This chapter examines the representation of the women rulers Tomyris, Zenobia, and Artemisia II in the gallery books and dramas produced during Anne of Austria’s regency in seventeenth-century France. It examines the ways in which the dynamic of gender and sovereign virtue is varyingly cast, and the construction of exemplarity diversely negotiated, in the reception of the three rulers. While
... [Show full abstract] Artemisia is aligned with a gendered female virtue, Zenobia is cast as the morally androgynous ‘complete prince’, and Du Bosc’s Tomyris subverts the very concept of a binary sexual ethics. Furthermore, their reception demonstrates the ways in which the rhetoric of exemplarity at the time hinges on the erosion of distance and difference, as ancient and modern examples are merged in the instruction and glorification of contemporary women, not least the rulers Anne of Austria and Christina of France, duchess of Savoy.