The Divine Role of the Diadem in Rubens’s Marie de’ Medici Cycle

Abstract

Summary In the 24 paintings for the French Queen Marie de’ Medici, painted by Peter Paul Rubens 1622−1625, historic facts are depicted in the shape of mythological gods and symbols resulting in allegorical scenes. When focusing on headdress, the crowns and the wreaths rarely present a challenge in modern interpretations, but a magnificent diadem does. The grand diadem in these paintings appears to be misread in analyses today. At this point in history, the crowns and the wreaths have been transferred from divine spheres and turned into physical objects. The large diadem has not; it is still only a symbol on a goddess or for goddess-like qualities. Today, it is an easy mistake to believe that Rubens copied what he saw instead of heralding a coming fashion. Here, I suggest that it is the highest goddess Juno the Queen is personifying. Juno, a goddess for women in general, was also the saviour of the country and a special counsellor of the state. These roles are what Queen Marie took on when acting as regent for her young son, Louis XIII. By putting Juno’s diadem on Marie’s head, the divine abilities are manifested according to the allegorical language of the Baroque.