in this double portrait of the king and queen, henrietta maria offers charles the laurel wreath of victory. she lds an olive sigrepres e these symbols alluded to the stability of theireign. an unusual portrait representing the monarch from three different positions was intended to be sent to the italian sculptor gian lorenzo bernini as a model for a bust of the king. not onlyn the sensitiv characterization of the kin, t also in trtment ofhe erateostumes. seems to be infused with religious symbolism. it suggests the holy trinity's three persons in one god and conveys charles' claim to rule by divine right. in london, van dyck established large workshop to produce the enormous numb of portraits demanded by thcrown. he also worked for other members of the court andristocracy paintings of the earl of arundel, robert rich, and james stuart reflect the ambitions of van dyck's patrons as well as the courtly ideals of the time. in 1634, thertist turned to sthernetherlands, hoping for more prgious histy commissions anpeaps an appntment as crt painter. there, he produced this magnificent equestrian