Abstract
The visual representation of Catholic devotion – whether through gesture, dress or jewellery – faces us in many portraits of Catholic queens. Though often neglected by scholars in their studies of portraiture and the history of collecting, jewellery served a vital function as a visual marker of both piety and magnificence, what might be termed prince/ssly piety. Crosses and crucifixes, rosaries and wimples all appear in early modern portraits of Catholic queens and noblewomen. Peter Paul Rubens (1577-1640) executed a number of splendid portraits of explicitly Catholic queens and regents at the French, Spanish and Brussels courts, including Marie de Medicis (1609), Anne of Austria (c.1622-25) and Isabella Clara Eugenia (1625). But Henrietta Maria, who was related by marriage or blood-lines to all of these women, was the first Catholic queen at a Protestant court, and in a country that was deeply suspicious of ‘popish’ influence.1
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
