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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.
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