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<strong>and</strong> pierced with windows. The façade consisted <strong>of</strong> a centrally placed arched doorway<br />

surmounted by an arcade <strong>of</strong> windows <strong>and</strong> topped with a simple pediment.<br />

Although Henri de Gondi was the primary benefactor <strong>of</strong> the Jacobins <strong>of</strong> the rue Saint-<br />

Honoré, Maria de’ Medici provided further support for the religious. In addition to authorizing<br />

the establishment <strong>of</strong> the reformed order in Paris, she also paid for the construction <strong>of</strong> the Saint-<br />

Hyacinthe chapel, located to the right <strong>of</strong> the high altar. Despite its prominent position within the<br />

church <strong>and</strong> the patronage <strong>of</strong> the queen <strong>of</strong> France, the chapel was only described as having a<br />

painting <strong>of</strong> St. Hyacinthe by Nicolas Colombel <strong>and</strong> a silver reliquary acquired by Anne <strong>of</strong><br />

Austria containing a relic <strong>of</strong> the saint. 46 A great deal more attention was devoted to the chapel<br />

directly across the nave, bought by Catherine de Rougé du Plessis Belliere, widow <strong>of</strong> François de<br />

Blanchefort de Crequi, maréchal de France. Descriptions <strong>of</strong> it include a detailed account <strong>of</strong> the<br />

altar, with Ionic columns, an entablature, <strong>and</strong> a pediment, in addition to the kneeling statue <strong>of</strong> the<br />

marshal. 47 The attention given to the latter chapel suggests that the one supported by Maria de’<br />

Medici lacked more noteworthy elements, including royal insignia such as the royal arms,<br />

monograms, or fleurs-de-lis.<br />

Summary<br />

Although Maria de’ Medici’s contribution to the churches she supported during the<br />

regency varied considerably, the one consistent element is the lack <strong>of</strong> royal imagery tying the<br />

buildings to their prestigious patron. The dual forces behind this approach to religious<br />

architecture were the queen’s need to legitimize her authority <strong>and</strong> her desire to promote the<br />

Catholic faith. The introduction <strong>of</strong> the Tridentine reforms through the establishment <strong>of</strong> numerous<br />

religious orders <strong>and</strong> the lack <strong>of</strong> <strong>visual</strong> signs referencing the sovereign authority <strong>of</strong> a foreign<br />

queen helped Maria de’ Medici to accomplish the overarching goals <strong>of</strong> the regency.<br />

By 1617 Maria de’ Medici’s grip on power seemed assured. She had recently squelched<br />

a rebellion ignited by Henri II de Bourbon, prince <strong>of</strong> Condé, while succeeding to fill the royal<br />

council with numerous advisors sharing her political outlook. 48 Reinforcing the queen mother<br />

was the growing power assumed by her favorite advisor, Concino Concini, who after securing<br />

increasingly lucrative titles within the kingdom was on the verge <strong>of</strong> making himself duke <strong>and</strong><br />

peer <strong>of</strong> the realm. 49 Royal circles outside the sphere <strong>of</strong> Maria de’ Medici increasingly held the<br />

ambitious advisor in disfavor. Not only had he provoked a rebellion among the nobles, but he<br />

134

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