Marie de' Medici cycle
Encyclopedia
The Marie de' Medici Cycle is a series of twenty-four paintings by Peter Paul Rubens commissioned by Marie de' Medici
, wife of Henry IV of France
, for the Luxembourg Palace
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, Henrietta Maria. 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 Louvre
in Paris
.
. The contract stated that Rubens was to paint all the figures, which presumably allowed him to employ assistants for backgrounds and details.
Marie de' Medici
became the second wife to King Henry IV of France
in a marriage by proxy
on 5 October 1600 by the power invested in her uncle, Grand Duke Ferdinand of Tuscany
. When Henry was assassinated in 1610, Louis XIII, his son and successor to the throne, was only ten years old. Louis' mother, Marie, acted as his regent as commanded by the Frankish
Salic law
in case of an infant ruler. However, even after Louis came of age at thirteen, the queen continued ruling in his stead. In 1615, Louis XIII finally decided to take governing matters in his own hands at the age of fifteen and the queen was exiled to Blois.
Louis and his mother were not reconciled for another six years, and finally in 1621 Marie was permitted to return to Paris. Upon her return, Marie focused on building and decorating the Luxembourg Palace
, an enormous undertaking in which Peter Paul Rubens played a key role. Rubens, then court painter to the Duchy of Mantua
under Vincenzo I Gonzaga, 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 allegorical
terms, and was finished by the end of 1624, to coincide with the celebrations surrounding the wedding of her daughter, Henrietta Maria to Charles I of England
on 11 May 1625. The cycle of paintings dedicated to the life of Henry IV was never completed, although some preliminary sketches survive. (See #Henry IV Cycle 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 fifty years prior.
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 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 Archduchess Isabella
. 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 classical literature 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 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.
Rubens's Medici commission was an inspiration for other artists as well, particularly the French painters Jean-Antoine Watteau (1684–1721) and François Boucher
(1703–1770) who produced copies from the Medici cycle.
, but his most notable influences come from the time he spent in Italy where he studied ancient sculpture and the works of Michelangelo
, Raphael
, Caravaggio
, Titian
, and Veronese
. It was during his time in Italy that he began to make copies of classical sculpture
, such as the Laocoon
, 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, Adriaen Brouwer
, 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.
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 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.
. 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.
Although the works vary in width, they maintain a common height, reflecting their careful integration with Marie's plans for the architecture and decoration of the gallery space. The sixteen paintings that covered the two sides of the gallery measured about four meters tall by three meters wide, the three larger paintings at the end of the room were four meters by seven meters wide.
The viewer's first impression of the cycle came while entering through the southeast corner. The most visible works from this angle were The Coronation in Saint Denis and The Death of Henry IV and the Proclamation of the Regency.
The first half of the cycle began at the entrance wall, featuring images of her childhood years and marriage to HenryIV
. Four of the images are devoted entirely to the marriage of Marie and Henry IV, for marriage at Marie's relatively advanced age of twenty-seven was quite rare. 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 a 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 Louis XIII are subjects Marie de' Medici commissioned Rubens to paint for this gallery.
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 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.
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 Panegyric
. 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 Marie de' Medici
.
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.
on clouds beneath the celestial figures of Juno
and Jupiter
.
The Fates
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 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.
Early interpretations explained Juno's presence in the scene through her identity as the goddess of childbirth. Later interpretations suggested, however, that Rubens used Juno
to represent Marie de' Medici's alter ego, or avatar, throughout the cycle. Jupiter
accordingly signifies the allegory of Henry IV, the promiscuous husband.
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 Taurus
sign, Sagittarius
appears in the painting; it may be seen as a guardian of imperial power.
at study. Her education is given a divine grace
by the presence of three gods Apollo
, Athena
, and Hermes
. 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 caduceus
. 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 the three graces
, Euphrosyne, Aglaea, and Thalia giving her beauty.
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.
Just as Tamino in The Magic Flute, Henry IV falls in love with a painted image. With Amor
the Cupid as his escort, Hymenaios
, the god of marriage, displays the princess Marie on canvas to her future king and husband. Meanwhile, Jupiter
and Juno
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. 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 others' 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.
In negotiating the marriage between Marie de' Medici
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 the pope 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 married by proxy
on October 5, 1600.
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.
ceremony of the Florentine princess Marie de' Medici to the King of France, Henry IV which took place in the cathedral of Florence on October 5, 1600. Cardinal Peitro Aldobrandini presides over the ritual, however since Henry IV was too busy to attend his own wedding, the bride's uncle, the Grand Duke Ferdinand of Tuscany
stood in his 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 Gonzaga 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 Duchess Cristina of Tuscany and Marie's sister Eleonora, Duchess of Mantua
; and in entourage of Grand Duke are Roger de Bellegarde, Grand Esquire of France, and the Marquis de Sillery, who negotiated the marriage. As in other scenes in the Medici Cycle, Rubens includes a mythological element: the ancient god of marriage, Hymenaios
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 God the Father
mourning over the dead body of Christ, alluding to the Pieta sculpture by Baccio Bandinelli
(1493–1560).
arriving in Marseilles after having been married to Henry IV by proxy in Florence
. 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 France, evidenced by the golden fleur-de-lis
on his cape of royal blue. Her sister and aunt flank Marie while two trumpets are blown simultaneously by an ethereal Fame. All this occurs while Neptune and his corps of Nereids rise from the sea, after having accompanied her on the long voyage to procure her safe arrival in Marseilles. It is melody and song as Rubens combines heaven and Earth, history and allegory into a symphony for the eyes of the viewer. Moreover, in The Debarkation at Marseilles, Marie is welcomed to her new home by a personified France, wearing a helmet and a blue mantle with golden fleur-de-lis
in the painting. Above, Fame blows two horns to announce her arrival to the people of France with her future husband. Below, Neptune, three sirens, a sea-god, and a triton help escort the future Queen to her new home. To the left, the arms of the Medici can be seen above an arched structure, where a Knight of Malta stands in all of his regalia. On a side note, Avermaete discusses an interesting idea that is particularly present in this canvas.
and Jupiter
. The representations are accompanied by their traditional attributes. Marie is shown as Juno
(Greek Hera
) identified by the peacocks and chariot. Henry is shown as Jupiter
(Greek Zeus
) 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 Hymen 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 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.
or Minerva
. By representing Marie as Juno
, implying Henry as Jupiter
, 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, Astraea
. 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 Themis
, the goddess of divine order, referring to Louis XIII 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.
, 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.
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 paintings of the cycle. This orb functions both as an allusion to the Roman orbis terrarum (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.
This painting is a representation of an historical event in the life of the Queen where the King and the Queen were crowned at the basilica of Saint-Denis in Paris
. Considered one of the principal paintings in the series along with the Apotheosis of Henry IV and the Proclamation of the Regency 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 Dauphin, the Prince of Conti with the crown, the Duke of Ventadour with the scepter, and the Chevalier de Vendôme with the hand of Justice. The Princess of Conti and the Duchess of Montpensier
(mother of her future daughter in law
) 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 Abundantia and Victoria shower the blessings of peace and prosperity upon the head of Marie. Also, her pet dogs are placed in the foreground of the painting. Henry, not included within the centralized group, has been removed from the main scene to the balcony in the background. Also to be noted are the two winged Victories that hover above, pouring the golden coins of Jupiter. Rubens inspiration for the blue coronation orb emblazoned with golden lilies was Guillaume Dupres’ presentation medal struck in 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.
The painting is separated into two separate, but related scenes: the elevation of Henry IV to the heavens (he had been assassinated on 14 May 1610 which resulted in the immediate declaration of Marie as regent) and the assumption of Marie to the crown.
On the left, Jupiter
and Saturn
are shown welcoming the assassinated King of France, as he ascends as a personified Roman sovereign, victoriously to Olympus
. 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 Bellona
, the goddess of War, who lays disarmed below. Post-Impressionist, Paul Cézanne
(1839–1906) registered for permission to copy the goddess as many as ten times. It should be kept in mind that Rubens's energetic manner of placing all these allegorical themes are 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, including the personification of France who is handing her a globe.
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.
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, Caravaggio's Madonna of the Rosary
may well have been an artistic influence on Rubens for the Proclamation of the Regency 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 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 monks. Also present in each are objets importants: rudder, globe, and rosaries. All these and more, combine to make a persuasive argument and show a certain artistically respectful nod from Rubens
to Caravaggio
as two contemporaries of the time.
Cupid
and Juno
bind two doves together over a split sphere in the painting as a symbol of peace and love. Marie hoped for her son, Louis XIII, to marry the Spanish Infanata Anne and for her daughter Elizabeth to marry the future king of Spain, Philip IV
, 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.
The Council of the Gods is one of the least understood paintings of Marie de' Medici cycle. 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 Apollo
and Pallas
, who combat and overcome vices such as Discord, Hate, Fury, and Envy on the ground and Neptune
, Pluto
, Saturn
, Hermes
, Pan
, Flora
, Hebe
, Pomono, Venus
, Mars
, Zeus
, Hera
, Cupid
, and Diana
above.
Though originally intended to be displayed on the East Wall of the gallery in Marie's Luxembourg Palace in Paris, "The Council of the Gods" is now housed at the Louvre
. The mythological figures and celestial setting act as allegories for Marie's peaceful rule over France.
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 because of the lion beside her. However, the figure is Magnanimity, 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 Fame and the personification of Austria 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 departed King Henry IV, she could triumph over rivals in warfare.
The Exchange of Princesses celebrates the double marriage of the Anna of Austria to Louis XIII of France
and Louis XIII's sister, Princess Elisabeth, to future king of Spain, Philip IV
on 9 November 1615. France and Spain present the young princesses, aided by a youth who is probably Hymen. Above them, two putti 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 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 triton 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 Bidassoa River, along the French-Spanish border. In Ruben's 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 right. Anna, 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 Isabella by her left arm.
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 Cupid
, Minerva
, Prudence
, Abundance
, Saturn
, and two figures of Pheme
, 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 (Envy
, Ignorance
, and Vice
) as well as a number of other symbols that Rubens employed throughout the entire cycle of paintings.
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 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 corona civica), 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,
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 allegorical interpretation
which is more consistent both with Rubens's style and the remainder of the cycle.
It is believed that the original painting mentioned in the letter depicting Marie's departure from Paris was rejected in favor of The Felicity of the Regency due to the more innocuous subject matter of the latter. Rubens, in the same letter, goes on to say,
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.
, Religion
, Justice
, and Concord
. The figure adjusting the sail is thought to be Prudence 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 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. Sometime just prior to his coronation, Louis XIII and Marie de'Medici had a quarrel, leading to the exile of the queen. 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.
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. 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.
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 Henrietta Maria to Charles I
that rushed the completion of the Medici Cycle.
. 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 Alessandro Allori that was then copied by Giovanni Bizzelli. Rubens must have seen these paintings and therefore influenced his own style for depicting the Queen's mother. Although, surprisingly, Ruben's version is considered even less remarkable than the models. This portrait of Johanna of Austria is overall an inexpressive image of a women. 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.
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 January 27, 1628, he 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 The Capture of Paris.
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. Marie de' Medici
was banished from Paris in 1631 as Cardinal Richelieu
gained power over Louis XIII. 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 Spain and England. 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 [in reputation] than decline."
An important sketch from the collection is the so called Reconciliation of King Henry III and Henry of Navarre - a significant event for Henry IV's ascent to the throne. After the death of the duke of Anjou, brother of the childless King Henry III, the apparent heir was to be Henry of Navarre (the future King Henry IV). However, when a papal bull
denied him the throne and excommunicated him, Henry of Navarre protested, starting the War of the Three Henrys. When Henry III was also ostracized from Paris for initiating the murder of the duke of Guise, 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 putto 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 (August 1, 1589). A page stands behind Henry of Navarre holding his personal badge: a white plumed helmet, while the dog at his feet represents fidelity. The two ominous figures behind Henry III most likely represent personifications of Fraud and Discord.
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 Battle of Ivry 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 victorious army rushes in chaotically behind him; horses rearing and riders falling. This painting corresponds to the Coronation painting in the Marie de' Medici cycle.
The Triumphal Entry into Paris 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 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 Apotheosis and Ascendancy in the Marie cycle.
The Clemency of Henry in Paris 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 into the river below. In the left corner, however, the new ruler himself discusses clemency with a few advisers.
Marie de' Medici
Marie de Médicis , Italian Maria de' Medici, was queen consort of France, as the second wife of King Henry IV of France, of the House of Bourbon. She herself was a member of the wealthy and powerful House of Medici...
, wife of Henry IV of France
Henry IV of France
Henry IV , Henri-Quatre, was King of France from 1589 to 1610 and King of Navarre from 1572 to 1610. He was the first monarch of the Bourbon branch of the Capetian dynasty in France....
, for the Luxembourg Palace
Luxembourg Palace
The Luxembourg Palace in the 6th arrondissement of Paris, north of the Luxembourg Garden , is the seat of the French Senate.The formal Luxembourg Garden presents a 25-hectare green parterre of gravel and lawn populated with statues and provided with large basins of water where children sail model...
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, Henrietta Maria. 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 Louvre
Louvre
The Musée du Louvre – in English, the Louvre Museum or simply the Louvre – is one of the world's largest museums, the most visited art museum in the world and a historic monument. A central landmark of Paris, it is located on the Right Bank of the Seine in the 1st arrondissement...
in Paris
Paris
Paris is the capital and largest city in France, situated on the river Seine, in northern France, at the heart of the Île-de-France region...
.
Commission
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, The Constantine Tapestries, 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 Louis XIII, 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 Henry IVHenry IV of France
Henry IV , Henri-Quatre, was King of France from 1589 to 1610 and King of Navarre from 1572 to 1610. He was the first monarch of the Bourbon branch of the Capetian dynasty in France....
. The contract stated that Rubens was to paint all the figures, which presumably allowed him to employ assistants for backgrounds and details.
Marie de' Medici
Marie de' Medici
Marie de Médicis , Italian Maria de' Medici, was queen consort of France, as the second wife of King Henry IV of France, of the House of Bourbon. She herself was a member of the wealthy and powerful House of Medici...
became the second wife to King Henry IV of France
Henry IV of France
Henry IV , Henri-Quatre, was King of France from 1589 to 1610 and King of Navarre from 1572 to 1610. He was the first monarch of the Bourbon branch of the Capetian dynasty in France....
in a marriage by proxy
Proxy marriage
A proxy wedding or is a wedding in which the bride or groom is not physically present, usually being represented instead by another person...
on 5 October 1600 by the power invested in her uncle, Grand Duke Ferdinand of Tuscany
Ferdinando I de' Medici, Grand Duke of Tuscany
Ferdinando I de' Medici, Grand Duke of Tuscany was Grand Duke of Tuscany from 1587 to 1609, having succeeded his older brother Francesco I.-Biography:...
. When Henry was assassinated in 1610, Louis XIII, his son and successor to the throne, was only ten years old. Louis' mother, Marie, acted as his regent as commanded by the Frankish
Franks
The Franks were a confederation of Germanic tribes first attested in the third century AD as living north and east of the Lower Rhine River. From the third to fifth centuries some Franks raided Roman territory while other Franks joined the Roman troops in Gaul. Only the Salian Franks formed a...
Salic law
Salic law
Salic law was a body of traditional law codified for governing the Salian Franks in the early Middle Ages during the reign of King Clovis I in the 6th century...
in case of an infant ruler. However, even after Louis came of age at thirteen, the queen continued ruling in his stead. In 1615, Louis XIII finally decided to take governing matters in his own hands at the age of fifteen and the queen was exiled to Blois.
Louis and his mother were not reconciled for another six years, and finally in 1621 Marie was permitted to return to Paris. Upon her return, Marie focused on building and decorating the Luxembourg Palace
Luxembourg Palace
The Luxembourg Palace in the 6th arrondissement of Paris, north of the Luxembourg Garden , is the seat of the French Senate.The formal Luxembourg Garden presents a 25-hectare green parterre of gravel and lawn populated with statues and provided with large basins of water where children sail model...
, an enormous undertaking in which Peter Paul Rubens played a key role. Rubens, then court painter to the Duchy of Mantua
Duchy of Mantua
The Duchy of Mantua was a duchy in Lombardy, Northern Italy, subject to the Holy Roman Empire.-History:After the fall of the Western Roman Empire, Mantua was invaded by Byzantines, Longobards and Franks. In the 11th century it became a possession of Boniface of Canossa, marquis of Toscana...
under Vincenzo I Gonzaga, 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 allegorical
Allegory
Allegory is a demonstrative form of representation explaining meaning other than the words that are spoken. Allegory communicates its message by means of symbolic figures, actions or symbolic representation...
terms, and was finished by the end of 1624, to coincide with the celebrations surrounding the wedding of her daughter, Henrietta Maria to Charles I of England
Charles I of England
Charles I was King of England, King of Scotland, and King of Ireland from 27 March 1625 until his execution in 1649. Charles engaged in a struggle for power with the Parliament of England, attempting to obtain royal revenue whilst Parliament sought to curb his Royal prerogative which Charles...
on 11 May 1625. The cycle of paintings dedicated to the life of Henry IV was never completed, although some preliminary sketches survive. (See #Henry IV Cycle 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 fifty years prior.
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
Henry IV of France
Henry IV , Henri-Quatre, was King of France from 1589 to 1610 and King of Navarre from 1572 to 1610. He was the first monarch of the Bourbon branch of the Capetian dynasty in France....
and the births of her six children, one of which died in 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 Archduchess Isabella
Infanta Isabella Clara Eugenia of Spain
Isabella Clara Eugenia of Austria was sovereign of the Spanish Netherlands in the Low Countries and the north of modern France, together with her husband Albert. In some sources, she is referred to as Clara Isabella Eugenia...
. 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 classical literature 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 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.
Rubens's Medici commission was an inspiration for other artists as well, particularly the French painters Jean-Antoine Watteau (1684–1721) and François Boucher
François Boucher
François Boucher was a French painter, a proponent of Rococo taste, known for his idyllic and voluptuous paintings on classical themes, decorative allegories representing the arts or pastoral occupations, intended as a sort of two-dimensional furniture...
(1703–1770) who produced copies from the Medici cycle.
Rubens
Peter Paul Rubens (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 Otto van VeenOtto van Veen
Otto van Veen, also known by his Latinized name Otto Venius or Octavius Vaenius, was a painter, draughtsman, and humanist active primarily in Antwerp and Brussels in the late sixteenth and early seventeenth century...
, but his most notable influences come from the time he spent in Italy where he studied ancient sculpture and the works of Michelangelo
Michelangelo
Michelangelo di Lodovico Buonarroti Simoni , commonly known as Michelangelo, was an Italian Renaissance painter, sculptor, architect, poet, and engineer who exerted an unparalleled influence on the development of Western art...
, Raphael
Raphael
Raffaello Sanzio da Urbino , better known simply as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form and ease of composition and for its visual achievement of the Neoplatonic ideal of human grandeur...
, Caravaggio
Caravaggio
Michelangelo Merisi da Caravaggio was an Italian artist active in Rome, Naples, Malta, and Sicily between 1593 and 1610. His paintings, which combine a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, had a formative influence on the Baroque...
, Titian
Titian
Tiziano Vecelli or Tiziano Vecellio Tiziano Vecelli or Tiziano Vecellio Tiziano Vecelli or Tiziano Vecellio (c. 1488/1490 – 27 August 1576 better known as Titian was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near...
, and Veronese
Paolo Veronese
Paolo Veronese was an Italian painter of the Renaissance in Venice, famous for paintings such as The Wedding at Cana and The Feast in the House of Levi...
. It was during his time in Italy that he began to make copies of classical sculpture
Classical sculpture
Classical sculpture refers to the forms of sculpture from Ancient Greece and Ancient Rome, as well as the Hellenized and Romanized civilizations under their rule or influence from about 500 BC to fall of Rome in AD 476. It also refers stylistically to modern sculptures done in a classical style....
, such as the Laocoon
Laocoön
Laocoön the son of Acoetes is a figure in Greek and Roman mythology.-History:Laocoön is a Trojan priest of Poseidon , whose rules he had defied, either by marrying and having sons, or by having committed an impiety by making love with his wife in the presence of a cult image in a sanctuary...
, 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, Adriaen Brouwer
Adriaen Brouwer
Adriaen Brouwer was a Flemish genre painter active in Flanders and the Dutch Republic in the seventeenth century.-Biography:...
, 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.
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 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.
Pictures
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 Luxembourg PalaceLuxembourg Palace
The Luxembourg Palace in the 6th arrondissement of Paris, north of the Luxembourg Garden , is the seat of the French Senate.The formal Luxembourg Garden presents a 25-hectare green parterre of gravel and lawn populated with statues and provided with large basins of water where children sail model...
. 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.
Although the works vary in width, they maintain a common height, reflecting their careful integration with Marie's plans for the architecture and decoration of the gallery space. The sixteen paintings that covered the two sides of the gallery measured about four meters tall by three meters wide, the three larger paintings at the end of the room were four meters by seven meters wide.
The viewer's first impression of the cycle came while entering through the southeast corner. The most visible works from this angle were The Coronation in Saint Denis and The Death of Henry IV and the Proclamation of the Regency.
The first half of the cycle began at the entrance wall, featuring images of her childhood years and marriage to HenryIV
Henry IV of France
Henry IV , Henri-Quatre, was King of France from 1589 to 1610 and King of Navarre from 1572 to 1610. He was the first monarch of the Bourbon branch of the Capetian dynasty in France....
. Four of the images are devoted entirely to the marriage of Marie and Henry IV, for marriage at Marie's relatively advanced age of twenty-seven was quite rare. 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 a 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 Louis XIII are subjects Marie de' Medici commissioned Rubens to paint for this gallery.
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 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.
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 Panegyric
Panegyric
A panegyric is a formal public speech, or written verse, delivered in high praise of a person or thing, a generally highly studied and discriminating eulogy, not expected to be critical. It is derived from the Greek πανηγυρικός meaning "a speech fit for a general assembly"...
. 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 Marie de' Medici
Marie de' Medici
Marie de Médicis , Italian Maria de' Medici, was queen consort of France, as the second wife of King Henry IV of France, of the House of Bourbon. She herself was a member of the wealthy and powerful House of Medici...
.
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.
The Destiny of Marie de' Medici
The first painting of the narrative cycle, The Destiny of Marie de' Medici, is a twisting composition of the three FatesParcae
thumb|#00px|Early 16th-century [[millefleur tapestry]] depicting the Three Fates under their Greek namesIn Roman mythology, the Parcae were the personifications of destiny, often called The Fates in English. Their Greek equivalent were the Moirae. They controlled the metaphorical thread of life of...
on clouds beneath the celestial figures of Juno
Juno (mythology)
Juno is an ancient Roman goddess, the protector and special counselor of the state. She is a daughter of Saturn and sister of the chief god Jupiter and the mother of Mars and Vulcan. Juno also looked after the women of Rome. Her Greek equivalent is Hera...
and Jupiter
Jupiter (mythology)
In ancient Roman religion and myth, Jupiter or Jove is the king of the gods, and the god of the sky and thunder. He is the equivalent of Zeus in the Greek pantheon....
.
The Fates
Parcae
thumb|#00px|Early 16th-century [[millefleur tapestry]] depicting the Three Fates under their Greek namesIn Roman mythology, the Parcae were the personifications of destiny, often called The Fates in English. Their Greek equivalent were the Moirae. They controlled the metaphorical thread of life of...
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 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.
Early interpretations explained Juno's presence in the scene through her identity as the goddess of childbirth. Later interpretations suggested, however, that Rubens used Juno
Juno (mythology)
Juno is an ancient Roman goddess, the protector and special counselor of the state. She is a daughter of Saturn and sister of the chief god Jupiter and the mother of Mars and Vulcan. Juno also looked after the women of Rome. Her Greek equivalent is Hera...
to represent Marie de' Medici's alter ego, or avatar, throughout the cycle. Jupiter
Jupiter
Jupiter is the fifth planet from the Sun and the largest planet within the Solar System. It is a gas giant with mass one-thousandth that of the Sun but is two and a half times the mass of all the other planets in our Solar System combined. Jupiter is classified as a gas giant along with Saturn,...
accordingly signifies the allegory of Henry IV, the promiscuous husband.
The Birth of the Princess
The cycle's second painting, The Birth of the Princess, represents Medici's April 26, 1573 birth. Symbols and allegory appear throughout the painting. On the left, two putti 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 Arno 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 haloHalo (religious iconography)
A halo is a ring of light that surrounds a person in art. They have been used in the iconography of many religions to indicate holy or sacred figures, and have at various periods also been used in images of rulers or heroes...
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 Taurus
Taurus (astrology)
Taurus is the second astrological sign in the Zodiac, which spans the zodiac between the 30th and 59th degree of celestial longitude. Generally, the Sun transits this area of the zodiac between April 21 to May 21 each year...
sign, Sagittarius
Sagittarius (astrology)
Sagittarius is the ninth astrological sign in the Zodiac, which spans the zodiac between the 240th and 269th degree of celestial longitude...
appears in the painting; it may be seen as a guardian of imperial power.
Education of the Princess
Education of the Princess (1622–1625) shows a maturing Marie de' MediciMarie de' Medici
Marie de Médicis , Italian Maria de' Medici, was queen consort of France, as the second wife of King Henry IV of France, of the House of Bourbon. She herself was a member of the wealthy and powerful House of Medici...
at study. Her education is given a divine grace
Divine grace
In Christian theology, grace is God’s gift of God’s self to humankind. It is understood by Christians to be a spontaneous gift from God to man - "generous, free and totally unexpected and undeserved" - that takes the form of divine favour, love and clemency. It is an attribute of God that is most...
by the presence of three gods Apollo
Apollo
Apollo is one of the most important and complex of the Olympian deities in Greek and Roman mythology...
, Athena
Athena
In Greek mythology, Athena, Athenê, or Athene , also referred to as Pallas Athena/Athene , is the goddess of wisdom, courage, inspiration, civilization, warfare, strength, strategy, the arts, crafts, justice, and skill. Minerva, Athena's Roman incarnation, embodies similar attributes. Athena is...
, and Hermes
Hermes
Hermes is the great messenger of the gods in Greek mythology and a guide to the Underworld. Hermes was born on Mount Kyllini in Arcadia. An Olympian god, he is also the patron of boundaries and of the travelers who cross them, of shepherds and cowherds, of the cunning of thieves, of orators and...
. Apollo
Apollo
Apollo is one of the most important and complex of the Olympian deities in Greek and Roman mythology...
being associated with art, Athena
Athena
In Greek mythology, Athena, Athenê, or Athene , also referred to as Pallas Athena/Athene , is the goddess of wisdom, courage, inspiration, civilization, warfare, strength, strategy, the arts, crafts, justice, and skill. Minerva, Athena's Roman incarnation, embodies similar attributes. Athena is...
with wisdom, and Hermes
Hermes
Hermes is the great messenger of the gods in Greek mythology and a guide to the Underworld. Hermes was born on Mount Kyllini in Arcadia. An Olympian god, he is also the patron of boundaries and of the travelers who cross them, of shepherds and cowherds, of the cunning of thieves, of orators and...
the messenger god for a fluency and understanding of language. Hermes
Hermes
Hermes is the great messenger of the gods in Greek mythology and a guide to the Underworld. Hermes was born on Mount Kyllini in Arcadia. An Olympian god, he is also the patron of boundaries and of the travelers who cross them, of shepherds and cowherds, of the cunning of thieves, of orators and...
dramatically rushes in on the scene and literally brings a gift from the gods, the caduceus
Caduceus
The caduceus is the staff carried by Hermes in Greek mythology. The same staff was also borne by heralds in general, for example by Iris, the messenger of Hera. It is a short staff entwined by two serpents, sometimes surmounted by wings...
. 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 the three graces
Charites
In Greek mythology, a Charis is one of several Charites , goddesses of charm, beauty, nature, human creativity and fertility. They ordinarily numbered three, from youngest to oldest: Aglaea , Euphrosyne , and Thalia . In Roman mythology they were known as the Gratiae, the "Graces"...
, Euphrosyne, Aglaea, and Thalia giving her beauty.
The Presentation of Her Portrait to Henry IV
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 absolutismAbsolute monarchy
Absolute monarchy is a monarchical form of government in which the monarch exercises ultimate governing authority as head of state and head of government, his or her power not being limited by a constitution or by the law. An absolute monarch thus wields unrestricted political power over the...
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.
Just as Tamino in The Magic Flute, Henry IV falls in love with a painted image. With Amor
Amor
Amor may refer to:*Cupid, the Roman god of love also known by his Latin name Amor*Eros, the Greek god of love also known as Amor*The land of the ancient Amorites, also known as Amurru*1221 Amor, an asteroid...
the Cupid as his escort, Hymenaios
Hymenaios
In Greek mythology, Hymen was a god of marriage ceremonies, inspiring feasts and song. Related to the god's name, a hymenaios is a genre of Greek lyric poetry sung during the procession of the bride to the groom's house in which the god is addressed, in contrast to the Epithalamium, which was sung...
, the god of marriage, displays the princess Marie on canvas to her future king and husband. Meanwhile, Jupiter
Jupiter
Jupiter is the fifth planet from the Sun and the largest planet within the Solar System. It is a gas giant with mass one-thousandth that of the Sun but is two and a half times the mass of all the other planets in our Solar System combined. Jupiter is classified as a gas giant along with Saturn,...
and Juno
Juno (mythology)
Juno is an ancient Roman goddess, the protector and special counselor of the state. She is a daughter of Saturn and sister of the chief god Jupiter and the mother of Mars and Vulcan. Juno also looked after the women of Rome. Her Greek equivalent is Hera...
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. 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 others' 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.
In negotiating the marriage between Marie de' Medici
Marie de' Medici
Marie de Médicis , Italian Maria de' Medici, was queen consort of France, as the second wife of King Henry IV of France, of the House of Bourbon. She herself was a member of the wealthy and powerful House of Medici...
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 the pope 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 married by proxy
Proxy marriage
A proxy wedding or is a wedding in which the bride or groom is not physically present, usually being represented instead by another person...
on October 5, 1600.
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.
The Wedding by Proxy of Marie de' Medici to King Henry IV
The Wedding by Proxy of Marie de' Medici to King Henry IV (1622–25), Rubens depicts the proxy marriageProxy marriage
A proxy wedding or is a wedding in which the bride or groom is not physically present, usually being represented instead by another person...
ceremony of the Florentine princess Marie de' Medici to the King of France, Henry IV which took place in the cathedral of Florence on October 5, 1600. Cardinal Peitro Aldobrandini presides over the ritual, however since Henry IV was too busy to attend his own wedding, the bride's uncle, the Grand Duke Ferdinand of Tuscany
Ferdinando I de' Medici, Grand Duke of Tuscany
Ferdinando I de' Medici, Grand Duke of Tuscany was Grand Duke of Tuscany from 1587 to 1609, having succeeded his older brother Francesco I.-Biography:...
stood in his 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 Gonzaga 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 Duchess Cristina of Tuscany and Marie's sister Eleonora, Duchess of Mantua
Eleonora de' Medici
Eleonora de' Medici was the eldest child of Francesco I de' Medici and Johanna of Austria. She was a family member of the famous House of Medici.-Family:...
; and in entourage of Grand Duke are Roger de Bellegarde, Grand Esquire of France, and the Marquis de Sillery, who negotiated the marriage. As in other scenes in the Medici Cycle, Rubens includes a mythological element: the ancient god of marriage, Hymenaios
Hymenaios
In Greek mythology, Hymen was a god of marriage ceremonies, inspiring feasts and song. Related to the god's name, a hymenaios is a genre of Greek lyric poetry sung during the procession of the bride to the groom's house in which the god is addressed, in contrast to the Epithalamium, which was sung...
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 God the Father
God the Father
God the Father is a gendered title given to God in many monotheistic religions, particularly patriarchal, Abrahamic ones. In Judaism, God is called Father because he is the creator, life-giver, law-giver, and protector...
mourning over the dead body of Christ, alluding to the Pieta sculpture by Baccio Bandinelli
Bartolommeo Bandinelli
Bartolommeo Bandinelli, actually Bartolommeo Brandini , was a Renaissance Italian sculptor, draughtsman and painter.-Biography:...
(1493–1560).
The Disembarkation at Marseilles
Having never been a particularly graceful event for anyone, disembarking a ship does not pose a problem for Rubens in his depiction of Marie de' MediciMarie de' Medici
Marie de Médicis , Italian Maria de' Medici, was queen consort of France, as the second wife of King Henry IV of France, of the House of Bourbon. She herself was a member of the wealthy and powerful House of Medici...
arriving in Marseilles after having been married to Henry IV by proxy in Florence
Florence
Florence is the capital city of the Italian region of Tuscany and of the province of Florence. It is the most populous city in Tuscany, with approximately 370,000 inhabitants, expanding to over 1.5 million in the metropolitan area....
. 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 France, evidenced by the golden fleur-de-lis
Fleur-de-lis
The fleur-de-lis or fleur-de-lys is a stylized lily or iris that is used as a decorative design or symbol. It may be "at one and the same time, political, dynastic, artistic, emblematic, and symbolic", especially in heraldry...
on his cape of royal blue. Her sister and aunt flank Marie while two trumpets are blown simultaneously by an ethereal Fame. All this occurs while Neptune and his corps of Nereids rise from the sea, after having accompanied her on the long voyage to procure her safe arrival in Marseilles. It is melody and song as Rubens combines heaven and Earth, history and allegory into a symphony for the eyes of the viewer. Moreover, in The Debarkation at Marseilles, Marie is welcomed to her new home by a personified France, wearing a helmet and a blue mantle with golden fleur-de-lis
Fleur-de-lis
The fleur-de-lis or fleur-de-lys is a stylized lily or iris that is used as a decorative design or symbol. It may be "at one and the same time, political, dynastic, artistic, emblematic, and symbolic", especially in heraldry...
in the painting. Above, Fame blows two horns to announce her arrival to the people of France with her future husband. Below, Neptune, three sirens, a sea-god, and a triton help escort the future Queen to her new home. To the left, the arms of the Medici can be seen above an arched structure, where a Knight of Malta stands in all of his regalia. On a side note, Avermaete discusses an interesting idea that is particularly present in this canvas.
The Meeting of Marie de' Medici and Henry IV at Lyons
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 JunoJuno (mythology)
Juno is an ancient Roman goddess, the protector and special counselor of the state. She is a daughter of Saturn and sister of the chief god Jupiter and the mother of Mars and Vulcan. Juno also looked after the women of Rome. Her Greek equivalent is Hera...
and Jupiter
Jupiter
Jupiter is the fifth planet from the Sun and the largest planet within the Solar System. It is a gas giant with mass one-thousandth that of the Sun but is two and a half times the mass of all the other planets in our Solar System combined. Jupiter is classified as a gas giant along with Saturn,...
. The representations are accompanied by their traditional attributes. Marie is shown as Juno
Juno (mythology)
Juno is an ancient Roman goddess, the protector and special counselor of the state. She is a daughter of Saturn and sister of the chief god Jupiter and the mother of Mars and Vulcan. Juno also looked after the women of Rome. Her Greek equivalent is Hera...
(Greek Hera
Hera
Hera was the wife and one of three sisters of Zeus in the Olympian pantheon of Greek mythology and religion. Her chief function was as the goddess of women and marriage. Her counterpart in the religion of ancient Rome was Juno. The cow and the peacock were sacred to her...
) identified by the peacocks and chariot. Henry is shown as Jupiter
Jupiter
Jupiter is the fifth planet from the Sun and the largest planet within the Solar System. It is a gas giant with mass one-thousandth that of the Sun but is two and a half times the mass of all the other planets in our Solar System combined. Jupiter is classified as a gas giant along with Saturn,...
(Greek Zeus
Zeus
In the ancient Greek religion, Zeus was the "Father of Gods and men" who ruled the Olympians of Mount Olympus as a father ruled the family. He was the god of sky and thunder in Greek mythology. His Roman counterpart is Jupiter and his Etruscan counterpart is Tinia.Zeus was the child of Cronus...
) 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 Hymen 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 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.
The Birth of the Dauphin at Fontainebleau
This painting depicts the birth of Marie de' Medici's first son, Louis XIII. 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 dauphin 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 Marie as JunoJuno (mythology)
Juno is an ancient Roman goddess, the protector and special counselor of the state. She is a daughter of Saturn and sister of the chief god Jupiter and the mother of Mars and Vulcan. Juno also looked after the women of Rome. Her Greek equivalent is Hera...
or Minerva
Minerva
Minerva was the Roman goddess whom Romans from the 2nd century BC onwards equated with the Greek goddess Athena. She was the virgin goddess of poetry, medicine, wisdom, commerce, weaving, crafts, magic...
. By representing Marie as Juno
Juno (mythology)
Juno is an ancient Roman goddess, the protector and special counselor of the state. She is a daughter of Saturn and sister of the chief god Jupiter and the mother of Mars and Vulcan. Juno also looked after the women of Rome. Her Greek equivalent is Hera...
, implying Henry as Jupiter
Jupiter
Jupiter is the fifth planet from the Sun and the largest planet within the Solar System. It is a gas giant with mass one-thousandth that of the Sun but is two and a half times the mass of all the other planets in our Solar System combined. Jupiter is classified as a gas giant along with Saturn,...
, 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, Astraea
Astraea
In Greek mythology, Astræa or Astrea was a daughter of Zeus and Themis or of Eos and Astraeus. She and her mother were both personifications of justice, though Astræa was also associated with innocence and purity...
. The return of Astraea
Astraea
In Greek mythology, Astræa or Astrea was a daughter of Zeus and Themis or of Eos and Astraeus. She and her mother were both personifications of justice, though Astræa was also associated with innocence and purity...
to earth is symbolic of the embodiment of continuing Justice with the birth of the future king. Louis is nursed by Themis
Themis
Themis is an ancient Greek Titaness. She is described as "of good counsel", and is the embodiment of divine order, law, and custom. Themis means "divine law" rather than human ordinance, literally "that which is put in place", from the verb τίθημι, títhēmi, "to put"...
, the goddess of divine order, referring to Louis XIII 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.
The Consignment of the Regency
Throughout the depictions of Marie de' Medici's life, Rubens had to be careful not to offend either Marie or the king, Louis XIII, 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 The Consignment of the Regency, 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 Three FatesMoirae
The Moirae, Moerae or Moirai , in Greek mythology, were the white-robed incarnations of destiny . Their number became fixed at three...
, 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.
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 paintings of the cycle. This orb functions both as an allusion to the Roman orbis terrarum (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.
The Coronation in Saint-Denis
The Coronation in Saint-Denis is one of the few paintings in the cycle that does not contain any mythological figures. This painting 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 The Coronation in Saint-Denis 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, Apotheosis of Henry IV and the Proclamation of the Regency.This painting is a representation of an historical event in the life of the Queen where the King and the Queen were crowned at the basilica of Saint-Denis in Paris
Paris
Paris is the capital and largest city in France, situated on the river Seine, in northern France, at the heart of the Île-de-France region...
. Considered one of the principal paintings in the series along with the Apotheosis of Henry IV and the Proclamation of the Regency 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 Dauphin, the Prince of Conti with the crown, the Duke of Ventadour with the scepter, and the Chevalier de Vendôme with the hand of Justice. The Princess of Conti and the Duchess of Montpensier
Henriette Catherine de Joyeuse
Henriette Catherine de Joyeuse was the daughter of Henri de Joyeuse and Catherine de Nogaret. She married her first husband, Henri de Bourbon, Duke of Montpensier, on 15 May 1597 and her second husband, Charles, Duke of Guise, on 6 January 1611.- Marriages and children :From her first marriage to...
(mother of her future daughter in law
Marie de Bourbon, Duchess of Montpensier
Marie de Bourbon , Duchess of Montpensier, and Duchess of Orléans by marriage, was a French noblewoman and one of the last members of the House of Bourbon-Montpensier...
) 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 Abundantia and Victoria shower the blessings of peace and prosperity upon the head of Marie. Also, her pet dogs are placed in the foreground of the painting. Henry, not included within the centralized group, has been removed from the main scene to the balcony in the background. Also to be noted are the two winged Victories that hover above, pouring the golden coins of Jupiter. Rubens inspiration for the blue coronation orb emblazoned with golden lilies was Guillaume Dupres’ presentation medal struck in 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.
The Death of Henry IV and the Proclamation of the Regency
Sometimes also referred to as The Apotheosis of Henry IV and The Proclamation of the Regency, 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.The painting is separated into two separate, but related scenes: the elevation of Henry IV to the heavens (he had been assassinated on 14 May 1610 which resulted in the immediate declaration of Marie as regent) and the assumption of Marie to the crown.
On the left, Jupiter
Jupiter (mythology)
In ancient Roman religion and myth, Jupiter or Jove is the king of the gods, and the god of the sky and thunder. He is the equivalent of Zeus in the Greek pantheon....
and Saturn
Saturn (mythology)
In ancient Roman religion and myth, Saturn was a major god presiding over agriculture and the harvest time. His reign was depicted as a Golden Age of abundance and peace by many Roman authors. In medieval times he was known as the Roman god of agriculture, justice and strength. He held a sickle in...
are shown welcoming the assassinated King of France, as he ascends as a personified Roman sovereign, victoriously to Olympus
Mount Olympus
Mount Olympus is the highest mountain in Greece, located on the border between Thessaly and Macedonia, about 100 kilometres away from Thessaloniki, Greece's second largest city. Mount Olympus has 52 peaks. The highest peak Mytikas, meaning "nose", rises to 2,917 metres...
. As with all of Ruben's allegorical paintings, these two figures are chosen for a reason. Jupiter
Jupiter
Jupiter is the fifth planet from the Sun and the largest planet within the Solar System. It is a gas giant with mass one-thousandth that of the Sun but is two and a half times the mass of all the other planets in our Solar System combined. Jupiter is classified as a gas giant along with Saturn,...
is meant to be the King's celestial counterpart, while Saturn
Saturn
Saturn is the sixth planet from the Sun and the second largest planet in the Solar System, after Jupiter. Saturn is named after the Roman god Saturn, equated to the Greek Cronus , the Babylonian Ninurta and the Hindu Shani. Saturn's astronomical symbol represents the Roman god's sickle.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 Bellona
Bellona
-Places:United States of America*Bellona Foundry and adjacent Bellona Arsenal, 19th century United States Army and Confederate munitions factory and depot in VirginiaItaly*Bellona, Campania, a comune in the Province of CasertaSolomon Islands...
, the goddess of War, who lays disarmed below. Post-Impressionist, Paul Cézanne
Paul Cézanne
Paul Cézanne was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cézanne can be said to form the bridge between late 19th...
(1839–1906) registered for permission to copy the goddess as many as ten times. It should be kept in mind that Rubens's energetic manner of placing all these allegorical themes are 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, including the personification of France who is handing her a globe.
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.
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, Caravaggio's Madonna of the Rosary
Madonna of the Rosary (Caravaggio)
The Madonna of the Rosary is a painting finished in 1607 by the Italian Baroque painter Caravaggio. It is housed in the Kunsthistorisches Museum of Vienna....
may well have been an artistic influence on Rubens for the Proclamation of the Regency 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 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 monks. Also present in each are objets importants: rudder, globe, and rosaries. All these and more, combine to make a persuasive argument and show a certain artistically respectful nod from Rubens
Rubens
Rubens is often used to refer to Peter Paul Rubens , the Flemish artist.Rubens may also refer to:- People :Family name* Paul Rubens Rubens is often used to refer to Peter Paul Rubens (1577-1640), the Flemish artist.Rubens may also refer to:- People :Family name* Paul Rubens (composer) Rubens is...
to Caravaggio
Caravaggio
Michelangelo Merisi da Caravaggio was an Italian artist active in Rome, Naples, Malta, and Sicily between 1593 and 1610. His paintings, which combine a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, had a formative influence on the Baroque...
as two contemporaries of the time.
The Council of the Gods
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.Cupid
Cupid
In Roman mythology, Cupid is the god of desire, affection and erotic love. He is the son of the goddess Venus and the god Mars. His Greek counterpart is Eros...
and Juno
Juno (mythology)
Juno is an ancient Roman goddess, the protector and special counselor of the state. She is a daughter of Saturn and sister of the chief god Jupiter and the mother of Mars and Vulcan. Juno also looked after the women of Rome. Her Greek equivalent is Hera...
bind two doves together over a split sphere in the painting as a symbol of peace and love. Marie hoped for her son, Louis XIII, to marry the Spanish Infanata Anne and for her daughter Elizabeth to marry the future king of Spain, Philip IV
Philip IV of Spain
Philip IV was King of Spain between 1621 and 1665, sovereign of the Spanish Netherlands, and King of Portugal until 1640...
, 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.
The Council of the Gods is one of the least understood paintings of Marie de' Medici cycle. 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 Apollo
Apollo
Apollo is one of the most important and complex of the Olympian deities in Greek and Roman mythology...
and Pallas
PALLAS
This article is about the research group. See Pallas for other uses of this word.PALLAS stands for Parallel Applications, Libraries, Languages, Algorithms, and Systems. It is a research group in of the at , led by...
, who combat and overcome vices such as Discord, Hate, Fury, and Envy on the ground and Neptune
Neptune
Neptune is the eighth and farthest planet from the Sun in the Solar System. Named for the Roman god of the sea, it is the fourth-largest planet by diameter and the third largest by mass. Neptune is 17 times the mass of Earth and is slightly more massive than its near-twin Uranus, which is 15 times...
, Pluto
Pluto
Pluto, formal designation 134340 Pluto, is the second-most-massive known dwarf planet in the Solar System and the tenth-most-massive body observed directly orbiting the Sun...
, Saturn
Saturn
Saturn is the sixth planet from the Sun and the second largest planet in the Solar System, after Jupiter. Saturn is named after the Roman god Saturn, equated to the Greek Cronus , the Babylonian Ninurta and the Hindu Shani. Saturn's astronomical symbol represents the Roman god's sickle.Saturn,...
, Hermes
Hermes
Hermes is the great messenger of the gods in Greek mythology and a guide to the Underworld. Hermes was born on Mount Kyllini in Arcadia. An Olympian god, he is also the patron of boundaries and of the travelers who cross them, of shepherds and cowherds, of the cunning of thieves, of orators and...
, Pan
Pan (mythology)
Pan , in Greek religion and mythology, is the god of the wild, shepherds and flocks, nature, of mountain wilds, hunting and rustic music, as well as the companion of the nymphs. His name originates within the Greek language, from the word paein , meaning "to pasture." He has the hindquarters, legs,...
, Flora
Flora
Flora is the plant life occurring in a particular region or time, generally the naturally occurring or indigenous—native plant life. The corresponding term for animals is fauna.-Etymology:...
, Hebe
Hebe
Hebe may refer to:*Hebe , the goddess of youth in Greek mythology*Hebe , a genus of plants native to New Zealand*Hebe , a comics character in the Marvel Comics universe*6 Hebe, a main-belt asteroid...
, Pomono, Venus
Venus
Venus is the second planet from the Sun, orbiting it every 224.7 Earth days. The planet is named after Venus, the Roman goddess of love and beauty. After the Moon, it is the brightest natural object in the night sky, reaching an apparent magnitude of −4.6, bright enough to cast shadows...
, Mars
Mars
Mars is the fourth planet from the Sun in the Solar System. The planet is named after the Roman god of war, Mars. It is often described as the "Red Planet", as the iron oxide prevalent on its surface gives it a reddish appearance...
, Zeus
Zeus
In the ancient Greek religion, Zeus was the "Father of Gods and men" who ruled the Olympians of Mount Olympus as a father ruled the family. He was the god of sky and thunder in Greek mythology. His Roman counterpart is Jupiter and his Etruscan counterpart is Tinia.Zeus was the child of Cronus...
, Hera
Hera
Hera was the wife and one of three sisters of Zeus in the Olympian pantheon of Greek mythology and religion. Her chief function was as the goddess of women and marriage. Her counterpart in the religion of ancient Rome was Juno. The cow and the peacock were sacred to her...
, Cupid
Cupid
In Roman mythology, Cupid is the god of desire, affection and erotic love. He is the son of the goddess Venus and the god Mars. His Greek counterpart is Eros...
, and Diana
Diana (mythology)
In Roman mythology, Diana was the goddess of the hunt and moon and birthing, being associated with wild animals and woodland, and having the power to talk to and control animals. She was equated with the Greek goddess Artemis, though she had an independent origin in Italy...
above.
Though originally intended to be displayed on the East Wall of the gallery in Marie's Luxembourg Palace in Paris, "The Council of the Gods" is now housed at the Louvre
Louvre
The Musée du Louvre – in English, the Louvre Museum or simply the Louvre – is one of the world's largest museums, the most visited art museum in the world and a historic monument. A central landmark of Paris, it is located on the Right Bank of the Seine in the 1st arrondissement...
. The mythological figures and celestial setting act as allegories for Marie's peaceful rule over France.
The Regent Militant: The Victory at Jülich
The Victory at Jülich shows the only military event that the Queen participated in during her regency: the return of Jülich (or Juliers in French) to the Protestant princes. Being a crossing of Ruhr, 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 VictoriaVictoria (mythology)
In ancient Roman religion, Victoria was the personified goddess of victory. She is the Roman equivalent of the Greek goddess Nike, and was associated with Bellona. She was adapted from the Sabine agricultural goddess Vacuna and had a temple on the Palatine Hill...
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 because of the lion beside her. However, the figure is Magnanimity, 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 Fame and the personification of Austria 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 departed King Henry IV, she could triumph over rivals in warfare.
The Exchange of the Princesses at the Spanish Border
Louis XIII of France
Louis XIII was a Bourbon monarch who ruled as King of France and of Navarre from 1610 to 1643.Louis was only eight years old when he succeeded his father. His mother, Marie de Medici, acted as regent during Louis' minority...
and Louis XIII's sister, Princess Elisabeth, to future king of Spain, Philip IV
Philip IV
Philip IV may refer to:* Philip IV of Spain * Philip IV of France * Philip IV of Macedon * Philip IV of Burgundy * Philip IV of Aragon...
on 9 November 1615. France and Spain present the young princesses, aided by a youth who is probably Hymen. Above them, two putti 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 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 triton 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 Bidassoa River, along the French-Spanish border. In Ruben's 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 right. Anna, 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 Isabella by her left arm.
The Felicity of the Regency of Marie de' Medici
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, The Felicity of the Regency of Marie de' Medici 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.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 Cupid
Cupid
In Roman mythology, Cupid is the god of desire, affection and erotic love. He is the son of the goddess Venus and the god Mars. His Greek counterpart is Eros...
, Minerva
Minerva
Minerva was the Roman goddess whom Romans from the 2nd century BC onwards equated with the Greek goddess Athena. She was the virgin goddess of poetry, medicine, wisdom, commerce, weaving, crafts, magic...
, Prudence
Prudence
Prudence is the ability to govern and discipline oneself by the use of reason. It is classically considered to be a virtue, and in particular one of the four Cardinal virtues .The word comes from Old French prudence , from Latin...
, Abundance
Abundance
Abundance may refer to:In science and technology:* Abundance , the opposite of scarcities* Abundance , growing food with plentiful resources that will not run out -- sunshine, CO2, and waste or brine water....
, Saturn
Saturn
Saturn is the sixth planet from the Sun and the second largest planet in the Solar System, after Jupiter. Saturn is named after the Roman god Saturn, equated to the Greek Cronus , the Babylonian Ninurta and the Hindu Shani. Saturn's astronomical symbol represents the Roman god's sickle.Saturn,...
, and two figures of Pheme
Pheme
In Greek mythology, Pheme was the personification of fame and renown, her favour being notability, her wrath being scandalous rumors. She was a daughter either of Gaia or of Hope, was described as "she who initiates and furthers communication" and had an altar at Athens...
, 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 (Envy
Envy
Envy is best defined as a resentful emotion that "occurs when a person lacks another's superior quality, achievement, or possession and either desires it or wishes that the other lacked it."...
, Ignorance
Ignorance
Ignorance is a state of being uninformed . The word ignorant is an adjective describing a person in the state of being unaware and is often used as an insult...
, and Vice
Vice
Vice is a practice or a behavior or habit considered immoral, depraved, or degrading in the associated society. In more minor usage, vice can refer to a fault, a defect, an infirmity, or merely a bad habit. Synonyms for vice include fault, depravity, sin, iniquity, wickedness, and corruption...
) as well as a number of other symbols that Rubens employed throughout the entire cycle of paintings.
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 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 corona civica), 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,
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, who sits upon a shining throne and holds a scale in her hands, keeping the world in equilibrium by her prudence and equity.
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 allegorical interpretation
Allegorical interpretation
In a biblical context, allegorical interpretation is an approach assuming that the authors of a text intended something other than what is literally expressed....
which is more consistent both with Rubens's style and the remainder of the cycle.
It is believed that the original painting mentioned in the letter depicting Marie's departure from Paris was rejected in favor of The Felicity of the Regency due to the more innocuous subject matter of the latter. Rubens, in the same letter, goes on to say,
"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."
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.
Louis XIII Comes of Age
The painting Louis XIII Comes of Age 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 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 ForceForce (law)
In the field of law, the word force has two main meanings: unlawful violence and lawful compulsion. "Forced entry" is an expression falling under the category of unlawful violence; "in force" or "forced sale" would be examples of expressions in the category of lawful compulsion.When something is...
, Religion
Religion
Religion is a collection of cultural systems, belief systems, and worldviews that establishes symbols that relate humanity to spirituality and, sometimes, to moral values. Many religions have narratives, symbols, traditions and sacred histories that are intended to give meaning to life or to...
, Justice
Justice
Justice is a concept of moral rightness based on ethics, rationality, law, natural law, religion, or equity, along with the punishment of the breach of said ethics; justice is the act of being just and/or fair.-Concept of justice:...
, and Concord
Concordia (mythology)
In Roman religion, Concord was the goddess of agreement, understanding, and marital harmony. Her Greek version is Harmonia, and the Harmonians and some Discordians equate her with Aneris. Her opposite is Discordia ....
. The figure adjusting the sail is thought to be Prudence 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 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. Sometime just prior to his coronation, Louis XIII and Marie de'Medici had a quarrel, leading to the exile of the queen. 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.
The Flight from Blois
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 illustrations of Night and Aurora. 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 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. (:::The Negotiations at Angoulême
In The Negotiations at Angoulême, Marie de' Medici genially takes the olive branch from Mercury, 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.The Queen Opts for Security
Rubens's The Queen Opts for Security 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 Angers after her forces had been defeated at Ponte-de-Ce. 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 Secturity 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 confuse or excite the viewer to look deeper into the this particular painting as a whole.Reconciliation of the Queen and her Son
The Return of the Mother to Her Son tenuously held an alternate title The Full Reconciliation with the Son after the Death of the High Constable until the temperament of the nation was assessed. The many headed hydra struck a fatal blow by Divine Justice as witnessed by Divine Providence, a theme based on a classical seventeenth century metaphor for insurrection. Here the monster is a stand in for the dead Constable de Luynes who has met its demise at the hand of a feminine Saint Michael. The death in 1621 of the falconer turned supreme commander may have improved the tensions between mother and son, but Conde, 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, Concini, 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.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. 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.
The Triumph of Truth
The last painting in the cycle, The Triumph of Truth, is a purely allegorical depiction of King Louis XIII and his mother, the Queen, reconciling before heaven. The Queen and Louis XIII are depicted floating in heaven, connected by the symbol of concordia, which demonstrates her sons’ forgiveness and the peace that was reached between them. Below, Saturn raises Veritas 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, 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 Council of State in January 1622. This picture represents how time thus uncovers the truth in correspondence to the relationship between Marie and her son.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 Henrietta Maria to Charles I
Charles I of England
Charles I was King of England, King of Scotland, and King of Ireland from 27 March 1625 until his execution in 1649. Charles engaged in a struggle for power with the Parliament of England, attempting to obtain royal revenue whilst Parliament sought to curb his Royal prerogative which Charles...
that rushed the completion of the Medici Cycle.
The Portraits of The Queen's Parents
The remaining three paintings are portraits of Marie de' Medici, her father Francesco I and her mother Johanna of AustriaJohanna of Austria
Joanna of Austria was born an Archduchess of Austria as the youngest daughter of Ferdinand I, Holy Roman Emperor and Anna of Bohemia and Hungary. By marriage, she was the Grand Princess of Tuscany and later the Grand Duchess of Tuscany...
. 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
Johanna of Austria
Joanna of Austria was born an Archduchess of Austria as the youngest daughter of Ferdinand I, Holy Roman Emperor and Anna of Bohemia and Hungary. By marriage, she was the Grand Princess of Tuscany and later the Grand Duchess of Tuscany...
, 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 Alessandro Allori that was then copied by Giovanni Bizzelli. Rubens must have seen these paintings and therefore influenced his own style for depicting the Queen's mother. Although, surprisingly, Ruben's version is considered even less remarkable than the models. This portrait of Johanna of Austria is overall an inexpressive image of a women. 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.
Henry IV Cycle
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 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.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 January 27, 1628, he 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 The Capture of Paris.
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. Marie de' Medici
Marie de' Medici
Marie de Médicis , Italian Maria de' Medici, was queen consort of France, as the second wife of King Henry IV of France, of the House of Bourbon. She herself was a member of the wealthy and powerful House of Medici...
was banished from Paris in 1631 as Cardinal Richelieu
Armand Jean du Plessis, Cardinal Richelieu
Armand Jean du Plessis, Cardinal-Duc de Richelieu et de Fronsac was a French clergyman, noble, and statesman.Consecrated as a bishop in 1608, he later entered politics, becoming a Secretary of State in 1616. Richelieu soon rose in both the Catholic Church and the French government, becoming a...
gained power over Louis XIII. 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 Spain and England. 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 [in reputation] than decline."
An important sketch from the collection is the so called Reconciliation of King Henry III and Henry of Navarre - a significant event for Henry IV's ascent to the throne. After the death of the duke of Anjou, brother of the childless King Henry III, the apparent heir was to be Henry of Navarre (the future King Henry IV). However, when a papal bull
Papal bull
A Papal bull is a particular type of letters patent or charter issued by a Pope of the Catholic Church. It is named after the bulla that was appended to the end in order to authenticate it....
denied him the throne and excommunicated him, Henry of Navarre protested, starting the War of the Three Henrys. When Henry III was also ostracized from Paris for initiating the murder of the duke of Guise, 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 putto 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 (August 1, 1589). A page stands behind Henry of Navarre holding his personal badge: a white plumed helmet, while the dog at his feet represents fidelity. The two ominous figures behind Henry III most likely represent personifications of Fraud and Discord.
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 Battle of Ivry 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 victorious army rushes in chaotically behind him; horses rearing and riders falling. This painting corresponds to the Coronation painting in the Marie de' Medici cycle.
The Triumphal Entry into Paris 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 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 Apotheosis and Ascendancy in the Marie cycle.
The Clemency of Henry in Paris 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 into the river below. In the left corner, however, the new ruler himself discusses clemency with a few advisers.
External links
- Rubens cycle of paintings apotheosizing Marie de Medici - This website contains a few images that have not been included here, as well as some additional bibliographical sources.