In 1622, Marie de Medici commissioned twenty-four paintings to illustrate her life and heroic deeds. The paintings were to be completed by Peter Paul Rubens for her new residence, the Palais-Luxembourg. Marie’s cycle constitutes but one half of the original commission. A separate cycle dedicated to the life of her late husband Henri IV was to illustrate his triumphs. This thesis proposes that the Marie de Medici cycle cannot be disassociated from the Henri IV cycle because Marie’s intentions were to present the two galleries together as a symbol of the continuation of Bourbon rule. Although the Henri IV cycle was not completed, sketches and paintings do exist and make it possible to link the two galleries. The repetition of specific images and themes reinforces the relationship between the two sovereigns.

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