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du Roi des Rois pour la conservatrice du Royaume et de sa royale lignée, et pour le modele et
exemplaire de sa vie et de son nom, aussi elle la puisse avoir dans le Ciel pour médiatrice de son
salut eternel, l’an de notre Rédemption 1625.”
61 For the monogram of Maria de’ Medici on the interior or exterior of the church, see Boinet,
Églises parisiennes, 150; Piganiol de la Force, Description historique, 7:272-73.
62 For the statue, see Troche, "Filles du Calvaire," 525. Neither Troche’s discussion of the statue
nor images of the façade prior to its reconstruction indicate the placement of the Pietà on the
door. Presumably it was on the trumeau between the two doors or on the tympanum above the
entrance.
63 For the Marian imagery in the almanac, see Crawford, Perilous Performances, 74. For
Rubens’s Medici cycle, see Marrow, "Maria de' Medici," 149-55. Marrow discusses the debate
in the literature over the use of Marian imagery in the Medici cycle, concluding that most
scholars recognize its presence to varying degrees. She then proceeds to analyze the Marriage of
Maria de’ Medici in the cycle as one image supporting this thesis.
64 Marrow, "Maria de' Medici," 152.
65 Coste, Les éloges, 493.
66
Letter written to Henrietta on 15 June 1625 in Amiens; letter cited in Carmona, Marie de
Médicis, 544.
67 For the elevated status of the Virgin Mary, see Paul Renaudin, "La dévotion mariale dans
l'École Française du XVIIe siècle," La vie spirituelle, ascétique et mystique 54 (1938): 152. The
theme is further discussed in Elaine Rubin, "The Heroic Image: Women and Power in Early
Seventeenth-Century France, 1610-1661" (Ph.D. Dissertation, George Washington University,
1977), 11-12, 136-37.
68 Jacques de Bie, La France métallique contenant les actions célèbres tant publiques que
privées des Rois et des Reines (Paris: J. Camusat, 1636), plate 104. Hilarion de Coste records
that Maria de’ Medici took the emblem as a device; see Coste, Les éloges, 498-500.
69 For the pelican’s Christological character, see José Julio García Arranz, "Image and Moral
Teaching Through Emblematic Animals," in Aspects of Renaissance and Baroque Symbol
Theory, 1500-1700, ed. Peter M. Daly and John Manning (New York: AMS Press, 1999), 98.
Medieval bestiaries depicted pelican chicks cruelly pecking their parents, leading to the illtreated
adult bird killing its offspring. In its grief the pelican struck its chest, spilling its blood
and miraculously revived the dead young.
70 For a general history of the pelican as a Christian symbol, see Portier and Ricoeur, Le pélican.
For the changing status of the pelican following the Council of Trent, see Bonardi, "Essai
d'iconographie," 643.
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