Cover
Title
Copyrights Page
Table of Contents
List of Illustrations
Acknowledgements
Prologue
The Triumph of Thomas Aquinas
Works Cited
Introduction
Figura versus Allegory
Ways of Proceeding: Frameworks and Formal Concerns
Works Cited
Rubens Confronts the Woman on Top
Isabella Brant: Marrying Up
Rubens in Love
Early Modern Marriage and the Subjection of Women
Painting, Man, and Wife
Formal Matters: The Man on Top
Until Death
Works Cited
Marian Tropes after Italy
Cross-Dressing
Assumptions
The Figure of the Madonna
Expression and Lactation
Juno and the Peacock
Caught Between
Works Cited
Part 1: Recycling Sovereignty—Maria de’ Medici
A Task for Two Cities
Staging Success: Themes and Settings
Paintings for the Palace: Rubens in Paris
Embodying the Christian Prince
Part 2: Figuring Faith and Female Power—Isabel Clara Eugenia
The Isabelline Image
Pious ‘Captaine’: Isabel’s Image-Making after Breda
Doctoring the Church: Isabel and the Defenders of the Eucharist
Isabel’s Canonical Image
Beyond Madrid: Patronage, Prints, and Posterity
Works Cited
Queering Female Virtue at Whitehall
A Flemish Catholic in the Caroline Court
Rubens’s Yale Oil Sketch
Virtues ‘Compact Together’
Veronese and the Daughters of God
Ripa, Rubens, Rubsters
Glory, Laud, and the New Jerusalem
Works Cited
Feminizing Rubens in the Seventeenth Century*
Rubens, Painting, Gender
Style Makes the Man
Practicing Venice
Rubens and Italian Criticism after Caravaggio
Good Venetian Color: Seventeenth-Century Critics and Rubens’s Second Manner
Something Wanting in his Nature: Rubens and Bellori
Everything that Depends on Coloring
Works Cited
Epilogue
Works Cited
About the Author
Index
Back Cover