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advertised her connection to churches through the use of personal signs and royal symbols. Seemingly illogical, the inspiration for this decision came from the very person she was reacting against. Indeed Louis XIII, who became a patron of ecclesiastical architecture out of a need to express his political will, drove Maria de’ Medici to use the same method as a means of articulating her own agenda. 147
1 The dates represent the start of construction for each of the churches. For the French Oratorians, the building begun in 1616 was the congregation’s provisory chapel. 2 Johnson, "Imagining Images," 134-35. Additional works that mention the queen’s support of religious institutions include: Dubost, "Reine," 143; Marrow, " Maria de' Medici," 24, 41-42; Mignot, "Marie de Médicis," 34; Sainte-Fare Garnot, "L'action," 162. 3 Bertrand, "Art and Politics," 113-87. 4 Ibid., 118-27. The other religious institutions are the Filles du Calvaire and the parish church of Saint-Germain-l’Auxerrois, two additional places for which the queen may have commissioned Philippe de Champaigne to do work. For the Filles du Calvaire, Bertrand briefly discusses a possible commission for a retable by Philippe de Champaigne. She concludes that not enough information has survived to reconstruct the iconographical program. Maria de’ Medici’s commission for two wood panels for Saint-Germain-l’Auxerrois remains unsubstantiated. 5 Two works that especially emphasize Maria de’ Medici’s search for legitimization between 1610 and 1617 and desire for power between 1621 and 1631 are: Crawford, Perilous Performances, 59-97; Johnson, "Imagining Images," 126-53. Additional works focusing on Rubens’s Medici Cycle at the Luxembourg Palace contribute to the thesis that Maria de’ Medici worked to increase her authoritative role during the reign of Louis XIII. These include: Cosandey, Reine de France, 333-60; Marrow, "Maria de' Medici;" Millen and Wolf, Heroic Deeds. For several notable exhibition catalogs contributing to Maria de’ Medici’s role as a patron, see Baudouin-Matuszek and Andia, Marie de Médicis; Caneva and Solinas, eds., Maria de' Medici; Mamone, Paris et Florence. Outside of the time period under consideration here but still demonstrating Maria de’ Medici’s use of the arts to legitimize power is the Galerie de la Reine at Fontainebleau. Built from 1600 to 1610, the gallery according to Nicola Courtright included imagery intended to express the concepts of the power of queens. For this argument, see Nicola Courtright, "A Garden and a Gallery at Fontainebleau: Imagery of Rule for Medici Queens," The Court Historian 10, no. 1 (2005): 73-81. 6 For two exceptions that consider Maria de’ Medici’s role in relation to architecture, see Baudouin-Matuszek, "Un palais,” 170-223; Mignot, "Marie de Médicis," 29-41. Baudouin- Matuszek’s essay considers Maria de’ Medici’s Luxembourg Palace; Mignot’s essay is a survey of French architecture during the early seventeenth century. 7 The founders of the Carmelite convent, established in Paris in 1603, chose to use the existing buildings of the old Priory of Notre-Dame-des-Champs, including its church. Since a church was not constructed for the Carmelites, the queen’s patronage of this convent will not be included in this chapter. For more on Maria de’ Medici’s connection with the Carmelite convent, see Bertrand, "Art and Politics," 128-87. 148
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FLORIDA STATE UNIVERSITY COLLEGE OF
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ACKNOWLEDGEMENTS The completion of
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Jacobins of the rue Saint-Honoré 1
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14. Clément Métezeau and Jacques
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45. Simon Vouet, Apotheosis of St.
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79. After Claude Chastillon, Carose
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ABSTRACT This study examines early
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The Buildings Of the ten newly-buil
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The Patrons: Maria de’ Medici and
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has been the focus of a wealth of a
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Although studies employing contextu
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the Society. By dedicating royal fu
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1 Marie-Laure Deschamps-Bourgeon, "
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de' Medici (Princeton, New Jersey:
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CHAPTER 2 THE HISTORICAL CONTEXT: F
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in the last twenty years as a serio
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pattern that would be repeated in e
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The Reign of Henri IV The move from
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The king’s second major accomplis
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etween Philip IV (1285-1314) and Po
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universal Church, he was recognized
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houses in Italy and Spain, these re
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Although concerns over internationa
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Although Maria never claimed to bel
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suggestions but leave the decisions
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as a double feast. 100 The king’s
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1 I use the terms Catholic Reform a
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20 Henri III was the third of four
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46 Beaune, Ideology, 176. 47 For th
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70 Hayden, "Continuity," 12. 71 Lou
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Jean Héroard, ed. Edouard de Barth
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which uses the seventeenth-century
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a more appropriate location. 11 In
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etween the Oratory’s founder and
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seventeenth century, prompting scho
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façade drew visual emphasis to the
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The emblem continued to be included
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esidence. Similar to its use in ant
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courts, attended a similar ceremony
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of the society were planning regici
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Upon reentering the royal council i
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emind him that at present there was
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1 Fumaroli, "Cross," 88-102; Le Pas
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the church, including the interior
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31 Archives Nationales, MM 600, Vis
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51 For twin-towered facades associa
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Marilyn Aronberg Lavin (New York: I
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99 Archives Nationales MM 562 f. 3-
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125 Archives Nationales MM 623 f. 9
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By examining the precise manner of
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arcade, replacing it with a project
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a halo surrounding his head. The me
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place, the event was the first time
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Although David and Solomon had trad
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Page 123 and 124: 1 Today it is the parish church of
Page 125 and 126: discussion of the plan and its popu
Page 127 and 128: 43 For Philip II as Solomon and the
Page 129 and 130: 67 The Jesuit foundations building
Page 131 and 132: 88 Laurence Brockliss, "Richelieu,
Page 133 and 134: 110 For the meaning of the central
Page 135 and 136: 135 For a discussion of Richelieu
Page 137 and 138: had exercised by the end of the reg
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Page 163 and 164: 17 “MARIA MEDICAEA, PIENTISSIMA E
Page 165 and 166: Baptiste-Michel Renou de Chevigné
Page 167 and 168: du Roi des Rois pour la conservatri
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Page 173 and 174: eign of Louis XIII. By looking at i
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Page 187 and 188: Scholarship shows that the reasons
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Page 193 and 194: 12 Barbiche, "Augustins déchaussé
Page 195 and 196: 39 Jean-Pierre Camus, Premières ho
Page 197 and 198: Amos, Funerals, Politics, and Memor
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Figure 9. Clément Métezeau and Ja
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Figure 11. Michel Etienne Turgot, P
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Figure 13. Reconstructed map of the
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Figure 15. Saint-Germer-de-Fly, vie
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Figure 17. Sainte-Chapelle, upper c
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Figure 19. Jacques Lemercier, Churc
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Figure 21. Écu d’or of Louis XII
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Figure 23. Jacques Androuet du Cerc
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Figure 25. Map of territories durin
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Figure 27. Peter Paul Rubens, Trium
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Figure 29. Philippe de Champaigne,
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Figure 31. Saint Louis, obverse (le
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Figure 33. Andrea Sacchi and Jan Mi
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Figure 35. Foundation Stone of Sain
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Figure 37. G. Bonsegni, Il Gesù, r
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Figure 39. Detail of Kings rose win
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Figure 41. Etienne Martellange and
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Figure 43. Edme Moreau, High Altar
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Figure 45. Simon Vouet, The Apotheo
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Figure 51. Michel Corneille, St. Lo
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Figure 53. Studio of Simon Vouet, L
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Figure 57. Plan of the Church of th
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Figure 59. Plan of Saint-Joseph-des
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Figure 61. Saint-Joseph-des-Carmes,
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Figure 63. After Jean Marot, Eglise
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Figure 65. Jean-Baptiste-Michel Jai
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Figure 67. Jean-Aimar Piganiol de l
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Figure 69. Michel Etienne Turgot, P
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Figure 71. Nicolas-Michel Troche, F
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Figure 73. Henri de Gisors, detail
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Figure 75. Jacques de Bie, Device f
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Figure 77. Plan of the church of No
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Figure 79. After Claude Chastillon,
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Figure 81. Notre-Dame-des-Victoires
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Figure 83. Current plan of Notre-Da
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Figure 85. Notre-Dame-des-Victoires
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Figure 87. Foundation Stone of Notr
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Figure 89. Detail of a window at th
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Figure 91. E. Viollet-le-Duc, Recon
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Figure 93. Israël Silvestre, Vue d
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Figure 95. Plan de l’eglise de No
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1589 Henri IV becomes king of Franc
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Bibliothèque nationale de France D
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BIBLIOGRAPHY Archival Sources Archi
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Théveneau, Adam. Les Précepts du
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Billot, Claudine. "La fondation de
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Brunel, Georges. Dictionnaire des
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Currier, Charles Warren. History of
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Freiberg, Jack. The Lateran in 1600
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Johnson, Géraldine A. "Imagining I
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Lonergan, Walter F. Historic Church
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Montgolfier, Bernard de, ed. Saint-
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Romier, Lucien. Les origines politi
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Turchetti, Mario. "Middle Parties i
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Education: Teaching Experience: Nat
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