The marriage of Henrietta Maria (1609–69) and Charles I (1600–49) was presented in literature and prints as the joining of the ‘lily’ (France, the queen) and the ‘rose’ (England, the king). Harnessing these floral analogies, this article examines how Henrietta Maria’s fair face was invested with social, political and medical import, and as such was widely cultivated and enhanced through physic, sartorial choices and painted representations. Her skin texture and colouring were considered a mirror of her dynastic pedigree, marital status and good health. The white and red palette of the lily and the rose were intrinsic to longstanding ideals of facial colouring, and to youthful bloom and fertility. This colouring was marshalled by painters such as Anthony van Dyck in her portraits, and strategically deployed through her clothing. Her physician, Theodore de Mayerne, also provided her with prescriptions to clean, smooth and restore her face. As such, the queen’s facial skin functioned as a mirror of her quality, a paradigm of health and a canvas for artists, wardrobe specialists and physicians to cultivate and highlight her natural beauty. The analysis is built on a range of primary sources including treatises, wardrobe accounts, herbals and cosmetic recipes.

中文翻译：

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《玫瑰与百合女王》：斯图亚特宫廷中亨利埃塔·玛丽亚的白皙容颜和美丽的力量

亨利埃塔·玛丽亚（Henrietta Maria，1609-69 年）和查理一世（1600-49 年）的婚姻在文学和印刷品中被呈现为“百合”（法国，女王）和“玫瑰”（英国，国王）的结合。本文利用这些花卉类比，探讨了 Henrietta Maria 的白皙面孔如何被赋予社会、政治和医学意义，并因此通过物理、服装选择和绘画表现得到广泛培养和增强。她的皮肤质地和肤色被认为是反映她的王朝血统、婚姻状况和健康状况的一面镜子。百合和玫瑰的白色和红色调色板是长期以来理想的面部着色以及青春绽放和生育能力的内在因素。这种颜色是由安东尼·范戴克等画家在她的肖像画中编排的，并通过她的衣服战略性地部署。她的医生，Theodore de Mayerne 还为她提供了清洁、抚平和修复面部的处方。因此，女王的面部皮肤是她品质的一面镜子，是健康的典范，也是艺术家、衣橱专家和医生培养和突出她的自然美的画布。该分析基于一系列主要来源，包括论文、衣柜账目、草药和化妆品配方。