apartment on the first floor fitted out, then moved in 1614 to a new apartment on the ground floor, which she had adorned with panels and paintings by Ambroise Dubois, Jacob Bunel, Guillaume Dumée, and Gabriel Honnet on the theme of Jerusalem Delivered of Torquato Tasso (whose translation by Antoine de Nervèze was Marie's first reading in French). The Queen also surrounded herself with portrait painters, such as Charles Martin and especially the Flemish Frans Pourbus the Younger. During and after the regency, Marie de Médicis played a major role in the development of Parisian artistic life by focusing on the construction and furnishing of the Luxembourg Palace, which she referred to as her "Palais Médicis". The site was purchased in 1612 and construction began in 1615, to designs of Salomon de Brosse. In particular, she tried to attract several large-scale artists to Paris: she brought in The Annunciation by Guido Reni, was offered a suite of Muses painted by Giovanni Baglione, invited the painter Orazio Gentileschi (who stayed in Paris during two years, during 1623–1625), and especially the Flemish painter Peter Paul Rubens, who was commissioned by her to create a 21-piece series glorifying her life and reign to be part of her art collection in the Luxembourg Palace. This series (composed between 1622–1625), along with three individual portraits made for Marie and her family, is now known as the "Marie de' Medici cycle" (currently displayed in the Louvre Museum); the cycle uses iconography throughout to depict Henry IV and Marie as Jupiter and Juno and the French state as a female warrior. The Queen-Mother's attempts to convince Pietro da Cortona and Guercino to travel to Paris ended in failure, but during the 1620s the Luxembourg Palace became one of the most active decorative projects in Europe: sculptors such as Guillaume Berthelot and Christophe Cochet, painters like Jean Monier or the young Philippe de Champaigne, and even Simon Vouet on his return to Paris, participated in the decoration of the apartments of the Queen-Mother. A parchment Prayer Book belonging to Marie de' Medici has artwork that may date from the 15th century, but is also remarkable for its canivet cuttings. Pages are cut with intricate patterns that are made to look like lace of the period. Conflict with Richelieu, exile and death Marie continued to attend the Conseil du roi by following the advice of Cardinal Richelieu, who she