florida state university college of visual arts, theatre and dance ...

Zusammenhang, ed. Joachim Poeschke and Francis Ames-Lewis (Munich: Hirmer, 1993), 73.
Another example is a text that describes seven medals made for the foundation stone of the
church of S. Ignazio in Rome but of which only three were actually included with the stone; see
Cesare Johnson, "Le medaglie della prima pietra della chiesa di S. Ignazio a Roma," Medaglia
Torino 8, no. 15 (1978): 15-16. I would like to thank Tanja Jones for discussing the cases with
me and for providing relevant sources.
82
The French legend reads: ELLE LVY A DONNE VN TEMPLE ET IL LVY EN DONNE
PLVSIEVRS.
83 The French legend reads: ELLE MESPRISE LES COVRONNES TERRESTRES POUR
MERITER LES CELESTES ET LES ROYNES LVY DRESSE DES AMES.
84 For the life of St. Elizabeth, see Nesta de Robeck, Saint Elizabeth of Hungary: A Story of
Twenty-four Years (Milwaukee, WI: Bruce Publishing Company, 1954).
85 For the queen’s devotion to St. Francis, see Coste, Les éloges, 493.
86 The French legend reads: MARIE ROYNE AVGVSTE DE FRANCE ET DE NAVERRE; the
Latin version is: MARIA AVG GALL ET NAVAR REGIN.
87 The image on the reverse was not commissioned specifically for the ceremony at Notre-Damede-Pitié.
It was also used with a different legend on the medal placed on the foundation stone of
the Luxembourg Palace. The practice of reusing medals for more than one commemorative
ceremony was employed by other French monarchs in the seventeenth century; see Blanchet and
Dieudonné, Manuel, 3:120. For the medals at the Luxembourg Palace, see Adrien Blanchet,
"Médailles de Marie de Médicis et d'Henri IV," Revue numismatique (1905): xxvi.
88 The French legend reads: LES LIS CROISSENT LORS QU’ILZ FLORISSENT; the Latin
version is: CRESCVNT DVM FLORENT.
89 The inscription in French reads: A LA GLOIRE DE DIEV ET DE LA TRESS. VIERGE SA
MERE, MARIE DE MEDICIZ A pose la premiere pierre de ceste Eglise et Monastere afin que
comme elle honore et recognoist ceste Mere du Roy des Roys pour la Conservatrice du Royaume
et de sa Royalle lignee et pour le modelle et exemplaire de sa vie et de son nom. Aussy Elle la
puisse avoir dans le Ciel pour mediatrice de son Salut eternel. L’AN DE NOSTRE
REDEMPTION MDCXXVIII.
90 For a discussion of the categories of seventeenth-century French prints, see Marianne Grivel,
Le commerce de l'estampe à Paris au XVIIe siècle (Geneva: Droz, 1986), 138-60. For scenes of
contemporary events, see ibid., 157-60. Examples of these images are found at the Bibliothèque
ationale Département des Estampes in the Hennin Collection and in the series of the Histoire de
France (Qb1), the series in which is found the engraving of the foundation stone of Notre-Damede-Pitié.
156