雅客柏．安波里在 1600年所繪的《瑪麗亞．梅迪奇和法王亨利四世的婚禮》群體肖像，是為了紀念梅迪奇家族與法國王室聯姻而繪，用以彰顯家族光榮的重要歷史事件。這張大型肖像中人物眾多，畫風細膩，亦是婚禮肖像中的傑作。隨著近期文藝復興服裝史研究興起，學界逐漸意識到服裝具有豐富的文化社會意涵肖像畫中服裝描繪，也進而成為了解受畫者身分、地位以及當時代文化意義的重要線索。然而，目前針對《瑪麗亞．梅迪奇和法王亨利四世的婚禮》一畫的討論中，學者不但沒有從婚禮的脈絡去考量，亦未了解畫中細膩的服裝描繪所蘊含的意義。因此，本文以畫中人物的服裝細節為研究核心，從當時的政治情勢、肖像藝術發展以及婚禮視覺文化等面向，探討十六世紀婚禮肖像畫的形式演變、觀者的視覺經驗以及此肖像畫中幽微而重要的政治文化意涵。

The Wedding of Maria de’Medici and Henry IV by Jacopo Chimenti da Empoli is a large oil painting commissioned especially for the wedding of Maria de’Medici and Henry IV, King of France by the Florentine court in 1600. The painting aims at commemorating the marriage alliance between the French royal family and the Medici, celebrating family honour and demonstrating a new form of group portrait created with outstanding painting skills. Thanks to the flourishing of research into the study of Renaissance clothing, it is understood that clothing is a key to understanding Renaissance culture and society. As such, the depiction of a sitter’s clothing in portraiture and its connotations has emerged as a new field of art historical studies. Nevertheless, current research on The Wedding of Maria de’Medici and Henry IV not only fails to consider it in the context of visual culture of marriage, but also underestimates the importance of sartorial message delivered by the depiction of dress. Thus, this article aims to discuss the political and cultural connotations of the portrait through a detailed study on the depiction of sitters’ clothing, especially that of the Spanish gown worn by Maria de’Medici. In doing so, the article provides an insight into the visual experience of early modern aristocrats and explores how the dress conveys subtle but vital, political and cultural connotations.