DOI Page / Citation link:
https://doi.org/10.11588/diglit.70030#0343
THE MARRIAGE OF MARY DE MEDICIS.
RUBENS. /
The Grand Duke of Tuscany espouses, by proxy, Mary
de Medicis, in the name of Henry IV. The Cardinal,
Aldobrandini, gives them ther nuptial benediction. Near
the queen, the Grand Duchess, Jane of Austria, and the
Duchess of Mantua, are observable. The Duke de Belle-
garde, principal equerry of France, bearer of the king’s
proxy, and the Marquis de Sillery, who had been ap-
pointed to negociate this alliance, accompany the grand
duke. The church of St. Mary del fiore*, where this
event took place, is ornamented with garlands of flowers;
and decorated with the utmost magnificence. Over the
altar is a group in white marble, representing the Al-
mighty, bearing his dead son upon his knees.
Of the several pictures which compose the Luxembourg
gallery, this composition approaches the nearest to histo-
rical fact. We nevertheless find the abuse of allegory:
Rubens has introduced the god Hymen, who with one
hand holds his torch, and with the other supports the
robe of the queen. This figure is peculiarly beautiful,
and has no other defect than that of being misplaced.
This subject afforded Rubens an opportunity of dis-
playing all the richness of his colouring. It is impossible
* One of the churches at Florence, where the marriage was cele-
brated, in the month of October, 1600.
RUBENS. /
The Grand Duke of Tuscany espouses, by proxy, Mary
de Medicis, in the name of Henry IV. The Cardinal,
Aldobrandini, gives them ther nuptial benediction. Near
the queen, the Grand Duchess, Jane of Austria, and the
Duchess of Mantua, are observable. The Duke de Belle-
garde, principal equerry of France, bearer of the king’s
proxy, and the Marquis de Sillery, who had been ap-
pointed to negociate this alliance, accompany the grand
duke. The church of St. Mary del fiore*, where this
event took place, is ornamented with garlands of flowers;
and decorated with the utmost magnificence. Over the
altar is a group in white marble, representing the Al-
mighty, bearing his dead son upon his knees.
Of the several pictures which compose the Luxembourg
gallery, this composition approaches the nearest to histo-
rical fact. We nevertheless find the abuse of allegory:
Rubens has introduced the god Hymen, who with one
hand holds his torch, and with the other supports the
robe of the queen. This figure is peculiarly beautiful,
and has no other defect than that of being misplaced.
This subject afforded Rubens an opportunity of dis-
playing all the richness of his colouring. It is impossible
* One of the churches at Florence, where the marriage was cele-
brated, in the month of October, 1600.