Date : approx. between 1622 and 1625
Dimensions : 7,27 m x 3,94 m
Material : Oil on canvas
Acquisition : Sénat (1815)
Ecole flamande - Période Baroque
| Le couronnement de Marie de Médicis (13 mai 1610)
Item 10 on 24
Flemish and Northern Painting
Painting (Tableau historique)
Area related
Paris (France)
Site related :
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 | Description |  |
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The Coronation in Saint-Denis is one of the few paintings in the cycle that does not contain any mythological figures. This painting is the last scene on the North End of the West Wall, showing the completion of Marie's divinely assisted preparation. It would be one of two paintings most visually apparent upon entrance into the gallery through the southeast corner. Rubens composes The Coronation in Saint-Denis for distanced viewing by employing accents of red. For example, the robes of two cardinals near the right edge. These accents also create a sense of unity with the neighboring work, Apotheosis of Henri IV and the Proclamation of the Regency.
This painting is a representation of an historical event in the life of the Queen where the King and the Queen were crowned at the basilica of Saint-Denis in Paris. Considered one of the principle paintings in the series along with the Apotheosis of Henri IV and the Proclamation of the Regency both scenes also show Marie de' Medici receiving the orb of state. She is conducted to the altar by the Cardinals Gondi and de Sourdis, who stand with her along with Mesieurs de Souvrt and de Bethune. The ceremony is officiated by Cardinal Joyeuse. The royal entourage includes Dauphin, the Prince of Conti with the crown, the Duc de Ventadour with the scepter, and the Chevalier de Vendome with the hand of Justice. The Princess de Conti and the Duchess de Montpensier carry the train of the royal mantle. Above in the tribune appears Henri IV, as if to give sanction to the event. The crowd below in the basilica raise their hands in acclamation of the new Queen, and above, the classical personifications of Abundantia and Victoria shower the blessings of peace and prosperity upon the head of Marie. Also, her pet dogs are placed in the foreground of the painting. Henri, not included within the centralized group, has been removed from the main scene to the balcony in the background. Also to be noted are the two winged Victories that hover above, pouring the golden coins of Jupiter. Rubens inspiration for the blue coronation orb emblazoned with golden lilies was Guillaume Dupres' presentation medal struck in 1610 at Marie's' request portraying her as Minerva with Louis XIII as Apollo-Sol. The symbolism carried the message that she was charged with the guidance of the young, soon-to-be king.
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