Royal entry

Source: Wikipedia, the free encyclopedia.
manuscript illumination by Jean Fouquet

The ceremonies and festivities accompanying a formal entry by a ruler or his/her representative into a city in the Middle Ages and early modern period in Europe were known as the royal entry, triumphal entry, or Joyous Entry.[1] The entry centred on a procession carrying the entering ruler into the city, where they were greeted and paid appropriate homage by the civic authorities, followed by a feast and other celebrations.

The entry began as a gesture of loyalty and fealty by a city to the ruler, with its origins in the adventus celebrated for Roman emperors, which were formal entries far more frequent than triumphs. The first visit by a new ruler was normally the occasion, or the first visit with a new spouse. For the capital they often merged with the coronation festivities, and for provincial cities they replaced it, sometimes as part of a Royal Progress, or tour of major cities in a realm. The concept of itinerant court is related to this.

From the Late Middle Ages,[2] entries became the occasion for increasingly lavish displays of pageantry and propaganda. The devising of the iconography, aside from highly conventional patterns into which it quickly settled,[3] was managed with scrupulous care on the part of the welcoming city by municipal leaders in collaboration with the chapter of the cathedral, the university, or hired specialists. Often the greatest artists, writers and composers of the period were involved in the creation of temporary decorations, of which little record now survives, at least from the early period.

Origins and development

Charles V, and Cardinal Alessandro Farnese enter Paris under a canopy of estate in 1540, in a fresco by Taddeo Zuccari
.

The contemporary account from Galbert of Bruges of the unadorned "Joyous Advent" of a newly installed Count of Flanders into "his" city of Bruges, in April 1127, shows that in the initial stage, undisguised by fawning and triumphalist imagery that came to disguise it, an entry was similar to a parley, a formal truce between the rival powers of territorial magnate and walled city, in which reiteration of the city's "liberties" in the medieval sense, that is its rights and prerogatives, were set out in clear terms and legitimated by the presence of saintly relics:

"On April 5... at twilight, the king with the newly elected Count William, marquis of Flanders, came into our town at Bruges. The canons of Saint Donatian had come forth to meet them, bearing relics of the saints and welcoming the king and new count joyfully in a solemn procession worthy of a king. On April 6... the king and count assembled with their knights and ours, with the citizens and many Flemings in the usual field where reliquaries and relics of the saints had been collected. And when silence had been called for, the charter of the liberty of the church and of the privileges of Saint Donatian was read aloud before all... There was also read the little charter of agreement between the count and our citizens... Binding themselves to accept this condition, the king and count took an oath on the relics of saints in the hearing of the clergy and people".[4]

In England, the first pre-coronation royal entry was staged in 1377 for the 10 year-old Richard II, and fulfilled the dual purpose of enhancing the image of the boy-king and reconciling the crown with the economically powerful City of London. The grand cavalcade through the streets was accompanied by the public conduits running with wine and a featured large temporary castle representing New Jerusalem. The success of the event set a precedent that was to continue at English coronations until well into the 17th-century.[5]

The procession of a new pope to Rome was known as a possesso. A ruler with a new spouse would also receive an entry. The entry of Queen

Elizabeth of Austria, into Paris, March 1571, had been scheduled for Charles alone in 1561, for the entrate were typically celebrated towards the beginning of a reign,[7] but the French Wars of Religion had made such festivities inappropriate, until the peace that followed the Peace of Saint-Germain-en-Laye signed in August 1570.[8]

Until the mid-14th century, the occasions were relatively simple. The city authorities waited for the prince and his party outside the city walls, and after handing over a ceremonial key

Froissart, conducted him through the streets which were transformed with colour, with houses on the route hanging tapestries and embroideries[11] or carpets[12]
or bolts of cloth from their windows, and with most of the population lining the route. At Valladolid in 1509

the town was so gay, so decked out in wealth and canopies and luxurious carpets, that not even Florence or Venice could match it. All the beautiful ladies were delighted to be on display and were definitely worth seeing, [and] everything was so brilliantly arrayed, that I, who am of the town and have never left it, could not recognize it.[13]

Heraldic displays were ubiquitous: at Valladolid in 1509, the bulls in the fields outside the city were caparisoned with cloths painted with the royal arms and hung with bells. Along the route the procession would repeatedly halt to admire the set-pieces embellished with

fleur de lys (the royal badge) on their chests and backs, at their own expense.[15] The prince reciprocated by confirming, and sometimes extending, the customary privileges of the city or a local area of which it was the capital. Usually the prince also visited the cathedral to be received by the bishop and confirm the privileges of the cathedral chapter also.[16] There a Te Deum
would be customary, and music written for the occasion would be performed.

Increasing elaboration

Charles V of France enters Paris after his coronation at Rheims in 1364. Later depiction by Jean Fouquet.

During the 14th century, as courtly culture, with the court of Burgundy in the lead,[17] began to stage elaborate dramas re-enacting battles or legends as entertainment during feasts, the cities began to include in entry ceremonies small staged pageant "tableaux", usually organised by the guilds (and any communities of foreign merchants resident), and drawing on their growing experience of medieval theatre and pageantry. Initially these were on religious themes, but "gradually these tableaux developed, through the fifteenth and into the sixteenth century, into a repertory of archways and street-theatres which presented variants of a remarkably consistent visual and iconographical vocabulary."[16] Fortune with her wheel, fame and time, the seven virtues, both Christian and classical, and the Nine Worthies and other classical, biblical and local heroes,[18] among whose number the honoree was now to be counted. As the tradition developed, the themes became more specific, firstly stressing the legitimacy of the prince, and his claim by descent, then setting before him the princely virtues and their rewards, which especially included the benefits to him of encouraging prosperous cities and provinces.

The procession might pause for allegorical figures to address it, or pass beside a

absolute monarch as hero, and left the old emphasis on his obligations behind; "any lingering possibilities of its use as a vehicle for dialogue with the middle classes vanished".[19] At the third "triumph" at Valladolid in 1509, a lion holding the city's coat-of-arms shattered at the King's arrival, revealing the royal arms: the significance could not have been lost, even on those unable to hear the accompanying declamation.[20]

During the 16th century, at dates differing widely by location, the tableau vivant was phased out and mostly replaced by painted or sculpted images, although many elements of street-theatre persisted, and small masques or other displays became incorporated into the programmes. The entry in 1514 of Mary Tudor to Paris, as Louis XII's new Queen, was the first French entry to have a single organizer; ten years before Anne of Brittany's entry had been "largely medieval", with five stops for mystery plays in the streets.[21]

During the

canopy of estate embroidered with more gold lilies was erected over the young king, who was carried in a litter supported on six lances carried by men dressed in blue. Through the city there were welcoming pageants and allegorical performances: before the Church of the Innocents, a forest was erected, through which a captured stag was released and "hunted".[22]

Classical influence

Triumphs of Caesar
.

Educated folk of the Middle Ages had close at hand an example of an allegorical series of entries at a wedding, in the frame story that opens Martianus Capella's encyclopedic introduction to all one needed to know of the arts, On the Wedding of Philology and Mercury and of the Seven Liberal Arts. With the revival of classical learning, Italian entries[23] became influenced by literary descriptions of the Roman triumph. Livy's account was supplemented by detailed descriptions in Suetonius and Cassius Dio of Nero's Greek Triumph,[24] and in Josephus of the Triumph of Titus.[25]

More recherché sources were brought to bear;

bas-relief[26] on the earliest, and still perhaps the most beautiful, permanent post-classical triumphal arch, which he built the same year.[27]
In Italian, specific meanings developed for trionfo as both the whole procession, and a particular car or cart decorated with a display or tableau; although these usages did not spread exactly to other languages, they lie behind terms such as "triumphal entry" and "triumphal procession".

The emphasis began to shift from the displays as static tableaux that were passed by a procession in festive but normal contemporary dress, to the displays' being incorporated in the procession itself, a feature also of the religious

Henry VIII of England men who knew how to make festal decorations in the latest Italian manner.[29]

Piero della Francesca, 1472, Federico da Montefeltro and his wife in triumphal cars, hers drawn by unicorns.

Charles V was indulged in a series of Imperial entrate in Italian cities during the Habsburg consolidation after the Sack of Rome, notably in Genoa, where Charles and his heir Philip made no less than five triumphal entries.[30] Impressive occasions like Charles V's royal entry into Messina in 1535 have left few concrete survivals,[31]
but representations were still being painted on Sicilian wedding-carts in the 19th century.

After

Neo-Platonism, the assertion and acting-out of the glory and power of the prince might actually bring it about.[33]

A precocious example of the Entrata with a consistent and unified allegorical theme was the entry of Medici Pope Leo X into Florence, November 1515.[34] All the city's artistic resources were drawn upon to create this exemplary entry, to a planned programme perhaps devised by the historian Jacopo Nardi, as Vasari suggested; the seven virtues represented by seven triumphal arches at stations along the route, the seventh applied as a temporary façade to the Duomo, Santa Maria del Fiore, which still lacked a permanent one.

19th century oil sketch of Charles V entering Antwerp (in ?1515)

Propaganda

Apart from the permanent theme of the reciprocal bonds uniting ruler and ruled, in times of political tension the political messages in entries became more pointed and emphatic. A disputed succession would produce a greater stress on the theme of legitimacy. After the

Reformation, tension became a permanent condition, and most entries contained a sectarian element. After about 1540 French entries and Habsburg ones in the Low Countries[35]
were especially freighted with implication, as the rulers' attempts to suppress Protestantism brought Protestant and Catholic populations alike to the edge of ruin. But initially this increased the scale of displays, whose message was now carefully controlled by the court.

Entry of Henry IV into Paris, by Rubens, 1628–30: an unfinished Baroque figuration of the allegory itself.

This transformation happened much earlier in Italy than in the North, and a succession of entries for Spanish Viceroys to the blockaded city of

Indies which the entry had represented as Antwerp's only hope of escaping ruin; but by then the Spanish had agreed to the permanent blockade of the river.[37]

Triumph of Jehoshaphat, Jean Fouquet, 1470–75.

In 1638, the occasion of the French queen mother

Amstel River was built especially for the festival. This building was designed to display a series of dramatic tableaux in tribute to her once she set foot on the floating island and entered its pavilion. The distinguished poet and classicist Caspar Barlaeus
wrote the official descriptive booklet, Medicea Hospes, sive descriptio publicae gratulationis, qua ... Mariam de Medicis, excepit senatus populusque Amstelodamensis. Published by Willem Blaeu, it includes two large folding engraved views of the ceremonies.

Peace and war

Although the essence of an entry was that it was supposed to be a peaceful, festive occasion, very different from the taking of a town by assault, several entries actually followed military action by the town against their ruler, and were very tense affairs. In 1507 the population of

Louis XII of France defeated the Genoan army outside the city, which then agreed a capitulation, including an entry which was followed by the execution of the Doge and other leaders of the revolt. The gestural content was rather different from a peaceful entry; Louis entered in full armour, holding a naked sword, which he struck against the portal as he entered the city, saying "Proud Genoa! I have won you with my sword in my hand".[38]

Charles V entered

long siege
in 1584–85, which finally ended all prosperity in the city.

Decline

Temporary triumphal arch in Gdańsk to celebrate the ceremonial entry of Queen Marie Louise Gonzaga, 1646

During the 17th century the scale of entries began to decline. There was a clear trend, led from

the Luxembourg
; Rubens did not recreate historic details of the 1594 royal entry, but overleapt them to render the allegory itself (illustration).

The cultural atmosphere of Protestantism was less favourable to the royal entry. In the new Dutch Republic entries ceased altogether. In England, part of the Accession Day festivities in 1588, following the defeat of the Spanish Armada were especially joyous and solemn. Delaying the event a week to 24 November, Elizabeth rode in triumph, "imitating the ancient Romans" from her palace of Whitehall in the city of Westminster to enter the city of London at Temple Bar. She rode in a chariot

"made with four pillars behind, to have a canopie, on the top whereof was made a crowne imperiall, and two lower pillars before. whereon stood a

lyon and a dragon, supporters of the armes of England, drawn by two white horses"[41]

The

St. Paul's Cathedral
and returned in a torchlit procession in the evening.

Nevertheless, the entry of James I into London in 1604 was the last until the

Thirty Years War, which left much of Northern and Central Europe in no mood or condition for celebrations on the old scale. In France the concentration of power in royal hands, begun by Richelieu, left city elites distrustful of the monarchy, and once Louis XIV succeeded to the throne, royal progresses stopped completely for over fifty years; in their place Louis staged his elaborate court fêtes
, redolent of cultural propaganda, which were memorialised in sumptuously illustrated volumes that the Cabinet du Roi placed in all the right hands.

George IV of the United Kingdom into Dublin
, 1821, with temporary arch

Changes in the intellectual climate meant the old allegories no longer resonated with the population. The assassinations of both Henry III and Henry IV of France, of William the Silent and other prominent figures, and the spread of guns, made rulers more cautious about appearing in slow-moving processions planned and publicised long in advance; at grand occasions for fireworks and illuminations, rulers now characteristically did no more than show themselves at a ceremonial window or balcony. The visit of Louis XVI to inspect the naval harbour works at Cherbourg in 1786 seems, amazingly, to have been the first French entry of a king designed as a public event since the early years of Louis XIV well over a century before.[42] Though considered a great success, this was certainly too little and too late to avoid the catastrophe awaiting the French monarchy.

Ideologues of the

bunting
, the last remnant of the medieval show of rich textiles along the processional route.

Today, though many parades and processions have quite separate, independent origins, civic or republican equivalents of the entry continue. They include Victory parades, New York's traditional ticker-tape parades and the Lord Mayor's Show in London, dating back to 1215 and still preserving the Renaissance car, or float model. It is not frivolous to add that the specific occasion of the contemporary American Thanksgiving Day Parade or the Santa Claus parade is the triumphal entry into the city of Santa Claus in his sleigh.

Artists

Henry II of France between France and Fame, engraving by Jean Duvet, may reflect a tableau from an occasion such as his entry into Paris, 16 June 1549.

To the occasional irritation of modern

James I of England into London.[45]

Art historians also detect the influence of the tableau in many paintings, especially in the late Middle Ages, before artists had trained themselves to be able to develop new compositions readily.[46] In the Renaissance, artists were often imported from other cities to help with, or supervise, the works, and entries probably helped the dissemination of styles.

Festival books

A festival book is an account of festivities such as entries, of which there are many hundreds, often surviving in very few copies. Originally manuscripts, often illustrated, compiled for prince or city, with the arrival of print they were frequently published, varying in form from short pamphlets describing the order of events, and perhaps recording speeches, to lavish books illustrated with woodcuts or engravings showing the various tableaux, often including a fold-out panorama of the procession, curling to and fro across the page. The pamphlets were ephemera themselves; a printed description of two leaves describing the entry of Ferdinand into Valladolid, 1513, survives in a single copy (at Harvard) because it was bound with another text. A lost description of the ceremonious reception given by Louis XII to Ferdinand at Savona (June 1507) is only known from a purchase receipt of Ferdinand Columbus.[47]

These livrets are not always to be trusted as literal records; some were compiled beforehand from the plans, and others after the event from fading memories. The authors or artists engaged in producing the books had by no means always seen the entry themselves. Roy Strong finds that they are "an idealization of an event, often quite distant from its reality as experienced by the average onlooker. One of the objects of such publications was to reinforce by means of word and image the central ideas that motivated those who conceived the programme."

Thomas Dekker
, the playwright and author of the book on The Magnificent Entertainment for James I is refreshingly frank:

Reader, you must understand, that a regard, being had that his Majestie should not be wearied with teadious speeches: A great part of those which are in this Booke set downe, were left unspoken: So that thou doest here receive them as they should have been delivered, not as they were. [sic][50]
Detail of top (about 1/10 of the height) of the Triumphal Arch of Maximilian, coloured woodcut, overall design by Albrecht Dürer.

The

The Triumphal Arch (1515), the largest print ever made, at 3.57 x 2.95 metres when the 192 sheets are assembled, was produced in an edition of seven hundred copies for distribution to friendly cities and princes. It was intended to be hand-coloured and then pasted to a wall.[51] Traditional tableau themes, including a large genealogy, and many figures of virtues, are complemented by scenes of Maximilian's life and military victories.[52] Maximilian was wary of entries in person, having been locked up by his loyal subjects in Bruges in 1488 for eleven weeks, until he could pay the bills from his stay.[53]

An early meeting between the festival book with travel literature is the account of the visit in 1530 of the future Ferdinand I, Holy Roman Emperor, then King of Hungary and Bohemia to Constantinople.

New World entries

In Habsburg territories in the New World, the entradas of the

Puebla de los Ángeles, which were presented as late as 1696, served to promote an elite that self-identified strongly with Spain, and incurred expenses, which were borrowed from the ecclesiastic cabildo, that exceeded the annual income of the city. Printed commemorative pamphlets spelled out in detail the elaborately artificial allegories and hieroglyphic emblems[54] of the entry, often drawn from astrology, in which the Viceroy would illuminate the city as the sun. In the 18th century, the Bourbon transformation of entrées into semi-private fêtes extended to Spanish Mexico: "While the event continued to be extravagant under Bourbon rule, it became more privatized and took place to a larger degree indoors, losing its street theater flavor and urban processional character."[55]

Examples of entries

Louis XII of France enters Genoa
, 1507, from a manuscript account. The Genoans had revolted against the French and been defeated; many executions followed the entry.
  • 1356: the
    Netherlandish entries. This one is famous because the Charter granted by the ruler to the Duchy came to assume a position in the history of the Low Countries similar to that of Magna Carta
    in England.
  • 1431:
    Seven Gifts of the Holy Spirit and a further set. After further tableaux, at Cheapside a fountain ran with wine (a particular speciality of London festivities) and large tableaux represented the genealogy of the King, and a complementary Tree of Jesse showing that of Christ. The finale was a huge tableau of Heaven, where God the Father, surrounded by saints and angels, addressed the King.[56]
  • 1443: Alfonso V of Aragon's triumphal entry into Naples was "the earliest of the triumphal entries all'antica in Europe"[57] Unlike most lathe-and-plaster painted triumphal arches, its permanent commemoration is the arch before the Castel Nuovo. The event, portraying Alfonso as a classical hero of antiquity, set iconographic examples for his nephew in the royal entries of Ferdinand of Aragon. The published account by Antonio Beccadelli, "Il Panormita", circulated widely.
  • 1457: The entry of Philip the Good, Duke of Burgundy, into Ghent[58]
  • 1494: For
    Perugino on the decors.[59]
  • 1498: Arthur, Prince of Wales, makes an entry to Coventry, welcomed by King Arthur and the Nine Worthies, Queen Fortune, and Saint George.[60]
  • 1513: Ferdinand of Aragon's triumphal entry into Valladolid, taking the conquest of Navarre as an occasion for allegorical displays of regal power in "an unusually lavish and explicitly propagandist entry".[61]
  • 1515: The triumphal entry of the Medici Pope Leo X into Florence is one of the most thoroughly documented entries, both in official records and private journals— though the visual and musical components are lost— and has attracted a separate monograph, by Ilaria Ciseri.[62] It was produced on a princely scale, catching Leo at the peak of his reputation, en route to a meeting at Bologna with François I, at the head of temporarily victorious forces. Ciseri identifies two likely candidates for the allegorical programme, Jacopo Nardi and Marcello Virgilio Adriani, and a theme that offered parallel evocations of Imperial Rome the heavenly Jerusalem. The unfinished façade of the Duomo was temporarily "completed" in "chiaroscuro" (grisaille) canvases of feigned architecture and sculpture by Andrea del Sarto to designs by Jacopo Sansovino.[63]
For the entry of Henry II of France to Rouen, 1 October 1550, 30 naked men were employed to illustrate life in Brazil and a battle between the Tupinamba allies of the French, and the Tabajara Indians.[64]
Engraving of the floating castle from the Entry of Henry II into Lyon, 1547; Henry and his queen were served a meal that rose into the central room from below decks.

See also

Notes

  1. ^ Of course other cultures had equivalents, often even more spectacular, especially China and India.
  2. ^ Earlier transformations of the Roman triumph in late antiquity and the Early Middle Ages have been discussed by Michael McCormick, Eternal Victory: Triumphal Rulership in Late Antiquity, Byzantium and the Early Medieval West (Cambridge University Press) 1987.
  3. ^ "A remarkably consistent visual and iconographical vocabulary" according to Roy Strong.
  4. ^ quoted in James M. Murray, "the Liturgy of the Count's Advent in Bruges", City and Spectacle in Medieval Europe, Barbara Hanawalt and Kathryn Reyerson, eds., 1994, p. 137; Murray compares this "political bargain" with a contemporary account of the similar Adventus Iocundus of April 1384.
  5. ISBN 978-0-00-716054-9
    .
  6. ^ Bernard Ribemont, "L'entree d'Isabeau de Bavière à Paris: une fete textuelle pour Froissart," in Feste und Feiern, pp. 515–24.
  7. ^ The entries made by Ferdinand of Aragon late in his reign, at Naples (1506), Valencia (1507), Seville (1508) and Valladolid (1509 and 1513), serve as exceptions that were occasioned by his need for confirmative propaganda, following the arrival in Castile of Philip that resolved the succession crisis attendant on the death of Isabella, and Ferdinand's withdrawal into Aragon. (Tess Knighton and Carmen Morte García, "Ferdinand of Aragon's Entry into Valladolid in 1513: The Triumph of a Christian King" Early Music History 18 (1999:119–163) p. 123.)
  8. ^ a b Victor E. Graham and W. McAllister Johnson, The Paris Entries of Charles IX and Elizabeth of Austria 1571 (University of Toronto Press) 1975.
  9. key to the city
    " to an honoured guest.
  10. ^ At Charles V's entry into Genoa in 1533, a twelve-year-old girl, dressed as Victory and carrying a palm frond, delivered a suitable oration all'antica— in Latin. (George L. Gorse, "An Unpublished Description of the Villa Doria in Genoa during Charles V's Entry, 1533" The Art Bulletin 68.2 [June 1986:319–322]).
  11. ^ The richly worked hangings of a bed would serve.
  12. ^ Pile carpets were displayed on tables or on a dais; pile carpets were not usually trod under foot until the seventeenth century.
  13. ^ Luís de Soto, chaplain of the king and coordinator of the Entry, quoted in Knighton and Morte García 1999:139.
  14. kettledrums, trumpets by the dozens, shawms and sackbuts
    . "They made such a din that if a bird happened to fly past, they made it fall from the sky into the crowd", the chroncicler records. (Knighton and Morte Garcia 1999:125).
  15. ISBN 0-300-06906-5
  16. ^ a b Strong, 1984, p. 7
  17. ^ The refinements of court protocol and the magnificence of court entertainments of Philip the Good and Charles the Bold set courtly fashions for decades in the fifteenth century.
  18. history of the kings of Britain
    and embedded in civic cult (Gareth Dean, Medieval York 2008:50).
  19. ^ Strong, 1984, p. 41
  20. ^ Knighton and Morte García 1999:146
  21. ISBN 0-7509-0695-2
  22. ^ The contemporary sources, includingThe Chronicles of Enguerrand de Monstrelet (Thomas Johnes, tr., London 1810, vol. vii, p. 46ff) and the Journal d'un bourgeois de Paris, are noted in the brief description in Walter Franz Schirmer, John Lydgate: a study in the culture of the XVth century 1979, p. 137; Lydgate was called upon to provide texts for similar pageantry at home, such as the entry of Henry into London, 1434.
  23. ^ The bibliography of Italian Renaissance entrate is Bonner Mitchell, Italian Civic Pageantry of the High Renaissance: A Descriptive Bibliography of Triumphal Entries and Selected Other Festivals for State Occasions (Florence) 1979.
  24. ^ Suetonius, Nero 25; Cassius Dio lxiii.20.
  25. ^ Josephus, Jewish Wars vii. 4–6.
  26. ^ Strong, 1984, p. 44 Picture of relief
  27. ^ George L. Hersey, The Aragonese Arch at Naples, 1443–1475 (New Haven: Yale University Press, 1973) summarises the scholarship on the Arch and reports eye-witness accounts of the Entry and pictorial illustrations.
  28. ^ Shearman 1962.
  29. ^ John Shearman, "The Florentine Entrata of Leo X, 1515" Journal of the Warburg and Courtauld Institutes 38 (1975:136–154) p. 136. The arrival in England, via another route, of "Antony Toto" and Bartlommeo Penni may have satisfied this need.
  30. ^ In 1529, 1533, 1536, 1542 and 1548. (J. Jacquot, ed., Les fêtes de la Renaissance II: Fêtes et cérémonies au temps de Charles-Quint, Paris 1960).
  31. ^ Sheila ffoliot argues convincingly in Civic Sculpture in the Renaissance: Montorsoli's Fountains at Messina (Studies in Renaissance History, Ann Arbor: University of Michigan Press, 1984) that many features of Giovanni Angelo Montorsoli's Fountain of Orion in Messina, which survives in much degraded condition, owe their origins to the programme for the Entry of 1535.
  32. ^ Oxen were disguised as elephants to draw one of the floats in the carnival parade given by Lorenzo di Piero de' Medici's fraternal company, the Broncone, at Florence, 6 February 1513. (John Shearman, "Pontormo and Andrea Del Sarto, 1513" The Burlington Magazine 104 No. 716 [November 1962:450, 478-483] p. 478.).
  33. ^ Strong, 1984:40–41.
  34. ^ Singled out by André Chastel, "Le lieu de la fête", in J. Jacquot, ed. Fêtes de la Renaissance (Paris 1956, vol. I:420), and described at length by John Shearman, "The Florentine Entrata of Leo X, 1515" Journal of the Warburg and Courtauld Institutes 38 (1975:136–154), from whose account these details are drawn.
  35. ^ The bibliography is John Landwehr, Splendid Ceremonies: State Entries and Royal Funerals in the Low Countries, 1550–1791: A Bibliography (Leiden 1971).
  36. ^ Strong, 1984, p. 48
  37. ^ Strong, 1984, p. 49
  38. ISBN 0-7509-0695-2
    He had sent a small force into the city two days before, and though large fines were levied, the city was not sacked.
  39. ^ Wilenski:34–35
  40. ^ A major theme of Strong, 1984, summed up in pp. 171–3
  41. ^ The quote and the description are from Roy C. Strong, "The Popular Celebration of the Accession Day of Queen Elizabeth I" Journal of the Warburg and Courtauld Institutes 21.1/2 (January 1958:86–103) pp92f.
  42. ISBN 978-0-394-55948-3
    .
  43. ^ His frescoes for Villa del Principe, executed in expectation of Charles V's entrata of 1533, bear witness to the vanished theme of the event: Neptune and the defeat of the Giants.
  44. ^ Strong, 1983, p. 6 for most of these.
  45. ^ Festival Book
  46. Master E.S relate to tableaus not from entries, but engravings by Jean Duvet
    , who worked on at least two royal entries, may well do.
  47. ^ Knighton and Morte Garcia 1999:120f.
  48. ^ Strong, 1984:47.
  49. ^ Phillip II into Antwerp in 1549 British Library
  50. ^ British Library online book
  51. ^ The American Institute for Conservation; Figure 9 (and many later ones) show the Triumphal Car of Maximilian, and Figure 10 is the first appearance of the Arch
  52. ISBN 0-7141-2633-0
  53. ^ A move the burghers were to regret when his son Charles V later took family revenge with an especially tough siege
  54. Andrea Alciati and Cesare Ripa
    , which engendered a considerable Spanish emblem literature during the seventeenth century.
  55. ^ Nancy H. Fee, "La Entrada Angelopolitana: Ritual and Myth in the Viceregal Entry in Puebla de Los Angeles" The Americas 52.3 (January 1996), pp. 283–320.
  56. ^ Strong, 1984, pp. 8–9
  57. ^ Knighton and Morte García 1999:124, referencing C. Carandete, I triunfi nel primo rinascimento (Edizioni Rai 1963:20).
  58. ^ Reviewed in detail by Jeffrey Chipps Smith. “Venit nobis pacificus Dominus: Philip the Good’s Triumphal Entry into Ghent in 1458.” ‘All the World’s a Stage ...’: Art and Pageantry in the Renaissance and Baroque, I: Triumphal Celebrations and the Rituals of Statecraft. Barbara Wisch and Susan C. Scott, Eds. (University Park, Pennsylvania, 1990): 258–290.
  59. ^ Discussed by Eva Borsook, "Decor in Florence for the Entry of Charles VIII of France", Mitteilungen des Kunsthistorisches Institutes in Florenz 10 (1961:106–22, 217).
  60. ^ Sydney Anglo, Spectacle Pageantry, and Early Tudor Policy (Oxford: Clarendon Press, 1969), pp. 54–6.
  61. ^ Knighton and Morte García 1999:120.
  62. ^ Ilaria Ciseri, L'ingresso trionfale di Leone X in Firenze nel 1515 (Biblioteca Storica Toscana (Florence: Olschki) 1990.
  63. ^ Shearman 1962:480
  64. ^ Bill Marshall, Cristina Johnston, France and the Americas: culture, politics, and history Volume 3, p. 185
  65. ^ Pinson, Yona (2001). "Imperial Ideology in the Triumphal Entry into Lille of Charles V and the Crown Prince (1549)" (PDF). Assaph: Studies in Art History. 6: 212. Retrieved 20 August 2013. Already in his Imperial Triumphal Entry into Rome (1536) the Emperor appeared as a triumphant Roman Imperator: mounted on a white horse and wearing a purple cape, he embodied the figure of the ancient conqueror. At the head of a procession marching along the ancient Via Triumphalis, Charles had re-established himself as the legitimate successor to the Roman Empire.
  66. ISBN 978-1931112697
    . Retrieved 20 August 2013. In 1536, the emperor was fêted as a returning hero by Pope Paul III in the Eternal City. Charles was granted a real Roman triumph, his route into the city taking him past the ruins of the triumphal arches of the soldier-emperors of Rome. In sight of the Capitoline Hill, actors dressed as ancient senators hailed the return of the new Caesar as miles christi and a handsome page presented Charles with an embossed shield.
  67. ^ Strong, 1984, p. 88
  68. ^ Strong, 1984, pp. 87–91, and Alexander Samson, British Library site
  69. ^ I. D. McFarlane, The Entry of Henri II into Paris, 16 June 1549 (Binghamton: Center for Medieval and Early Renaissance Studies) 1982.One of several Festival Books
  70. ^ Strong, 1984:47 Henry was later to die in a festival tournament.
  71. ^ John Strype, Ecclesiastical Memorials, 3:1 (Oxford, 1822), p. 55.
  72. ^ Sydney Anglo, Spectacle Pageantry and Early Tudor Policy (Oxford, 1969). pp. 334-5.
  73. ^ Festival Book
  74. ^ Gordon Kipling, Enter the King: Theatre, Liturgy, and Ritual in the Medieval Civic Triumph (Oxford, 1998) p. 129.
  75. ^ R.H. Wilenski, Dutch Painting, 1945:28f, Faber, London
  76. ^ Michael Lynch, 'Court Ceremony and Ritual', Julian Goodare & Michael Lynch, The Reign of James VI (Tuckwell: East Linton, 2000), pp. 74–77.
  77. ^ See James W. Saslow, The Medici Wedding of 1589: Florentine Festival as Theatrum Mundi ((New Haven:Yale University Press) 1996.
  78. ^ Caterina Pagnini, 'Luci sullo spettacolo di corte tra i mari del Nord: Anna di Danimarca da Copenaghen al trono di Scozia (1574-1590)', Il Castello de Elsinore, 78, (2018), pp. 11-28
  79. ^ See Bonner Mitchell, 1598. A Year of Pageantry in Late Renaissance Ferrara (Binghamton: Medieval Texts and Studies) 1990.
  80. ^ Ian W. Archer, 'City and Court Connected: The Material Dimensions of Royal Ceremonial, ca. 1480–1625', Huntington Library Quarterly, 71:1 (March 2008), p. 160.
  81. ^ Hans Vlieghe, "The Decorations for Archduke Leopold William's State Entry into Antwerp" Journal of the Warburg and Courtauld Institutes 39 (1976:190–198).

References

Further reading

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