for not completing the Henry IV cycle had to do with the current political events of the time.

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Having never been a particularly graceful event for anyone, disembarking a ship does not pose a problem for Rubens in his depiction of

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represents Marie de' Medici's need for security through a depiction of the event when Marie de' Medici was forced to sign a truce in

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It is believed that the original painting mentioned in the letter depicting Marie's departure from Paris was rejected in favor of

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This painting is a representation of a historical event in the life of the Queen where the King and the Queen were crowned at the

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on 9 November 1615. France and Spain present the young princesses, aided by a youth who is probably Hymenaios. Above them, two

118:, his son and successor to the throne, was only eight years old. Louis' mother, Marie, acted as his regent as commanded by the 5078: 4832: 4264: 3539: 1940: 1716: 274:

Originally the viewer would have entered the gallery from the southeast corner. The most visible works from this angle were

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who sits upon a shining throne and holds a scale in her hands, keeping the world in equilibrium by her prudence and equity.

213:, but his most notable influences come from the time he spent in Italy where he studied ancient sculpture and the works of 3754:– This website contains a few images that have not been included here, as well as some additional bibliographical sources. 1772: 1448:, a theme based on a classical seventeenth century metaphor for insurrection. Here the monster is a stand in for the dead 721: 4592: 4248: 4016: 1148: 1456:. The death in 1621 of the falconer turned supreme commander may have improved the tensions between mother and son, but 5340: 4888: 4872: 4768: 4560: 4536: 4032: 3928: 3864: 3848: 1449: 941: 780:

Throughout the depictions of Marie de' Medici's life, Rubens had to be careful not to offend either Marie or the king,

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terms, and was finished by the end of 1624, to coincide with the celebrations surrounding the wedding of her daughter,

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victorious army rushes in chaotically behind him; horses rearing and riders falling. This painting corresponds to the

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are shown welcoming the assassinated King of France, as he ascends as a personified Roman sovereign, victoriously to

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French Historical Studies, Vol. 26, No. 2, Special Issue: French History in the Visual Sphere. (Spring, 2003), p.230

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bind two doves together over a split sphere in the painting as a symbol of peace and love. Marie hoped for her son,

377:, represents Medici's birth on 26 April 1573. Symbols and allegory appear throughout the painting. On the left, two 5195: 4544: 1954: 856:

with the crown, the Duke of Ventadour with the scepter, and the Chevalier de Vendôme with the hand of Justice. The

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into the river below. In the left corner, however, the new ruler himself discusses clemency with a few advisers.

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above. The mythological figures and celestial setting act as allegories for Marie's peaceful rule over France.

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Cohen, Sarah R. (September 2003). "Rubens's France: Gender and Personification in the Marie de Médicis Cycle".

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Millen & Wolf pp.220-221. "Heroic Deeds and Mystic Figures". Princeton. Princeton University Press. 1989.

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Stockstad, Marilyn (2005). "Henry IV, Receiving Portrait of Marie de' Medici". In Stockstad, Marilyn (ed.).

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Berger, Robert W. (December 1972). "Rubens and Caravaggio: A Source for a Painting from the Medici Cycle".

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ceremony of the Florentine princess Marie de' Medici to the King of France, Henry IV which took place in

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Rubens's Medici commission was an inspiration for other artists as well, particularly the French painters

19: 5046: 4912: 4896: 4840: 4824: 4760: 3984: 491:, the god of marriage, displays the princess Marie on canvas to her future king and husband. Meanwhile, 1884: 1856: 5121: 5000: 4928: 4864: 4640: 4624: 4320: 4120: 3816: 3768: 3554: 1255: 70: 1898: 1828: 1234:) as well as a number of other symbols that Rubens employed throughout the entire cycle of paintings. 282:

The cycle began at the entrance wall, featuring images of Marie's childhood years and her marriage to

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due to the more innocuous subject matter of the latter. Rubens, in the same letter, goes on to say,

5330: 5315: 5022: 4752: 4600: 4416: 3952: 3904: 5300: 4776: 4720: 4344: 4152: 3824: 1625: 836: 397: 1502:, which demonstrates her sons’ forgiveness and the peace that was reached between them. Below, 4608: 4528: 4336: 4080: 3341: 2357:

Thuillier, Jacques. Rubens' Life of Marie de' Medici. New York: Harry N. Abrams, Inc., 1967.

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Avermaete, Roger. Rubens and his times. Cranbury, New Jersey: A.S. Barnes and Company, 1968

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The Politics of Promiscuity: Masculinity and Heroic Representation at the Court of Henry IV

1616:, the apparent heir was to be Henry of Navarre (the future King Henry IV). However, when a 1523: 1099: 873: 629: 183: 175: 158: 8: 5008: 4136: 4072: 3722:

Winner, Matthias (1998). "The Orb as the Symbol of the State". In Ellenius, Allan (ed.).

1613: 1572: 1453: 1374: 1019: 913: 753: 749: 699: 690:. The representations are accompanied by their traditional attributes. Marie is shown as 687: 617: 551: 504: 492: 424: 349: 331: 302: 234: 99: 36: 3109:

Saward, Susan. "The Golden Age of Marie de' Medici". Ann Arbor. UMI Research Press. 1982

2010: 1018:, who combat and overcome vices such as Discord, Hate, Fury, and Envy on the ground and 554:

presides over the ritual. As was often the case with royal weddings, the bride's uncle,

187: 4976: 4088: 3695: 3617: 3457: 3428: 3399: 1588: 1576: 1503: 1346: 1215: 1161: 1152: 1027: 997: 917: 637: 547: 393: 283: 146: 103: 80: 40: 1478: 1406: 5278: 5144: 5126: 4240: 3992: 3791: 3731: 3665: 3640: 3577: 3558: 3535: 3499: 3488: 3368: 1549: 1545: 1445: 1342: 1112: 1090:

shows the only military event that the Queen participated in during her regency: the

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Iconography, Propaganda, and Legitimation: The Origins of the Modern State in Europe

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Rubens's Arrival (or Disembarkation) of Marie de Medici at Marseilles, Medici Cycle

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Heroic Deeds and Mystic Figures: a New Reading of Rubens' Life of Maria De' Medici

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which is more consistent both with Rubens's style and the remainder of the cycle.

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Coolidge, John (1966). "Rubens and the Decoration of French Royal Galleries".

1608:– a significant event for Henry IV's ascent to the throne. After the death of 5294: 5266: 5237: 5219: 5201: 5178: 4400: 4040: 3679: 3531: 3495: 3364: 921: 348:

to represent Marie de' Medici's alter ego, or avatar, throughout the cycle.

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are subjects Marie de' Medici commissioned Rubens to paint for this gallery.

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The remaining three paintings are portraits of Marie de' Medici, her father

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paintings of the cycle. This orb functions both as an allusion to the Roman

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The Full Reconciliation with the Son after the Death of the High Constable

1094:(or Juliers in French) to the Protestant princes. Being a crossing of the 4984: 3636: 1104: 620:

arriving in Marseilles after having been married to Henry IV by proxy in

400:

appears in the painting; it may be seen as a guardian of imperial power.

352:

accordingly signifies the allegory of Henry IV, the promiscuous husband.

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The Virgin Mary and Saint Francis Saving the World from Christ's Anger

4217:

Ixion, King of the Lapiths, Deceived by Juno, Who He Wished to Seduce

1227: 843:. Considered one of the principal paintings in the series along with 707: 581: 488: 298: 122: 3760: 3453: 3424: 3395: 928:, the goddess of War, who lays disarmed below. Post-Impressionist, 3687: 1628:. When Henry III was also ostracized from Paris for initiating the 1316: 1304: 1207: 621: 448: 444: 150: 1436:

until the temperament of the nation was assessed. The many headed

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departed King Henry IV, she could triumph over rivals in warfare.

996:

and for her daughter Elizabeth to marry the future king of Spain,

233:. It was during his time in Italy that he began to make copies of 3513:

Held, Julius S. (1980). "The Oil Sketches of Peter Paul Rubens".

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This painting depicts the birth of Marie de' Medici's first son,

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Saints Dominic and Francis Saving the World from Christ's Anger

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Christ Appointing Saint Roch as Patron Saint of Plague Victims

3576:. Studies in Baroque Art History, no. 2. UMI Research Press. 1638: 1633: 1219: 1199: 1156: 1108: 1069: 1039: 981: 840: 644:

of the Medici can be seen above an arched structure, where a

484: 378: 127: 57: 3234: 2360: 714: 698:) identified by the peacocks and chariot. Henry is shown as 1231: 1223: 1059: 1055: 945:

may well have been an artistic influence on Rubens for the

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The Death of Henry IV and the Proclamation of the Regency.

2003:

The Reconciliation of King Henry III and Henry of Navarre

1821:

The Death of Henry IV and the Proclamation of the Regency

1737:

The Wedding by Proxy of Maria de’ Medici to King Henry IV

1604:

An important sketch from the collection is the so-called

1599:

The Reconciliation of King Henry III and Henry of Navarre

1095: 892:

The Death of Henry IV and the Proclamation of the Regency

882:

The Death of Henry IV and the Proclamation of the Regency

845:

The Death of Henry IV and the Proclamation of the Regency

830:

The Death of Henry IV and the Proclamation of the Regency

540:

The Wedding by Proxy of Marie de' Medici to King Henry IV

534:

The Wedding by Proxy of Marie de' Medici to King Henry IV

524:

The Wedding by Proxy of Marie de' Medici to King Henry IV

2526: 2524: 1373:, Marie de' Medici genially takes the olive branch from 572:, Duchess of Mantua; and in entourage of Grand Duke are 3752:

Rubens cycle of paintings apotheosizing Marie de Medici

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The Birth of the Princess, in Florence on 26 April 1573

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because of the lion beside her. However, the figure is

588:

mourning over the dead body of Christ, alluding to the

367:

The Birth of the Princess, in Florence on 26 April 1573

190:(1703–1770) who produced copies from the Medici cycle. 3969:

The Head of Saint John the Baptist Presented to Salome

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on 5 October 1600 by the power invested in her uncle,

4289:

The Virgin and Child Surrounded by the Holy Innocents

3606:

Drawn by the Brush, Oil Sketches by Peter Paul Rubens

3604:

Sutton, Peter C. & Wieseman, Marjorie E. (2004).

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Janson's History of Art: the western tradition 7th ed

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Cranbury, New Jersey: A.S. Barnes and Company, 1968.

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Reconciliation of King Henry III and Henry of Navarre

676:

The Meeting of Marie de' Medici and Henry IV at Lyons

666:

The Meeting of Marie de' Medici and Henry IV at Lyons

483:, Henry IV falls in love with a painted image. With 141:

played a key role. Rubens, then court painter to the

1765:

The Meeting of Marie de Médicis and Henri IV at Lyon

1121:

The Exchange of the Princesses at the Spanish Border

451:, Euphrosyne, Aglaea, and Thalia giving her beauty. 4705:

Portrait of George Villiers, 1st Duke of Buckingham

4297:

Erichthonius Discovered by the Daughters of Cecrops

3897:

The Gonzaga Family in Adoration of the Holy Trinity

3678: 2809: 748:. By representing Marie as Juno, implying Henry as 599: 3487: 311: 4113:Saint Teresa of Ávila's Vision of the Holy Spirit 4105:Saint Teresa of Ávila's Vision of the Holy Spirit 3313: 3311: 3274: 3272: 3009: 3007: 2802: 2800: 2798: 2796: 2680: 2678: 2266: 2264: 1452:who has met its demise at the hand of a feminine 1315:. The figure adjusting the sail is thought to be 958:to Caravaggio as two contemporaries of the time. 763: 5292: 3833:Self-Portrait in a Circle of Friends from Mantua 3419:(3). The Art Bulletin, Vol. 85, No. 3: 490–522. 3209: 3207: 3205: 1526:that rushed the completion of the Medici Cycle. 1352: 803: 3633:Art History, Revised Second Edition, Volume Two 2460: 2458: 2456: 2446: 2444: 2287: 2285: 1849:The Felicity of the Regency of Marie de' Medici 1191:The Felicity of the Regency of Marie de' Medici 1184:The Felicity of the Regency of Marie de' Medici 1174:The Felicity of the Regency of Marie de' Medici 3448:(March 1966). College Art Association: 67–69. 3308: 3269: 3004: 2830: 2828: 2793: 2675: 2404: 2402: 2261: 2048: 2046: 1624:him, Henry of Navarre protested, starting the 1380: 556:Ferdinando I de' Medici, Grand Duke of Tuscany 112:Ferdinando I de' Medici, Grand Duke of Tuscany 3945:Portrait of Giovanni Carlo Doria on Horseback 3776: 3253: 3251: 3249: 3202: 3105: 3103: 3066: 3064: 2650: 2648: 2312: 2120: 2118: 2036: 2034: 2032: 1975:Francesco I de' Medici, Grand Duke of Tuscany 23:The cycle in the Richelieu wing of the Louvre 3622:: CS1 maint: multiple names: authors list ( 2883: 2881: 2853: 2851: 2849: 2719: 2717: 2453: 2441: 2282: 2164: 2162: 2143: 2141: 2139: 1947:The Reconciliation: of the Queen and her son 1723:The Presentation of Her Portrait to Henry IV 1492:, is a purely allegorical depiction of King 1006:is one of the least understood paintings of 466:The Presentation of Her Portrait to Henry IV 456:The Presentation of Her Portrait to Henry IV 403: 355: 4361:The Meeting Between Abraham and Melchizedek 3549:Millen, Ronald; Wolf, Robert Erich (1989). 2913: 2911: 2825: 2399: 2087: 2085: 2043: 1989:Joanna of Austria, Grand Duchess of Tuscany 326:on clouds beneath the celestial figures of 318:The first painting of the narrative cycle, 5311:Paintings in the Louvre by Flemish artists 4737:The Triumphal Entry of Henry IV into Paris 4697:Portrait of Infante Isabella Clara Eugenia 3937:Portrait of a Noblewoman with an Attendant 3921:Portrait of Marchesa Brigida Spinola-Doria 3783: 3769: 3548: 3246: 3100: 3061: 2645: 2378:Matilde Battistini, Symbole und Allegorien 2115: 2108: 2106: 2029: 1277: 1071:The Regent Militant: The Victory at Jülich 961: 4665:Diana and Her Nymphs Leaving for the Hunt 3713:CS1 maint: multiple names: authors list ( 3630: 2952: 2950: 2878: 2869: 2846: 2714: 2657: 2159: 2150: 2136: 1779:The Birth of the Dauphin at Fountainbleau 726:The Birth of the Dauphin at Fontainebleau 716:The Birth of the Dauphin at Fontainebleau 322:, is a twisting composition of the three 5326:Allegorical paintings by Flemish artists 5017:Hercules in the Garden of the Hesperides 4953:A View of Het Steen in the Early Morning 4489:Feast in the House of Simon the Pharisee 3841:Equestrian Portrait of the Duke of Lerma 3657:Flemish Art and Architecture 1585 - 1700 3439: 2908: 2082: 1658:painting in the Marie de' Medici cycle. 1593: 1477: 1418: 1386: 1358: 1329: 1323: 1283: 1178: 1125: 1075: 967: 886: 809: 769: 720: 670: 605: 528: 460: 409: 361: 256: 197: 90: 31:is a series of twenty-four paintings by 18: 5336:Cultural depictions of Marie de' Medici 4817:Odysseus on the Island of the Phaecians 4385:The Garden of Eden with the Fall of Man 3653: 3390:(4). College Art Association: 473–477. 2103: 2094: 1471: 1424:Reconciliation of the Queen and her son 1414:Reconciliation of the Queen and her Son 114:. When Henry was assassinated in 1610, 5293: 5087:The Peasants Returning From The Fields 4441:The Rape of the Daughters of Leucippus 3721: 3603: 3571: 3525: 3521:. Princeton University Press: 123–133. 3468: 3381: 3358: 2947: 1405:after her forces had been defeated at 1139:celebrates the double marriage of the 4145:Christ Giving the Keys to Saint Peter 3790: 3764: 3590: 3410: 4785:Saint Francis Receiving the Stigmata 4681:The Reconciliation of Esau and Jacob 4481:Mucius Scaevola before Lars Porsenna 4449:Christ Triumphant over Sin and Death 3593:Rubens and the Grand Camee de France 3512: 3485: 1531:The Portraits of The Queen's Parents 503:In negotiating the marriage between 4937:Hercules's Dog Discovers Purple Dye 4249:The Hippopotamus and Crocodile Hunt 2926:quoted in Millen & Wolf, p. 165 1575:was banished from Paris in 1631 as 1430:The Return of the Mother to Her Son 427:at study. Her education is given a 162: 137:, an enormous undertaking in which 86: 13: 5321:17th-century allegorical paintings 4873:Helena Fourment with Her Son Frans 4769:Minerva Protecting Peace from Mars 4537:Landscape with Philemon and Baucis 3929:Portrait of Maria di Antonio Serra 3574:The Golden Age of Marie de' Medici 1432:tenuously held an alternate title 14: 5372: 4161:The Crowning of the Virtuous Hero 3745: 1555: 5351:Paintings of Jupiter (mythology) 5196:Nicolaas Rubens, Lord of Rameyen 4545:Portrait of a Young Man in Armor 3336: 3299: 3290: 3281: 3266:Sutton and Wieseman, pp. 194-195 3260: 3225: 3216: 3193: 3184: 3175: 3166: 3157: 3148: 3139: 3130: 3121: 3112: 3091: 3082: 3073: 3052: 3043: 3034: 3025: 2009: 1995: 1981: 1967: 1953: 1939: 1925: 1911: 1897: 1883: 1869: 1855: 1841: 1827: 1813: 1799: 1785: 1771: 1757: 1751:The Disembarkation at Marsailles 1743: 1729: 1715: 1701: 1687: 1612:, brother of the childless King 1488:The last painting in the cycle, 658:the Disembarkation at Marseilles 611:The Disembarkation at Marseilles 601:The Disembarkation at Marseilles 252: 5055:Helena Fourment with a Carriage 4793:The Crowning of Saint Catherine 4369:Christ and the Penitent Sinners 4169:The Incredulity of Saint Thomas 3016: 2995: 2986: 2977: 2968: 2959: 2938: 2929: 2920: 2899: 2890: 2860: 2837: 2784: 2771: 2762: 2753: 2744: 2735: 2726: 2705: 2696: 2687: 2666: 2636: 2627: 2618: 2609: 2600: 2591: 2582: 2573: 2564: 2551: 2542: 2533: 2512: 2503: 2494: 2485: 2476: 2467: 2432: 2423: 2414: 2390: 2381: 2372: 2339: 2330: 2321: 2303: 2294: 2273: 2252: 2243: 2234: 2225: 2216: 2207: 2198: 2189: 2180: 2171: 2127: 992:, to marry the Spanish Infanta 903:The Proclamation of the Regency 320:The Destiny of Marie de' Medici 313:The Destiny of Marie de' Medici 262:The Destiny of Maria de' Medici 102:became the second wife to King 5306:Paintings by Peter Paul Rubens 4729:Henry IV at the Battle of Ivry 4577:The Rape of Orithyia by Boreas 4329:Miracles of St. Francis Xavier 3359:Belkin, Kristin Lohse (1998). 2992:Millen & Wolf, pp. 182-193 2983:Millen & Wolf, pp. 178-181 2073: 2064: 2055: 1793:The Consignment of the Regency 1662:The Triumphal Entry into Paris 897:Sometimes also referred to as 786:The Consignment of the Regency 775:The Consignment of the Regency 765:The Consignment of the Regency 542:(1622–25), Rubens depicts the 431:by the presence of three gods 16:Paintings by Peter Paul Rubens 1: 4945:Helena Fourment with Children 4836:(Saint Petersburg; 1632–1635) 3684:The World of Rubens 1577-1640 3591:Smith, Shaw (October 1992). " 1919:The Negotiations at Angoulême 1807:The Coronation in Saint-Denis 1709:The Education of the Princess 1371:The Negotiations at Angoulême 1364:The Negotiations at Angoulême 1354:The Negotiations at Angoulême 826:The Coronation in Saint-Denis 821:The Coronation in Saint-Denis 815:The Coronation in Saint-Denis 805:The Coronation in Saint-Denis 423:(1622–1625) shows a maturing 415:The Education of the Princess 373:The cycle's second painting, 276:The Coronation in Saint Denis 63: 5079:The Rape of the Sabine Women 4657:The Conversion of Saint Bavo 4505:St Mary Magdalene in Ecstasy 4465:The Union of Earth and Water 4265:Theodosius and Saint Ambrose 3469:Downes, Kerry (June 1983). " 2935:Millen & Wolf, pp. 166-7 2410:The Life of Marie de' Medici 2369:Millen & Wolf, pp. 26-29 2023: 550:on 5 October 1600. Cardinal 7: 4825:The Finding of Erichthonius 4553:Saint George and the Dragon 3243:Sutton and Weiseman, p. 194 1933:The Queen Opts for Security 1630:murder of the duke of Guise 1399:The Queen Opts for Security 1392:The Queen Opts for Security 1382:The Queen Opts for Security 1263:The Felicity of the Regency 1151:, to future king of Spain, 1111:and the personification of 947:Proclamation of the Regency 10: 5377: 5122:The History of Constantine 5001:The Birth of the Milky Way 4865:The Dance of the Villagers 4641:The History of Constantine 4625:Portrait of Susanna Lunden 3980:(Madrid; 1609 and 1628–29) 3809:The Descent from the Cross 3555:Princeton University Press 3323: 3040:Millen & Wolf, p. 204. 3031:Millen & Wolf, p. 201. 3022:Millen & Wolf, p. 197. 1877:The Exchange of Princesses 1680: 1674:Clemency of Henry in Paris 1620:denied him the throne and 1256:allegorical interpretation 1137:The Exchange of Princesses 1131:The Exchange of Princesses 899:The Apotheosis of Henry IV 72:The Constantine Tapestries 5341:Henrietta Maria of France 5261:Poussinists and Rubenists 5253: 5171: 5155: 5136: 5113: 4889:The Triumph of the Church 4857:Bathsheba at the Fountain 4561:Perseus Freeing Andromeda 4313:The Lion and Leopard Hunt 4129:The Defeat of Sennacherib 4033:Massacre of the Innocents 3865:Heraclitus and Democritus 3849:Portrait of a Young Woman 3798: 3490:17th and 18th Century Art 3335: 3330: 3145:Millen & Wolf. p. 221 3097:Millen & Wolf, p. 211 3088:Millen & Wolf, p. 209 3079:Millen & Wolf, p. 205 3058:Millen & Wolf, p. 203 3049:Millen & Wolf, p. 207 2905:Millen & Wolf, p. 166 2896:Millen & Wolf, p. 164 1667:Apotheosis and Ascendancy 1458:Henri II, Prince of Condé 1147:and Louis XIII's sister, 487:the Cupid as his escort, 421:Education of the Princess 405:Education of the Princess 375:The Birth of the Princess 357:The Birth of the Princess 193: 5023:Deianira Listens to Fame 4993:Assumption of the Virgin 4801:The Ildefonso Altarpiece 4713:Assumption of the Virgin 4521:Conversion of Saint Paul 4513:The Small Last Judgement 4393:The Great Last Judgement 4225:Daniel in the Lions' Den 4025:Conversion of Saint Paul 4001:Coronation of the Virgin 3953:Madonna della Vallicella 3136:Millen & Wolf p. 221 3127:Millen & Wolf p. 220 1548:that was then copied by 4721:Angelica and the Hermit 4345:Two Women with a Candle 4153:Portrait of a Commander 3475:The Burlington Magazine 3172:Millen & Wolf p. 17 2557:Crawford, Katherine B., 1891:Louis XIII Comes of Age 1863:The Council of the Gods 1626:War of the Three Henrys 1440:struck a fatal blow by 1296:Louis XIII Comes of Age 1289:Louis XIII Comes of Age 1279:Louis XIII Comes of Age 1004:The Council of the Gods 973:The Council of the Gods 963:The Council of the Gods 837:basilica of Saint-Denis 4996:(Vienna; c. 1637) 4617:Marie de' Medici cycle 4529:The Fall of the Damned 4353:Descent from the Cross 4337:Saint Stephen Triptych 4108:(Rotterdam; 1612–1614) 4097:Descent from the Cross 3961:Susanna and the Elders 3654:Vlieghe, Hans (1998). 3597:Gazette des Beaux-Arts 3572:Saward, Susan (1982). 3526:Janson, H. W. (2007). 2579:Wedgwood, C.V., p. 103 1610:Francis, Duke of Anjou 1601: 1538:Francesco I de' Medici 1485: 1426: 1394: 1366: 1337: 1291: 1271: 1251: 1186: 1133: 1084: 1008:Marie de' Medici cycle 975: 894: 864:(mother of her future 862:Duchess of Montpensier 817: 777: 728: 678: 662: 613: 536: 468: 417: 370: 264: 203: 96: 29:Marie de' Medici Cycle 24: 5095:The Rainbow Landscape 4969:The Rainbow Landscape 4849:Adoration of the Magi 4833:The Rainbow Landscape 4673:Adoration of the Magi 4633:Perseus and Andromeda 4596:(Florence; 1620–1623) 4473:Tigress with Her Cubs 4409:Adoration of the Magi 4305:The Wolf and Fox Hunt 4281:Florence Resurrection 4057:The Four Philosophers 3977:Adoration of the Magi 3889:The Baptism of Christ 3662:Yale University Press 3610:Yale University Press 3486:Held, Julius (1980). 2779:Rubens and his times. 1905:The Flight from Blois 1835:The Victory at Jülich 1597: 1567:The Capture of Paris. 1481: 1422: 1390: 1362: 1335:The Flight from Blois 1333: 1325:The Flight from Blois 1287: 1267: 1244: 1218:, and two figures of 1182: 1129: 1088:The Victory at Jülich 1081:The Victory at Jülich 1079: 971: 942:Madonna of the Rosary 890: 813: 773: 724: 674: 654: 648:stands in all of his 609: 532: 464: 413: 365: 260: 201: 94: 22: 5039:The Rape of Ganymede 4905:Deucalion and Pyrrha 4716:(Antwerp; 1625–1626) 4377:Mars and Rhea Silvia 4116:(Cambridge; c. 1614) 4100:(Antwerp; 1612–1614) 4065:Antwerp Resurrection 4017:Raising of the Cross 3857:Hercules and Omphale 3690:. pp. 103, 116. 3639:. pp. 760–761. 3515:A Critical Catalogue 2834:Wedgwood, C.V., 116. 2309:Belkin, pp. 181-182. 2186:Belkin, pp. 176-181. 2124:Belkin, pp. 175–176. 2040:Belkin, pp. 173–175. 1961:The Triumph of Truth 1669:in the Marie cycle. 1490:The Triumph of Truth 1483:The Triumph of Truth 1473:The Triumph of Truth 184:Jean-Antoine Watteau 176:classical literature 172:Archduchess Isabella 159:Charles I of England 5066:(Vienna; 1638–1639) 5034:(Madrid; 1636–1638) 5009:Consequences of War 4585:Christ on the Cross 4209:Madonna della Cesta 4177:The Death of Adonis 4137:The Four Continents 4028:(London; 1610–1612) 3881:The Fall of Phaeton 3812:(Siegen; 1600–1602) 3680:Wedgwood, C.V., ed. 3612:. pp. 192–195. 3599:. vi, 120: 127–136. 2822:Millen and Wolf 155 2711:Berger, pp. 475-476 2518:Janson, pp. 703-705 1450:Constable de Luynes 574:Roger de Bellegarde 570:Eleonora de' Medici 568:and Marie's sister 566:Cristina of Tuscany 552:Pietro Aldobrandini 516:on 5 October 1600. 235:classical sculpture 166:fifty years prior. 5125:(1622–1640) (with 5047:Diana and Callisto 4977:Pallas and Arachne 4913:The Feast of Herod 4897:The Feast of Venus 4841:The Garden of Love 4761:The Rape of Europa 4497:The Wild Boar Hunt 4476:(attributed; 1618) 4356:(Lille; 1616–1617) 4273:The Wild Boar Hunt 3985:Samson and Delilah 3730:. pp. 63–86. 3706:has generic name ( 3496:Prentice-Hall, Inc 2777:Avermaete, Roger. 2732:Millen, Wolf p. 16 2615:Winner, pp. 70, 86 2509:Belkin, pp.182-185 2133:Belkin pp. 174-175 2017:The Battle of Ivry 1602: 1579:gained power over 1577:Cardinal Richelieu 1542:Johanna of Austria 1486: 1427: 1395: 1367: 1338: 1292: 1187: 1149:Princess Elisabeth 1134: 1085: 976: 895: 818: 778: 729: 679: 614: 578:Marquis de Sillery 548:Florence Cathedral 537: 479:Just as Tamino in 469: 418: 371: 265: 204: 147:Vincenzo I Gonzaga 104:Henry IV of France 97: 41:Henry IV of France 25: 5288: 5287: 5145:Palazzi di Genova 5127:Pietro da Cortona 5103:Judgment of Paris 4929:Mercury and Argus 4852:(Cambridge; 1634) 4412:(Lyon; 1617–1618) 4321:Romulus and Remus 4241:A Statue of Ceres 4121:The Tribute Money 3993:Honeysuckle Bower 3817:Leda and the Swan 3792:Peter Paul Rubens 3541:978-0-13-193455-9 3355: 3354: 3154:Millen & Wolf 2866:Belkin, pp. 186-7 2624:Winner, pp. 64-70 2491:Millen, pp. 49-50 2396:Saward, pp. 29-30 2327:Saward, pp. 9-11. 2249:Belkin, pp. 41-59 1550:Giovanni Bizzelli 1546:Alessandro Allori 1446:Divine Providence 1341:illustrations of 952:objets importants 858:Princess of Conti 594:Baccio Bandinelli 510:Pope Clement VIII 269:Luxembourg Palace 207:Peter Paul Rubens 202:Peter Paul Rubens 139:Peter Paul Rubens 135:Luxembourg Palace 108:marriage by proxy 45:Luxembourg Palace 33:Peter Paul Rubens 5368: 5346:Juno (mythology) 5226:Tobias Verhaecht 5214:Maria Pypelinckx 5031:The Three Graces 4921:The Village Fête 4884:(New York; 1635) 4881:Venus and Adonis 4745:The Annunciation 4593:The Three Graces 4457:The Prodigal Son 4185:Venus and Adonis 4049:Prometheus Bound 3913:The Circumcision 3873:Virgin and Child 3785: 3778: 3771: 3762: 3761: 3741: 3718: 3711: 3705: 3701: 3699: 3691: 3675: 3650: 3627: 3621: 3613: 3600: 3587: 3568: 3545: 3522: 3509: 3493: 3482: 3465: 3442:The Art Bulletin 3436: 3407: 3384:The Art Bulletin 3378: 3340: 3339: 3328: 3327: 3318: 3315: 3306: 3303: 3297: 3294: 3288: 3285: 3279: 3276: 3267: 3264: 3258: 3255: 3244: 3241: 3232: 3229: 3223: 3220: 3214: 3211: 3200: 3199:Millen, pp.23-25 3197: 3191: 3188: 3182: 3181:Millen, pp.24-25 3179: 3173: 3170: 3164: 3161: 3155: 3152: 3146: 3143: 3137: 3134: 3128: 3125: 3119: 3116: 3110: 3107: 3098: 3095: 3089: 3086: 3080: 3077: 3071: 3068: 3059: 3056: 3050: 3047: 3041: 3038: 3032: 3029: 3023: 3020: 3014: 3011: 3002: 2999: 2993: 2990: 2984: 2981: 2975: 2972: 2966: 2965:Cohen pp.490-491 2963: 2957: 2954: 2945: 2942: 2936: 2933: 2927: 2924: 2918: 2915: 2906: 2903: 2897: 2894: 2888: 2885: 2876: 2873: 2867: 2864: 2858: 2855: 2844: 2841: 2835: 2832: 2823: 2820: 2807: 2804: 2791: 2788: 2782: 2775: 2769: 2766: 2760: 2757: 2751: 2748: 2742: 2739: 2733: 2730: 2724: 2721: 2712: 2709: 2703: 2700: 2694: 2691: 2685: 2682: 2673: 2670: 2664: 2661: 2655: 2654:Ellenius, p. 71. 2652: 2643: 2640: 2634: 2631: 2625: 2622: 2616: 2613: 2607: 2604: 2598: 2595: 2589: 2586: 2580: 2577: 2571: 2568: 2562: 2555: 2549: 2546: 2540: 2537: 2531: 2528: 2519: 2516: 2510: 2507: 2501: 2498: 2492: 2489: 2483: 2480: 2474: 2471: 2465: 2462: 2451: 2448: 2439: 2436: 2430: 2427: 2421: 2418: 2412: 2406: 2397: 2394: 2388: 2387:Saward, pp.32-33 2385: 2379: 2376: 2370: 2367: 2358: 2355: 2346: 2345:Saward, pp.22-25 2343: 2337: 2334: 2328: 2325: 2319: 2316: 2310: 2307: 2301: 2298: 2292: 2289: 2280: 2279:Coolidge, p. 68. 2277: 2271: 2268: 2259: 2256: 2250: 2247: 2241: 2238: 2232: 2229: 2223: 2220: 2214: 2211: 2205: 2202: 2196: 2195:Belkin, pp. 323. 2193: 2187: 2184: 2178: 2175: 2169: 2166: 2157: 2154: 2148: 2145: 2134: 2131: 2125: 2122: 2113: 2110: 2101: 2098: 2092: 2089: 2080: 2077: 2071: 2070:Saward, pp. 1-2. 2068: 2062: 2061:Saward, pp. 1-3. 2059: 2053: 2050: 2041: 2038: 2013: 1999: 1985: 1971: 1957: 1943: 1929: 1915: 1901: 1887: 1873: 1859: 1845: 1831: 1817: 1803: 1789: 1775: 1761: 1747: 1733: 1719: 1705: 1691: 1573:Marie de' Medici 1513:Council of State 1444:as witnessed by 1092:return of Jülich 636:, a sea-god and 618:Marie de' Medici 514:married by proxy 505:Marie de' Medici 449:the three graces 425:Marie de' Medici 303:Marie de' Medici 188:François Boucher 186:(1684–1721) and 100:Marie de' Medici 95:Maria de' Medici 87:Marie de' Medici 37:Marie de' Medici 35:commissioned by 5376: 5375: 5371: 5370: 5369: 5367: 5366: 5365: 5331:Painting series 5316:House of Medici 5291: 5290: 5289: 5284: 5249: 5244:Nicolaas Rockox 5190:Helena Fourment 5167: 5151: 5132: 5109: 4753:The Fall of Man 4676:(Antwerp; 1624) 4417:The Five Senses 3905:Transfiguration 3800: 3794: 3789: 3758: 3748: 3738: 3728:Clarendon Press 3712: 3703: 3702: 3693: 3692: 3672: 3647: 3615: 3614: 3584: 3565: 3542: 3506: 3471:Rubens's Prices 3454:10.2307/3048334 3425:10.2307/3177384 3396:10.2307/3049036 3375: 3337: 3331:External videos 3326: 3321: 3316: 3309: 3304: 3300: 3295: 3291: 3286: 3282: 3277: 3270: 3265: 3261: 3257:Belkin, p. 192. 3256: 3247: 3242: 3235: 3230: 3226: 3221: 3217: 3212: 3203: 3198: 3194: 3189: 3185: 3180: 3176: 3171: 3167: 3162: 3158: 3153: 3149: 3144: 3140: 3135: 3131: 3126: 3122: 3118:Saward, p. 182. 3117: 3113: 3108: 3101: 3096: 3092: 3087: 3083: 3078: 3074: 3069: 3062: 3057: 3053: 3048: 3044: 3039: 3035: 3030: 3026: 3021: 3017: 3013:Millen, p. 197. 3012: 3005: 3000: 2996: 2991: 2987: 2982: 2978: 2973: 2969: 2964: 2960: 2955: 2948: 2943: 2939: 2934: 2930: 2925: 2921: 2916: 2909: 2904: 2900: 2895: 2891: 2887:Belkin, p. 189. 2886: 2879: 2875:Belkin, p. 187. 2874: 2870: 2865: 2861: 2856: 2847: 2842: 2838: 2833: 2826: 2821: 2810: 2805: 2794: 2789: 2785: 2776: 2772: 2767: 2763: 2758: 2754: 2749: 2745: 2740: 2736: 2731: 2727: 2722: 2715: 2710: 2706: 2701: 2697: 2692: 2688: 2683: 2676: 2671: 2667: 2662: 2658: 2653: 2646: 2641: 2637: 2632: 2628: 2623: 2619: 2614: 2610: 2605: 2601: 2596: 2592: 2588:McGrath, p. 315 2587: 2583: 2578: 2574: 2570:Crawford, p.246 2569: 2565: 2556: 2552: 2547: 2543: 2538: 2534: 2529: 2522: 2517: 2513: 2508: 2504: 2499: 2495: 2490: 2486: 2481: 2477: 2472: 2468: 2463: 2454: 2449: 2442: 2437: 2433: 2428: 2424: 2419: 2415: 2407: 2400: 2395: 2391: 2386: 2382: 2377: 2373: 2368: 2361: 2356: 2349: 2344: 2340: 2335: 2331: 2326: 2322: 2317: 2313: 2308: 2304: 2299: 2295: 2290: 2283: 2278: 2274: 2270:Belkin, p. 181. 2269: 2262: 2257: 2253: 2248: 2244: 2239: 2235: 2230: 2226: 2221: 2217: 2212: 2208: 2203: 2199: 2194: 2190: 2185: 2181: 2176: 2172: 2168:Belkin, p. 170. 2167: 2160: 2155: 2151: 2147:Belkin, p. 178. 2146: 2137: 2132: 2128: 2123: 2116: 2111: 2104: 2099: 2095: 2090: 2083: 2078: 2074: 2069: 2065: 2060: 2056: 2051: 2044: 2039: 2030: 2026: 2019: 2014: 2005: 2000: 1991: 1986: 1977: 1972: 1963: 1958: 1949: 1944: 1935: 1930: 1921: 1916: 1907: 1902: 1893: 1888: 1879: 1874: 1865: 1860: 1851: 1846: 1837: 1832: 1823: 1818: 1809: 1804: 1795: 1790: 1781: 1776: 1767: 1762: 1753: 1748: 1739: 1734: 1725: 1720: 1711: 1706: 1697: 1692: 1683: 1558: 1540:and her mother 1534: 1520:Henrietta Maria 1476: 1462:Concino Concini 1417: 1385: 1357: 1328: 1282: 1177: 1141:Anne of Austria 1124: 1074: 994:Anne of Austria 966: 885: 866:daughter in law 854:Prince of Conti 808: 768: 719: 669: 646:Knight of Malta 604: 527: 481:The Magic Flute 459: 408: 360: 316: 255: 243:Adriaen Brouwer 196: 163:#Henry IV Cycle 155:Henrietta Maria 143:Duchy of Mantua 89: 66: 50:Henrietta Maria 17: 12: 11: 5: 5374: 5364: 5363: 5358: 5353: 5348: 5343: 5338: 5333: 5328: 5323: 5318: 5313: 5308: 5303: 5301:1624 paintings 5286: 5285: 5283: 5282: 5279:Rubens' Europe 5276: 5271: 5263: 5257: 5255: 5251: 5250: 5248: 5247: 5241: 5235: 5232:Adam van Noort 5229: 5223: 5217: 5211: 5205: 5199: 5193: 5187: 5184:Isabella Brant 5181: 5175: 5173: 5169: 5168: 5166: 5165: 5159: 5157: 5153: 5152: 5150: 5149: 5140: 5138: 5134: 5133: 5131: 5130: 5117: 5115: 5111: 5110: 5108: 5107: 5099: 5098:(Munich; 1640) 5091: 5083: 5075: 5067: 5059: 5051: 5043: 5035: 5027: 5013: 5005: 4997: 4989: 4981: 4973: 4972:(London; 1636) 4965: 4957: 4949: 4941: 4933: 4925: 4917: 4909: 4901: 4893: 4885: 4877: 4869: 4861: 4853: 4845: 4837: 4829: 4821: 4813: 4805: 4797: 4789: 4781: 4777:Cimon and Pero 4773: 4765: 4757: 4749: 4741: 4733: 4725: 4724:(c. 1626–1628) 4717: 4709: 4701: 4693: 4685: 4677: 4669: 4661: 4653: 4645: 4637: 4629: 4621: 4613: 4605: 4601:Isabella Brant 4597: 4589: 4581: 4573: 4565: 4557: 4549: 4541: 4533: 4525: 4517: 4509: 4501: 4493: 4485: 4484:(c. 1618–1620) 4477: 4469: 4461: 4453: 4445: 4437: 4429: 4421: 4413: 4405: 4397: 4389: 4381: 4373: 4365: 4357: 4349: 4341: 4333: 4325: 4317: 4309: 4301: 4293: 4285: 4277: 4269: 4261: 4257:The Tiger Hunt 4253: 4245: 4237: 4229: 4221: 4213: 4205: 4197: 4189: 4181: 4173: 4165: 4157: 4149: 4141: 4133: 4125: 4117: 4109: 4101: 4093: 4085: 4077: 4076:(c. 1611–1615) 4069: 4061: 4053: 4045: 4037: 4029: 4021: 4013: 4009:Juno and Argus 4005: 3997: 3989: 3981: 3973: 3965: 3957: 3949: 3941: 3933: 3925: 3917: 3909: 3901: 3893: 3885: 3884:(c. 1604/1605) 3877: 3869: 3861: 3853: 3845: 3837: 3829: 3825:The Deposition 3821: 3813: 3804: 3802: 3796: 3795: 3788: 3787: 3780: 3773: 3765: 3756: 3755: 3747: 3746:External links 3744: 3743: 3742: 3736: 3719: 3676: 3670: 3651: 3645: 3628: 3601: 3588: 3582: 3569: 3563: 3546: 3540: 3523: 3510: 3504: 3483: 3466: 3437: 3408: 3379: 3373: 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2260: 2258:Belkin, p. 173 2251: 2242: 2233: 2224: 2215: 2206: 2197: 2188: 2179: 2177:Belkin, p. 180 2170: 2158: 2149: 2135: 2126: 2114: 2112:Smith, p. 127. 2102: 2093: 2091:Belkin, p. 182 2081: 2079:Belkin, p. 176 2072: 2063: 2054: 2042: 2027: 2025: 2022: 2021: 2020: 2015: 2008: 2006: 2001: 1994: 1992: 1987: 1980: 1978: 1973: 1966: 1964: 1959: 1952: 1950: 1945: 1938: 1936: 1931: 1924: 1922: 1917: 1910: 1908: 1903: 1896: 1894: 1889: 1882: 1880: 1875: 1868: 1866: 1861: 1854: 1852: 1847: 1840: 1838: 1833: 1826: 1824: 1819: 1812: 1810: 1805: 1798: 1796: 1791: 1784: 1782: 1777: 1770: 1768: 1763: 1756: 1754: 1749: 1742: 1740: 1735: 1728: 1726: 1721: 1714: 1712: 1707: 1700: 1698: 1693: 1686: 1682: 1679: 1651:Battle of Ivry 1622:excommunicated 1557: 1556:Henry IV Cycle 1554: 1533: 1528: 1475: 1470: 1442:Divine Justice 1416: 1411: 1384: 1379: 1356: 1351: 1327: 1322: 1281: 1276: 1176: 1171: 1123: 1118: 1073: 1068: 965: 960: 884: 879: 807: 802: 798:orbis terrarum 767: 762: 718: 713: 668: 663: 603: 598: 586:God the Father 544:proxy marriage 526: 521: 458: 453: 407: 402: 359: 354: 315: 310: 254: 251: 237:, such as the 195: 192: 88: 85: 65: 62: 15: 9: 6: 4: 3: 2: 5373: 5362: 5359: 5357: 5354: 5352: 5349: 5347: 5344: 5342: 5339: 5337: 5334: 5332: 5329: 5327: 5324: 5322: 5319: 5317: 5314: 5312: 5309: 5307: 5304: 5302: 5299: 5298: 5296: 5280: 5277: 5275: 5272: 5269: 5268: 5264: 5262: 5259: 5258: 5256: 5252: 5245: 5242: 5239: 5238:Otto van Veen 5236: 5233: 5230: 5227: 5224: 5221: 5220:Philip Rubens 5218: 5215: 5212: 5209: 5206: 5203: 5202:Albert Rubens 5200: 5197: 5194: 5192:(second wife) 5191: 5188: 5185: 5182: 5180: 5179:Rubens family 5177: 5176: 5174: 5170: 5164: 5161: 5160: 5158: 5154: 5147: 5146: 5142: 5141: 5139: 5135: 5128: 5124: 5123: 5119: 5118: 5116: 5112: 5105: 5104: 5100: 5097: 5096: 5092: 5089: 5088: 5084: 5081: 5080: 5076: 5073: 5072: 5068: 5065: 5064: 5063:Self-Portrait 5060: 5057: 5056: 5052: 5049: 5048: 5044: 5041: 5040: 5036: 5033: 5032: 5028: 5025: 5024: 5019: 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3685: 3681: 3677: 3673: 3671:0-300-07038-1 3667: 3663: 3659: 3658: 3652: 3648: 3646:0-13-145529-X 3642: 3638: 3634: 3629: 3625: 3619: 3611: 3607: 3602: 3598: 3594: 3589: 3585: 3583:0-8357-1307-5 3579: 3575: 3570: 3566: 3564:0-691-04065-6 3560: 3556: 3552: 3547: 3543: 3537: 3533: 3532:Prentice Hall 3529: 3524: 3520: 3516: 3511: 3507: 3505:0-13-807339-2 3501: 3497: 3492: 3491: 3484: 3480: 3476: 3472: 3467: 3463: 3459: 3455: 3451: 3447: 3443: 3438: 3434: 3430: 3426: 3422: 3418: 3414: 3409: 3405: 3401: 3397: 3393: 3389: 3385: 3380: 3376: 3374:0-7148-3412-2 3370: 3366: 3365:Phaidon Press 3362: 3357: 3356: 3351: 3347: 3343: 3334: 3329: 3317:Smith, p. 132 3314: 3312: 3302: 3293: 3284: 3278:Smith, p. 131 3275: 3273: 3263: 3254: 3252: 3250: 3240: 3238: 3228: 3222:Smith, p. 127 3219: 3210: 3208: 3206: 3196: 3190:Millen, p. 25 3187: 3178: 3169: 3160: 3151: 3142: 3133: 3124: 3115: 3106: 3104: 3094: 3085: 3076: 3067: 3065: 3055: 3046: 3037: 3028: 3019: 3010: 3008: 2998: 2989: 2980: 2971: 2962: 2953: 2951: 2941: 2932: 2923: 2917:Winner, p. 86 2914: 2912: 2902: 2893: 2884: 2882: 2872: 2863: 2857:Belkin, p.186 2854: 2852: 2850: 2840: 2831: 2829: 2819: 2817: 2815: 2813: 2803: 2801: 2799: 2797: 2787: 2780: 2774: 2768:Millen, p.145 2765: 2759:Winner, p. 81 2756: 2747: 2741:Winner, p. 79 2738: 2729: 2720: 2718: 2708: 2702:Sutton, p. 92 2699: 2693:Saward, p.100 2690: 2681: 2679: 2672:Saward, p. 98 2669: 2660: 2651: 2649: 2642:Smith, p 129. 2639: 2633:Saward, p. 97 2630: 2621: 2612: 2606:Winner, p. 68 2603: 2594: 2585: 2576: 2567: 2560: 2554: 2548:Saward, p. 79 2545: 2536: 2527: 2525: 2515: 2506: 2500:Millen, p. 15 2497: 2488: 2479: 2470: 2461: 2459: 2457: 2450:Smith, p 128. 2447: 2445: 2435: 2426: 2417: 2411: 2408:Vandergriff, 2405: 2403: 2393: 2384: 2375: 2366: 2364: 2354: 2352: 2342: 2333: 2324: 2318:Belkin p. 179 2315: 2306: 2300:Coolidge, 70. 2297: 2291:Coolidge, 69. 2288: 2286: 2276: 2267: 2265: 2255: 2246: 2240:Belkin p. 143 2237: 2231:Belkin, p. 26 2228: 2222:Belkin, p. 20 2219: 2210: 2201: 2192: 2183: 2174: 2165: 2163: 2156:Belkin, p.179 2153: 2144: 2142: 2140: 2130: 2121: 2119: 2109: 2107: 2097: 2088: 2086: 2076: 2067: 2058: 2052:Saward, p. 2. 2049: 2047: 2037: 2035: 2033: 2028: 2018: 2012: 2007: 2004: 1998: 1993: 1990: 1984: 1979: 1976: 1970: 1965: 1962: 1956: 1951: 1948: 1942: 1937: 1934: 1928: 1923: 1920: 1914: 1909: 1906: 1900: 1895: 1892: 1886: 1881: 1878: 1872: 1867: 1864: 1858: 1853: 1850: 1844: 1839: 1836: 1830: 1825: 1822: 1816: 1811: 1808: 1802: 1797: 1794: 1788: 1783: 1780: 1774: 1769: 1766: 1760: 1755: 1752: 1746: 1741: 1738: 1732: 1727: 1724: 1718: 1713: 1710: 1704: 1699: 1696: 1690: 1685: 1684: 1678: 1675: 1670: 1668: 1663: 1659: 1657: 1652: 1646: 1644: 1640: 1635: 1631: 1627: 1623: 1619: 1615: 1611: 1607: 1600: 1596: 1592: 1590: 1586: 1582: 1578: 1574: 1569: 1568: 1562: 1553: 1551: 1547: 1543: 1539: 1532: 1527: 1525: 1521: 1516: 1514: 1509: 1505: 1501: 1500: 1495: 1491: 1484: 1480: 1474: 1469: 1465: 1463: 1459: 1455: 1454:Saint Michael 1451: 1447: 1443: 1439: 1435: 1431: 1425: 1421: 1415: 1410: 1408: 1404: 1400: 1393: 1389: 1383: 1378: 1376: 1372: 1365: 1361: 1355: 1350: 1348: 1344: 1336: 1332: 1326: 1321: 1318: 1314: 1310: 1306: 1302: 1297: 1294:The painting 1290: 1286: 1280: 1275: 1270: 1266: 1264: 1259: 1257: 1250: 1249: 1243: 1241: 1240:corona civica 1235: 1233: 1229: 1225: 1221: 1217: 1213: 1209: 1205: 1201: 1195: 1192: 1185: 1181: 1175: 1170: 1167: 1163: 1158: 1154: 1150: 1146: 1142: 1138: 1132: 1128: 1122: 1117: 1114: 1110: 1106: 1101: 1097: 1093: 1089: 1082: 1078: 1072: 1067: 1065: 1062:, Cupid, and 1061: 1057: 1053: 1049: 1045: 1041: 1037: 1033: 1029: 1025: 1021: 1017: 1013: 1009: 1005: 1001: 999: 995: 991: 987: 983: 979: 974: 970: 964: 959: 957: 953: 948: 944: 943: 938: 933: 931: 927: 923: 919: 915: 912:On the left, 910: 906: 904: 900: 893: 889: 883: 878: 875: 872:and a winged 871: 867: 863: 859: 855: 851: 846: 842: 838: 833: 831: 827: 822: 816: 812: 806: 801: 799: 793: 791: 787: 783: 776: 772: 766: 761: 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1602) 3815: 3807: 3801:and drawings 3757: 3723: 3683: 3656: 3632: 3605: 3596: 3592: 3573: 3550: 3527: 3518: 3514: 3489: 3478: 3474: 3470: 3445: 3441: 3416: 3413:Art Bulletin 3412: 3387: 3383: 3360: 3350:Khan Academy 3346:Smarthistory 3305:Held, p. 129 3301: 3296:Held, p. 128 3292: 3287:Held, p. 127 3283: 3262: 3231:Held, p. 124 3227: 3218: 3213:Held, p. 123 3195: 3186: 3177: 3168: 3159: 3150: 3141: 3132: 3123: 3114: 3093: 3084: 3075: 3054: 3045: 3036: 3027: 3018: 2997: 2988: 2979: 2970: 2961: 2956:Millen p.170 2940: 2931: 2922: 2901: 2892: 2871: 2862: 2839: 2786: 2778: 2773: 2764: 2755: 2750:Millen, p 80 2746: 2737: 2728: 2707: 2698: 2689: 2668: 2659: 2638: 2629: 2620: 2611: 2602: 2593: 2584: 2575: 2566: 2558: 2553: 2544: 2539:Belkin p.185 2535: 2514: 2505: 2496: 2487: 2482:Cohen, p.493 2478: 2469: 2464:Held, p. 205 2434: 2425: 2416: 2409: 2392: 2383: 2374: 2341: 2332: 2323: 2314: 2305: 2296: 2275: 2254: 2245: 2236: 2227: 2218: 2213:Belkin, p. 8 2209: 2204:Belkin, p. 4 2200: 2191: 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4204:(c. 1614) 4196:(c. 1614) 4089:Ecce Homo 4036:(c. 1611) 3972:(c. 1609) 3876:(c. 1604) 3799:Paintings 3696:cite book 3618:cite book 2024:Footnotes 1614:Henry III 1524:Charles I 1499:concordia 1397:Rubens's 1228:Ignorance 1212:Abundance 1153:Philip IV 998:Philip IV 740:Marie as 708:Hymenaios 582:Hymenaios 489:Hymenaios 338:The Fates 299:Panegyric 123:Salic law 5246:(friend) 5216:(mother) 5210:(father) 3688:Time Inc 3682:(1967). 1317:Prudence 1305:Religion 1208:Prudence 1100:Victoria 874:Victoria 860:and the 632:, three 630:Poseidon 622:Florence 564:Duchess 445:caduceus 284:Henry IV 231:Veronese 120:Frankish 81:Henry IV 5254:Related 5156:Museums 5071:Bacchus 4524:(1620s) 4140:(1610s) 3637:Pearson 3462:3048334 3433:3177384 3404:3049036 3324:Sources 1681:Gallery 1643:Discord 1589:England 1508:Veritas 1506:raises 1375:Mercury 1313:Concord 1309:Justice 1204:Minerva 1166:Bidasoa 1113:Austria 1020:Neptune 926:Bellona 922:Olympus 914:Jupiter 850:Dauphin 754:Astraea 750:Jupiter 746:Minerva 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