Art historians have long interpreted the intimate coupling of Rubens's "Peace Embracing Plenty" (Whitehall Palace Banqueting House, London) as a representational 'paraphrase' of 'Righteousness kissing Peace' (Psalm 85). This essay proposes a more likely and apprpriate biblical source for the allegory by placing Rubens's amorous female personifications within the context of Caroline divine-right rhetoric, a quintessential sermon by William Laud, and changing approaches to allegorical representation at the English court. It argues that the scriptural meeting and kissing of virtues provided Rubens with both a notional narrative and an authoritative justification for representing female affection, even same-sex desire, in a political and morally positive light.
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