134:
701:
1711:
1624:
430:
311:
31:
1374:(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. Traditional tableau themes, including a large genealogy, and many figures of virtues, are complemented by scenes of Maximilian's life and military victories. Maximilian was wary of entries in person, having been locked up by his loyal subjects in
572:
889:
868:, after which Charles arrived with a large army and was greeted with an entry. A few weeks later he dictated the programme of a deliberately humiliating anti-festival, with the burghers coming barefoot with nooses round their necks to beg forgiveness from him which, after imposing a huge fine, he consented to do. The entries of Charles and his son Philip in 1549 were followed the next year by a ferocious anti-Protestant edict that began the repression that led to the
759:
1153:
1697:, which shows many decorations that were not actually constructed. Apart from very heavy rain, the entry had been designed to celebrate agreement of Philip's succession to the Empire, which the Electors refused. The States (assemblies) of Flanders also made difficulties, and if it was the "most famous entry of the century", this was largely thanks to the book, which was published in three language editions. In charge of the Antwerp decorations was
125:, aside from highly conventional patterns into which it quickly settled, 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.
671:
1339:
1031:
334:. 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." Fortune with her wheel, fame and time, the seven virtues, both Christian and classical, and the
1453:
1603:
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 "
1312:
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." One
Habsburg entry was all but called off because of torrential rain, but the book shows it as it should have been.
292:(the royal badge) on their chests and backs, at their own expense. 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
1435:, that exceeded the annual income of the city. Printed commemorative pamphlets spelled out in detail the elaborately artificial allegories and hieroglyphic emblems 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
2154:
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
1800:
affair than
Habsburg entries, but at least for the Protestant population, one more genuinely celebrated. There is a typical English emphasis on poems and orations, of which the majority were given by children. Elizabeth processed in a triumphal "Chariot", was presented with a bible by the city, and
420:
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
367:
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". 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
325:
During the 14th century, as courtly culture, with the court of
Burgundy in the lead, 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
194:
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
1602:
into
Florence is one of the most thoroughly documented entries, both in official records and private journalsâ though the visual and musical components are lostâ and has attracted a separate monograph, by Ilaria Ciseri. It was produced on a princely scale, catching Leo at the peak of his reputation,
1299:
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
559:
parades of Florence that were refined to a high pitch in the late quattrocento set a high standard; they were not without a propaganda element at times, as in the lavish parades of Carnival 1513, following the not-universally welcomed return of the Medici the previous year; the theme of one pageant,
338:
and other classical, biblical and local heroes, 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,
1311:
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
1058:
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
1290:
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
616:
form, this became the standard source, from which details were frequently borrowed, not least by Habsburg rulers, who especially claimed the Imperial legacy of Rome. Although Mantegna's elephants were difficult to copy, chained captives, real or acting the part, were not, and elaborate triumphal
3078:
In 1536, the emperor was fĂȘted 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
1277:
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. In the Renaissance, artists were often imported from other cities to help with, or supervise, the
265:
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, everything was so brilliantly arrayed, that I, who am of the town and have
1067:
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. Though considered a great success, this was certainly too little and too late to avoid the catastrophe awaiting the French monarchy.
635:
was printed in many illustrated editions; both were works of mythological allegory, with no obvious political content. Entries became displays of conspicuous learning, often with lengthy Latin addresses, and the entertainments became infused with matter from the abstruse worlds of Renaissance
601:, notably in Genoa, where Charles and his heir Philip made no less than five triumphal entries. Impressive occasions like Charles V's royal entry into Messina in 1535 have left few concrete survivals, but representations were still being painted on Sicilian wedding-carts in the 19th century.
1990:
line had failed and the Pope had declared the fief to have reverted to the Papal States, the occasion urgently required splendidly presented and concrete allegorical propaganda, in order to justify the new situation to the Ferrarese. Once ensconced, Clement was host to a series of dukes and
824:
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
350:
with either painted figures or posed actors perching on it, standing in for statuary in the case of arches. Still more elaborate entertainments began to be staged during or after the civic feast, and by the mid-17th century these could be as spectacular as the staged naval battles,
1325:
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
189:
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
696:
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.
841:
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".
271:
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
1517:, then occupied by the English, and the arms of both crowns were prominently displayed. Henry, then aged fifteen, was encountered by the "empresses" of "Nature, Grace and Fortune" who bestowed various virtues and talents upon, then by fourteen maidens, representing the
687:
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
2923:
Reviewed in detail by Jeffrey Chipps Smith. âVenit nobis pacificus Dominus: Philip the Goodâs Triumphal Entry into Ghent in 1458.â âAll the Worldâs a Stage ...â: Art and Pageantry in the Renaissance and Baroque, I: Triumphal Celebrations and the Rituals of Statecraft.
3036:
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
987:
were hung with blue cloth. At Temple Bar, the official gate to the City, there was music and the Lord Mayor handed over the mace and received it again. In a "closet" constructed for the occasion, the Queen heard a festive service celebrated by fifty clergymen at
3408:
1085:(1797) requisitioned from the papacy a mass of works of art, including most of the famous sculptures of Roman antiquity in the Vatican. A Joyous Entry under the name of a fĂȘte was arranged for the arrival of the cultural loot in Paris, the carefully prepared
1878:, which rarely had the opportunity of welcoming a friendly monarch, though it had its own very lavish round of festivities. This was a "State Visit" with no element of accepting fealty. Tintoretto and Veronese collaborated in painting an arch designed by
1705:
probably worked on them, and whose mature art was to decisively reject the style and substance of such occasions. These were undoubtedly the high-water mark of the sixteenth-century Royal Entry, but with signs of the troubles to come already beginning to
260:, conducted him through the streets which were transformed with colour, with houses on the route hanging tapestries and embroideries or carpets or bolts of cloth from their windows, and with most of the population lining the route. At Valladolid in 1509
245:
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 with a "loyal address" or speech, and perhaps stopping to admire
723:, once the richest in Northern Europe and now in steep decline, were "used by the city fathers to combine increasingly eulogistic celebrations of their Habsburg rulers with tableaux to remind them of the commercial ruin over which they presided." The
173:, 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
747:, flying away, as a lamenting figure representing Antwerp points at him and looks imploringly out at the Viceroy, whilst beside her lie a sleeping sailor and a river god, representing the wrecked trade of the city from the blockading of the river
542:
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".
546:
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
2017:
into Antwerp was also coordinated by Gevartius, who devised its iconography and published his own description. Rather than three-dimensional arches and tableaux, the allegories were rendered in two dimensions on strategically placed
1368:(begun in 1512 and unfinished at Maximilian's death in 1519) contains over 130 large woodcuts by DĂŒrer and other artists, showing a huge procession (still in open country) culminating in the Emperor himself, mounted on a huge car.
1443:
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."
1751:, whose woodcut illustrations follow a set derived from Mantegna extremely closely â whether, or in what form, six elephants were actually seen in Rouen may be wondered. Henry IV's 1594 Rouen entry was also informatively
564:. With the French invasions of Italy from 1494, this form of entry spread north. Cardinal Bibbiena reported in a letter of 1520 that the Duke of Suffolk had sent emissaries to Italy to buy horses and bring back to
1101:. On these occasions, though ceremonial acts remained meaningful, overt allegories never regained the old prominence, and the decorations receded into festive, but simply decorative affairs of flags, flowers and
1664:, with a mock battle staged in the harbour. In 1535â36, at the height of his success, he made a progress through Italy, being crowned as Emperor by the Pope in Bologna and visiting the capital of his new
81:. 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.
1019:, 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
1652:
was both the most powerful and the most mobile monarch of the Renaissance, and made unprecedented numbers of entries. He made a series in his youth, from which the 1515 entry into
363:
that courts staged for themselves. The court now often had a major role in both designing and financing entries, which increasingly devoted themselves to the glorification of the
1544:. 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
169:
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
1300:
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
1689:
1548â1549: Philip II made a tour as the heir of Charles beginning in Italy, up through Germany, and ending in the Netherlands, entering many cities, often with Charles, with
1429:, 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
983:
followed the triumphal car, leading the caparisoned and riderless horse of estate, followed by the ladies of honour. The windows of houses along the procession route up the
402:, to be crowned king of France in Paris, 2 December 1431, was marked with great pomp and heraldic propaganda. Outside the city he was welcomed by the mayor in a blue velvet
792:, though she actually traveled to the Netherlands as an exile. Spectacular displays and water pageants took place in the city's harbor; a procession was led by two mounted
2259:. "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).
1015:, 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
655:
into Florence, November 1515. All the city's artistic resources were drawn upon to create this exemplary entry, to a planned programme perhaps devised by the historian
1714:
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.
2155:
Ferdinand's withdrawal into Aragon. (Tess Knighton and Carmen Morte GarcĂa, "Ferdinand of Aragon's Entry into Valladolid in 1513: The Triumph of a Christian King"
416:
on an azure ground. The king was offered large red hearts, from which doves were released, and a rain of flowers pelted the procession. At the symbolic gateway, a
284:
of the city processing behind the prince. From the mid-14th century the guild members often wore special uniform clothes, each guild choosing a bright colour; in
276:
and pictured and living allegories, accompanied by declamations and the blare of trumpets and volleys of artillery. The procession would include members of the
943:
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
2479:(New Haven: Yale University Press, 1973) summarises the scholarship on the Arch and reports eye-witness accounts of the Entry and pictorial illustrations.
1778:
1525:
a fountain ran with wine (a particular speciality of London festivities) and large tableaux represented the genealogy of the King, and a complementary
492:(1342â43), following the schema of a triumph, offered a parade of famous personages, both historical and legendary, that may have provided a model for
207:. The grand cavalcade through the streets was accompanied by the public conduits running with wine and a featured large temporary castle representing
1801:
passed giant figures re-used from the wedding of her sister Mary. Both speeches and tableaus depicted her as saviour of the Protestant faith, a new
755:
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.
412:
in red trimmed with fur. At the porte Saint-Denis the royal party were greeted with a grand achievement of the French arms that Henry claimed, gold
692:, tension became a permanent condition, and most entries contained a sectarian element. After about 1540 French entries and Habsburg ones in the
2925:
2426:
Italian Civic Pageantry of the High Renaissance: A Descriptive Bibliography of Triumphal Entries and Selected Other Festivals for State Occasions
2093:, Barbara Hanawalt and Kathryn Reyerson, eds., 1994, p. 137; Murray compares this "political bargain" with a contemporary account of the similar
1921:â the citizens were forewarned and attacked the army as it marched through the streets, sending it running. They had already been sacked in the
971:"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
663:
suggested; the seven virtues represented by seven triumphal arches at stations along the route, the seventh applied as a temporary façade to the
2551:
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
951:
were especially joyous and solemn. Delaying the event a week to 24 November, Elizabeth rode in triumph, "imitating the ancient Romans" from her
719:
This transformation happened much earlier in Italy than in the North, and a succession of entries for Spanish Viceroys to the blockaded city of
2691:
445:
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
94:. 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
2200:
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
1178:, many of the great artists of the time spent a good deal of time on the ephemeral decorations for entries and other festivities, including
2028:
1821:
1686:. Throughout the tour, he was presented as the heir, and surpasser, of the Roman Emperors, and triumphal arches and Roman imagery abounded.
1529:
showing that of Christ. The finale was a huge tableau of Heaven, where God the Father, surrounded by saints and angels, addressed the King.
837:
defeated the Genoan army outside the city, which then agreed a capitulation, including an entry which was followed by the execution of the
133:
928:, and even elaborate equestrian ballets all increased as entries declined. In 1628, when Marie de' Medici commissioned from Rubens a
2542:'s Fountain of Orion in Messina, which survives in much degraded condition, owe their origins to the programme for the Entry of 1535.
1465:, 1507, from a manuscript account. The Genoans had revolted against the French and been defeated; many executions followed the entry.
1266:
does not seem to have written anything for such an occasion, but with Jonson he was one of a group of twenty gentlemen processing in
700:
2505:
3209:, 'Court Ceremony and Ritual', Julian Goodare & Michael Lynch, The Reign of James VI (Tuckwell: East Linton, 2000), pp. 74â77.
1723:
and his family made a tour of entries which set the tone for Valois propaganda. For the Entry into Paris, 16 June 1549, following
1046:
Changes in the intellectual climate meant the old allegories no longer resonated with the population. The assassinations of both
1972:
1089:
of 1798. With the increased sense of public security of the 19th century, entries became grander again, on such occasions as the
242:
had made such festivities inappropriate, until the peace that followed the Peace of Saint-Germain-en-Laye signed in August 1570.
203:, and fulfilled the dual purpose of enhancing the image of the boy-king and reconciling the crown with the economically powerful
2229:
Pile carpets were displayed on tables or on a dais; pile carpets were not usually trod under foot until the seventeenth century.
375:
was phased out and mostly replaced by painted or sculpted images, although many elements of street-theatre persisted, and small
1817:
being apparently the only townsman whose Latin was fit to put before the Queen, he catches her up and orates at several points.
2701:
2122:
814:
Medicea Hospes, sive descriptio publicae gratulationis, qua ... Mariam de Medicis, excepit senatus populusque Amstelodamensis
3323:
Kipling, Gordon. Enter the King: Theatre, Liturgy, and Ritual in the Medieval Civic Triumph (Oxford: Clarendon Press, 1998).
740:
2808:
1832:
231:
195:
to accept this condition, the king and count took an oath on the relics of saints in the hearing of the clergy and people".
2670:
The quote and the description are from Roy C. Strong, "The Popular Celebration of the Accession Day of Queen Elizabeth I"
3462:
2754:
2334:
2014:
1992:
1860:
1090:
211:. The success of the event set a precedent that was to continue at English coronations until well into the 17th-century.
2822:; Figure 9 (and many later ones) show the Triumphal Car of Maximilian, and Figure 10 is the first appearance of the Arch
3064:
980:
3233:'Luci sullo spettacolo di corte tra i mari del Nord: Anna di Danimarca da Copenaghen al trono di Scozia (1574â1590)',
2204:â in Latin. (George L. Gorse, "An Unpublished Description of the Villa Doria in Genoa during Charles V's Entry, 1533"
1540:
in Europe" Unlike most lathe-and-plaster painted triumphal arches, its permanent commemoration is the arch before the
936:; Rubens did not recreate historic details of the 1594 royal entry, but overleapt them to render the allegory itself (
3304:
2844:
2643:
He had sent a small force into the city two days before, and though large fines were levied, the city was not sacked.
2640:
2377:
2277:
1133:
1899:
1498:
granted by the ruler to the Duchy came to assume a position in the history of the Low Countries similar to that of
1483:
1359:
1007:
and other entertainments, but the cities, increasingly at odds with the monarchy, would no longer play along. The
877:
61:
The ceremonies and festivities accompanying a formal entry by a ruler or his/her representative into a city in the
2855:
A move the burghers were to regret when his son Charles V later took family revenge with an especially tough siege
1595:
as an occasion for allegorical displays of regal power in "an unusually lavish and explicitly propagandist entry".
1996:
1763:
1386:
1035:
1710:
3169:
3120:
2742:
2003:
1892:
1810:
1797:
1752:
1748:
1694:
1670:
1657:
1518:
1459:
1382:
17:
2238:
LuĂs de Soto, chaplain of the king and coordinator of the Entry, quoted in Knighton and Morte GarcĂa 1999:139.
1116:
have quite separate, independent origins, civic or republican equivalents of the entry continue. They include
2407:
was called upon to provide texts for similar pageantry at home, such as the entry of Henry into London, 1434.
1674:
His Imperial Entry into Rome, on April 5, 1536, is particularly well documented in contemporary accounts, in
1649:
1362:, went a step further, commissioning enormous virtual triumphs that existed solely in the form of print. The
146:
3012:
2584:(Paris 1956, vol. I:420), and described at length by John Shearman, "The Florentine Entrata of Leo X, 1515"
383:
to Paris, as Louis XII's new Queen, was the first French entry to have a single organizer; ten years before
368:
arms: the significance could not have been lost, even on those unable to hear the accompanying declamation.
2885:
Nancy H. Fee, "La Entrada Angelopolitana: Ritual and Myth in the Viceregal Entry in Puebla de Los Angeles"
590:
142:
3361:
Chartrou-Charbonnel, J., Les EntrĂ©es solennelles et triomphales Ă la Renaissance, 1484â1551 (Paris, 1928).
453:
With the revival of classical learning, Italian entries became influenced by literary descriptions of the
3442:
3437:
380:
186:
1855:
provided paintings. The main theme was the inauguration of a new era of peace: Charles' personal motto,
1839:, published in July. Bouquet, an alderman of Paris, was responsible for coordinating the details. Poets
3447:
3328:
The King and the City in the Parisian Royal Entry Ceremony: Politics, Ritual and Art in the Renaissance
3260:
Ian W. Archer, 'City and Court Connected: The Material Dimensions of Royal Ceremonial, ca. 1480â1625',
3141:
2539:
1479:
1023:, redolent of cultural propaganda, which were memorialised in sumptuously illustrated volumes that the
728:
2538:(Studies in Renaissance History, Ann Arbor: University of Michigan Press, 1984) that many features of
1914:
1623:
3452:
3397:
3370:
Wintroub, M., A Savage Mirror: Power, Identity and Knowledge in Early Modern France (Stanford, 2006).
3206:
2602:
Splendid Ceremonies: State Entries and Royal Funerals in the Low Countries, 1550â1791: A Bibliography
1933:
1545:
651:
A precocious example of the Entrata with a consistent and unified allegorical theme was the entry of
627:
3346:
The Majesty of the State: Triumphal Progresses of Foreign Sovereigns in Renaissance Italy (1494â1600
3232:
2391:
1883:
1702:
1191:
800:
was built especially for the festival. This building was designed to display a series of dramatic
648:, the assertion and acting-out of the glory and power of the prince might actually bring it about.
84:
The entry began as a gesture of loyalty and fealty by a city to the ruler, with its origins in the
908:
During the 17th century the scale of entries began to decline. There was a clear trend, led from
2137:
Bernard Ribemont, "L'entree d'Isabeau de BaviĂšre Ă Paris: une fete textuelle pour Froissart," in
1936:, complete with ephemeral triumphal arches, included â interspersed with public shows, a game of
1902:
was intended to celebrate the commencement of the king's adult reign, after a childhood spent at
1724:
1698:
1577:
989:
912:
Florence, to transfer festivities involving the monarch into the private world of the court. The
579:
484:
furnished a detail that became part of the conventional symbolism: coronation with seven crowns.
239:
51:
1991:
ambassadors honoured with princely entries themselves, climaxed with the betrothals by proxy of
1762:
to London after she was proclaimed Queen, on 30 September there was another entry preceding her
1075:
took the semi-private fĂȘte of the former court and made it public once more, in events like the
2724:
of 1533, bear witness to the vanished theme of the event: Neptune and the defeat of the Giants.
2151:
1859:
furnished the allegory presented at one of the cortege's stops. A little over a year later the
1785:
1588:
1562:
1364:
1203:
865:
689:
3013:"Imperial Ideology in the Triumphal Entry into Lille of Charles V and the Crown Prince (1549)"
816:. Published by Willem Blaeu, it includes two large folding engraved views of the ceremonies.
339:
which especially included the benefits to him of encouraging prosperous cities and provinces.
2464:
2069:
Eternal Victory: Triumphal Rulership in Late Antiquity, Byzantium and the Early Medieval West
1929:
1852:
1835:, into Paris, 6 March and 29, were recorded in a book of woodcuts with text, Simon Bouquet's
575:
565:
507:
395:
200:
3056:
Chivalry & the Perfect Prince: Tournaments, Art, and Armor at the Spanish Habsburg Court
1925:
in 1576, with the sack of Rome in 1527, among the most notorious anti-entries of the period.
3457:
2876:, which engendered a considerable Spanish emblem literature during the seventeenth century.
2330:
2325:
was presented with the keys to the city by the mayor and the allegorical founder-figure of
2322:
1976:
1828:
1313:
1125:
933:
901:
227:
1656:
is one of the best recorded of the old medieval style, with an unusually well-illustrated
1132:
model. It is not frivolous to add that the specific occasion of the contemporary American
1077:
8:
3387:
3104:
2819:
2797:
2188:
1867:
1533:
1506:
1456:
1082:
1047:
996:
956:
952:
850:
834:
744:
598:
515:
399:
314:
138:
86:
66:
3421:
3351:
3273:
Hans Vlieghe, "The Decorations for Archduke Leopold William's State Entry into Antwerp"
1636:
555:, the precursors of the float, and were now often accompanied by a costumed throng. The
429:
310:
199:
In England, the first pre-coronation royal entry was staged in 1377 for the 10 year-old
3424:
includes a collection of festival books from the 16th century to the early 20th century
3355:
2937:
Discussed by Eva Borsook, "Decor in Florence for the Entry of Charles VIII of France",
2717:
2368:
One Pierre Gringore, apparently appointed by the government. Baumgartner, Frederick J;
2080:"A remarkably consistent visual and iconographical vocabulary" according to Roy Strong.
1770:
1720:
1628:
1370:
1301:
1271:
1157:
1137:
1121:
1105:, the last remnant of the medieval show of rich textiles along the processional route.
1094:
1055:
1051:
1016:
964:
944:
664:
609:
438:
409:
326:
communities of foreign merchants resident), and drawing on their growing experience of
253:
219:
39:
3412:
A True Representation of the Triumphal car, pulled by four horses, which conveyed Sir
2555:, at Florence, 6 February 1513. (John Shearman, "Pontormo and Andrea Del Sarto, 1513"
2067:
in late antiquity and the Early Middle Ages have been discussed by Michael McCormick,
3300:
3060:
2840:
2697:
2636:
2373:
2273:
2118:
1983:
1938:
1774:
1759:
1665:
1431:
1414:
1183:
1170:, may reflect a tableau from an occasion such as his entry into Paris, 16 June 1549.
1102:
1072:
1008:
1000:
830:
751:. Eventually the Viceroy managed to obtain the lifting of the ban on trade with the
736:
708:
446:
293:
166:
162:
35:
1565:'s entry into Florence, which occasioned the temporary eclipse of Piero de' Medici,
1351:
1187:
3041:
Charles had re-established himself as the legitimate successor to the Roman Empire.
2305:
1960:
with complex allegories mark a stage in the development of court pageantry and the
1616:
1612:
1487:
1223:
1195:
1012:
972:
861:
732:
613:
548:
497:
417:
384:
364:
342:
The procession might pause for allegorical figures to address it, or pass beside a
331:
327:
182:
114:
110:
2300:
The refinements of court protocol and the magnificence of court entertainments of
2046:
Of course other cultures had equivalents, often even more spectacular, especially
1291:
order of events, and perhaps recording speeches, to lavish books illustrated with
3413:
3391:
3054:
2421:
2301:
2112:
1922:
1903:
1735:
had been in preparation for two years; a naval battle was staged on the Seine, a
1584:, welcomed by King Arthur and the Nine Worthies, Queen Fortune, and Saint George.
1566:
1552:
1390:
1199:
873:
858:
809:
777:
605:
434:
379:
or other displays became incorporated into the programmes. The entry in 1514 of
103:
534:
on the earliest, and still perhaps the most beautiful, permanent post-classical
234:, into Paris, March 1571, had been scheduled for Charles alone in 1561, for the
98:
festivities, and for provincial cities they replaced it, sometimes as part of a
90:
celebrated for Roman emperors, which were formal entries far more frequent than
30:
3335:"All the world's a stage...": Art and pageantry in the Renaissance and Baroque.
2869:
2832:
1871:
1844:
1814:
1789:
1675:
1510:
1426:
1398:
1247:
1231:
1211:
1129:
1117:
984:
960:
948:
920:
893:
801:
789:
660:
535:
372:
347:
248:
204:
154:
2864:
Emblems were especially drawn from the much-reprinted and translated standard
1979:
involved theatrical tableau and recitations at various locations in Edinburgh.
1152:
995:
Nevertheless, the entry of James I into London in 1604 was the last until the
3431:
2064:
1987:
1848:
1728:
1683:
1526:
1491:
1287:
1227:
1175:
693:
645:
538:, which he built the same year. In Italian, specific meanings developed for
523:
477:
454:
335:
277:
218:. A ruler with a new spouse would also receive an entry. The entry of Queen
208:
91:
1128:
in London, dating back to 1215 and still preserving the Renaissance car, or
571:
2687:
2404:
2372:, pp. 136 (Anne) and 240 (Mary), Alan Sutton Publishing Ltd, Stroud, 1994,
2010:
1661:
1631:
to Rouen, 1 October 1550, 30 naked men were employed to illustrate life in
1541:
1471:
1243:
1179:
1098:
1097:
romanticism, Queen Victoria's visits to Dublin and elsewhere, or the three
888:
869:
838:
804:
in tribute to her once she set foot on the floating island and entered its
797:
769:
656:
621:" might replace the earlier canopy held over the prince on horseback. The
413:
388:
318:
302:
would be customary, and music written for the occasion would be performed.
289:
280:, with the nobility and gentry of the surrounding area, and the clergy and
78:
55:
3182:
Enter the King: Theatre, Liturgy, and Ritual in the Medieval Civic Triumph
2089:
quoted in James M. Murray, "the Liturgy of the Count's Advent in Bruges",
1536:'s triumphal entry into Naples was "the earliest of the triumphal entries
568:
men who knew how to make festal decorations in the latest Italian manner.
2873:
2865:
2248:
1910:
1793:
1732:
1604:
1499:
1422:
1381:
An early meeting between the festival book with travel literature is the
1263:
1259:
1219:
1141:
829:
revolted against the French who had conquered them in 1499, and restored
764:
641:
466:
404:
343:
122:
62:
2928:
and Susan C. Scott, Eds. (University Park, Pennsylvania, 1990): 258â290.
1093:, where medieval revivalism makes its first appearance, along with much
317:
enters Paris after his coronation at Rheims in 1364. Later depiction by
3341:(Pennsylvania State University) 1990. Essays presented at a conference.
3292:
2766:
2762:
2580:
Singled out by AndrĂ© Chastel, "Le lieu de la fĂȘte", in J. Jacquot, ed.
2108:
1948:
1840:
1736:
1599:
1255:
1239:
1207:
1167:
1113:
914:
758:
675:
652:
531:
118:
95:
43:
2504:(1975:136â154) p. 136. The arrival in England, via another route, of
1378:
in 1488 for eleven weeks, until he could pay the bills from his stay.
451:
On the Wedding of Philology and Mercury and of the Seven Liberal Arts.
408:, his retinue in violet with scarlet caps, and representatives of the
3119:(Binghamton: Center for Medieval and Early Renaissance Studies) 1982.
2536:
Civic Sculpture in the Renaissance: Montorsoli's Fountains at Messina
1608:
1522:
1296:
1163:
1064:
1060:
796:; a large temporary structure erected on an artificial island in the
793:
781:
527:
502:
485:
462:
257:
223:
191:
150:
897:
644:, to which they were very well suited. In the world of Renaissance
449:'s encyclopedic introduction to all one needed to know of the arts,
371:
During the 16th century, at dates differing widely by location, the
238:
were typically celebrated towards the beginning of a reign, but the
2187:
Lingering into modern times is the ceremonial presentation of the "
1943:
1879:
1640:
1581:
1570:
1475:
1418:
805:
556:
493:
470:
252:
such as those that were performed at the entry into Paris of Queen
1338:
670:
113:, entries became the occasion for increasingly lavish displays of
3373:
Brégaint, D. "Solemn Entries in 12th and 13th century Norway" in
3220:
The Medici Wedding of 1589: Florentine Festival as Theatrum Mundi
2256:
1918:
1806:
1802:
1690:
1682:
and in surviving drawings; it drew on the imagery of the ancient
1592:
1495:
1394:
1347:
1292:
1251:
1030:
748:
720:
712:
622:
618:
583:
298:
285:
3131:
Strong, 1984:47 Henry was later to die in a festival tournament.
2247:
At Valladolid in 1513 Ferdinand was welcomed with four pairs of
1278:
works, and entries probably helped the dissemination of styles.
1020:
975:, supporters of the armes of England, drawn by two white horses"
514:
in 1326 riding in a chariot, with prisoners driven before him.
2399:, are noted in the brief description in Walter Franz Schirmer,
1961:
1953:
1946:
in Piazza Santa Croce â semi-private court events, the musical
1875:
1653:
1632:
1375:
1235:
1215:
1109:
1039:
1004:
932:, it was for a suite of grand decorations for her own palace,
925:
909:
752:
637:
612:
rapidly became known throughout Europe in numerous versions in
519:
376:
360:
352:
170:
3422:
Anne S. K. Brown Military Collection, Brown University Library
3083:
and a handsome page presented Charles with an embossed shield.
2910:
Knighton and Morte GarcĂa 1999:124, referencing C. Carandete,
597:
in Italian cities during the Habsburg consolidation after the
2395:(Thomas Johnes, tr., London 1810, vol. vii, p. 46ff) and the
2252:
2176:
The Paris Entries of Charles IX and Elizabeth of Austria 1571
2051:
2047:
1965:
1887:
1740:
1660:
for the date. In 1533 he was regally entertained in Genoa by
1556:
1514:
1462:
1011:, a great centre of all festivities, was swallowed up in the
854:
826:
511:
356:
281:
273:
174:
47:
27:
Ceremonies accompanying a formal entry by a ruler into a city
3367:
Jacquot, J., Les fĂȘtes de la Renaissance (Paris, 1956â1975).
2006:, deferred from the previous year due to plague in the city.
880:
in 1584â85, which finally ended all prosperity in the city.
181:"On April 5... at twilight, the king with the newly elected
2591:(1975:136â154), from whose account these details are drawn.
2318:
1952:
that were presented in the newly redesigned theatre in the
1591:'s triumphal entry into Valladolid, taking the conquest of
1003:. The court of Charles I intensified the scale of private
846:
496:, who elaborated upon Livy in an account of the triumph of
458:
3403:
2308:
set courtly fashions for decades in the fifteenth century.
2114:
Coronation: A History of Kingship and the British Monarchy
387:'s entry had been "largely medieval", with five stops for
1452:
1425:; on the way, the ceremonial entry at the "second city",
1330:
1226:, it seems to have been their major occupation, and both
2939:
Mitteilungen des Kunsthistorisches Institutes in Florenz
2769:, who worked on at least two royal entries, may well do.
2401:
John Lydgate: a study in the culture of the XVth century
1234:
were very heavily engaged in such work. Composers from
461:'s account was supplemented by detailed descriptions in
3364:
Konigson, E., LâEspace thĂ©Ăątral mĂ©diĂ©val (Paris, 1975).
2999:
France and the Americas: culture, politics, and history
2765:
relate to tableaus not from entries, but engravings by
2635:, pp. 185â7, Alan Sutton Publishing Ltd, Stroud, 1994,
2497:
John Shearman, "The Florentine Entrata of Leo X, 1515"
2004:
Entry of James VI and I and Anne of Denmark into London
631:
of 1499 were another well-known source, and Petrarch's
165:
of the unadorned "Joyous Advent" of a newly installed
2517:
In 1529, 1533, 1536, 1542 and 1548. (J. Jacquot, ed.,
992:
and returned in a torchlit procession in the evening.
849:
in splendour less than three years after his army had
437:, with hand-colouring, showing the culmination of the
288:
in 1464 three hundred men wore large embroidered silk
3404:
Material on "Trionfi" â Italian triumphal processions
3339:
Triumphal Celebrations and the Rituals of Statecraft.
3249:
1598. A Year of Pageantry in Late Renaissance Ferrara
2979:(Biblioteca Storica Toscana (Florence: Olschki) 1990.
2661:
A major theme of Strong, 1984, summed up in pp. 171â3
2287:
2285:
102:, or tour of major cities in a realm. The concept of
3416:
to the Crown and Anchor Tavern, Strand, 29 June 1807
1956:; these elaborately costumed and staged allegorical
1611:) canvases of feigned architecture and sculpture by
1270:, as the published record called the first entry of
214:
The procession of a new pope to Rome was known as a
2977:
L'ingresso trionfale di Leone X in Firenze nel 1515
1727:'s coronation at Saint-Denis, a loggia designed by
222:into Paris in 1389 was described by the chronicler
2282:
1890:designed by Jacopo Sansovino decorated the tables.
1747:triumphal procession, and had a well-illustrated
1739:was held, and heretics were burned. The entry to
1490:. "Joyous Entry" is a common term for French or
872:, in the course of which Antwerp was to suffer a
776:In 1638, the occasion of the French queen mother
3429:
3333:Wisch, Barbara, and Susan Scott Munshower, eds.
3313:, "Prologue" pp. 27â43, 1945, Faber, London
3079:senators hailed the return of the new Caesar as
2220:The richly worked hangings of a bed would serve.
1693:as the culmination, shown in a well-illustrated
1342:Detail of top (about 1/10 of the height) of the
3275:Journal of the Warburg and Courtauld Institutes
2672:Journal of the Warburg and Courtauld Institutes
2586:Journal of the Warburg and Courtauld Institutes
2499:Journal of the Warburg and Courtauld Institutes
2170:
2168:
1521:and a further set. After further tableaux, at
3297:Art and Power; Renaissance Festivals 1450â1650
3251:(Binghamton: Medieval Texts and Studies) 1990.
3117:The Entry of Henri II into Paris, 16 June 1549
2693:Citizens: A Chronicle of the French Revolution
1851:executed temporary allegorical sculpture, and
1409:In Habsburg territories in the New World, the
788:international recognition of the newly formed
739:, was made unmistakably pointed, and included
582:and his wife in triumphal cars, hers drawn by
185:, came into our town at Bruges. The canons of
3059:. Truman State University Press. p. 80.
2686:
2523:FĂȘtes et cĂ©rĂ©monies au temps de Charles-Quint
476:More recherché sources were brought to bear;
2174:Victor E. Graham and W. McAllister Johnson,
2165:
1932:at Florence and her wedding procession with
1822:Entry of Mary, Queen of Scots into Edinburgh
1743:was the introduction to France of the fully
3418:(after his election as MP for Westminster).
2955:Spectacle Pageantry, and Early Tudor Policy
1913:was a disastrously unsuccessful attempt by
1316:, the playwright and author of the book on
900:to celebrate the ceremonial entry of Queen
3158:Spectacle Pageantry and Early Tudor Policy
2957:(Oxford: Clarendon Press, 1969), pp. 54â6.
2753:Many of the best known examples, like the
1874:was given an exceptionally grand Entry to
128:
2720:, executed in expectation of Charles V's
2696:. New York: Alfred A. Knopf. p. 57.
2337:and embedded in civic cult (Gareth Dean,
1870:on his way back from his brief period as
1494:entries. This one is famous because the
421:captured stag was released and "hunted".
305:
3394:â records of these and similar occasions
3222:((New Haven:Yale University Press) 1996.
2416:The bibliography of Italian Renaissance
1709:
1622:
1451:
1337:
1151:
1140:is the triumphal entry into the city of
1029:
887:
853:. The famously troublesome citizens of
812:wrote the official descriptive booklet,
808:. The distinguished poet and classicist
757:
699:
678:of Charles V entering Antwerp (in ?1515)
669:
570:
428:
309:
256:, described in detail by the chronicler
132:
29:
3052:
2820:The American Institute for Conservation
2477:The Aragonese Arch at Naples, 1443â1475
1973:Entry and coronation of Anne of Denmark
1882:, and for the banquet for 3,000 in the
1509:returned to London after being crowned
1174:To the occasional irritation of modern
735:and carried out under the direction of
14:
3430:
3105:Alexander Samson, British Library site
3010:
2839:, (British Museum Press), 2002:194â7,
2534:Sheila ffoliot argues convincingly in
2268:Françoise Piponnier and Perrine Mane;
2107:
2029:Catherine de' Medici's court festivals
1917:to use the excuse of an entry to take
1847:drew up the iconographic program, and
1447:
1063:to inspect the naval harbour works at
930:Triumphal Entry of Henri IV into Paris
667:, which still lacked a permanent one.
424:
266:never left it, could not recognize it.
2733:Strong, 1983, p. 6 for most of these.
2091:City and Spectacle in Medieval Europe
947:in 1588, following the defeat of the
593:was indulged in a series of Imperial
346:or under a temporary classical-style
3352:British Library â short Bibliography
2778:Knighton and Morte Garcia 1999:120f.
1863:inaugurated a new phase of the wars.
1701:, whose pupil and future son-in-law
1404:
924:that spread from Paris, the English
3053:Frieder, Braden (15 January 2008).
2966:Knighton and Morte GarcĂa 1999:120.
2755:Annunciation (van Eyck, Washington)
2600:The bibliography is John Landwehr,
2388:The contemporary sources, including
2178:(University of Toronto Press) 1975.
2015:Archduke Leopold William of Austria
1964:, as well as in the pre-history of
1824:, following her return from France.
1385:of the visit in 1530 of the future
1320:for James I is refreshingly frank:
1218:. For some court artists, such as
1091:Visit of King George IV to Scotland
999:of his grandson in 1660, after the
24:
3317:
2997:Bill Marshall, Cristina Johnston,
2506:"Antony Toto" and Bartlommeo Penni
2359:Knighton and Morte GarcĂa 1999:146
2071:(Cambridge University Press) 1987.
1986:into Ferrara, where the principal
1546:Antonio Beccadelli, "Il Panormita"
1417:were celebrated at his landing at
715:figuration of the allegory itself.
183:Count William, marquis of Flanders
25:
3474:
3400:from HAB WolfenbĂŒttel (in German)
3381:
2677:.1/2 (January 1958:86â103) pp92f.
1982:1598: For the triumphal entry of
1861:Saint Bartholomew's Day Massacres
1598:1515: The triumphal entry of the
1281:
731:into Antwerp in 1635, devised by
2912:I triunfi nel primo rinascimento
2831:For all on DĂŒrer's involvement:
2796:Phillip II into Antwerp in 1549
2329:, a phantom king conjured up by
1900:Entry of James VI into Edinburgh
1792:on her way to her coronation at
1484:Wenceslaus I, Duke of Luxembourg
1360:Holy Roman Emperor, Maximilian I
819:
469:of Nero's Greek Triumph, and in
398:, the entry of the ten-year-old
3375:Scandinavian Journal of History
3267:
3254:
3241:
3225:
3212:
3200:
3187:
3174:
3163:
3150:
3134:
3125:
3109:
3097:
3088:
3046:
3004:
2991:
2982:
2969:
2960:
2947:
2931:
2917:
2904:
2895:
2892:.3 (January 1996), pp. 283â320.
2879:
2858:
2849:
2825:
2813:
2802:
2790:
2781:
2772:
2747:
2736:
2727:
2710:
2680:
2664:
2655:
2646:
2625:
2616:
2607:
2594:
2574:
2565:
2545:
2528:
2511:
2491:
2482:
2469:
2457:
2444:
2431:
2410:
2397:Journal d'un bourgeois de Paris
2382:
2362:
2353:
2344:
2335:history of the kings of Britain
2311:
2294:
2262:
2241:
2232:
2223:
2214:
2194:
2063:Earlier transformations of the
1764:coronation at Westminster Abbey
1486:, upon her becoming Duchess of
1387:Ferdinand I, Holy Roman Emperor
1036:George IV of the United Kingdom
1027:placed in all the right hands.
551:; the tableaux were mounted on
3020:Assaph: Studies in Art History
2272:; pp. 150â151, Yale UP, 1997;
2181:
2144:
2131:
2100:
2083:
2074:
2057:
2040:
1827:1571: The separate entries of
1639:allies of the French, and the
1519:Seven Gifts of the Holy Spirit
161:The contemporary account from
13:
1:
3398:Festival books, mostly German
3286:
3121:One of several Festival Books
3103:Strong, 1984, pp. 87â91, and
2837:Albrecht DĂŒrer and his Legacy
2508:may have satisfied this need.
1928:1589: The triumphal entry of
1318:The Magnificent Entertainment
1268:The Magnificent Entertainment
682:
530:, as is shown by a surviving
3264:, 71:1 (March 2008), p. 160.
3262:Huntington Library Quarterly
1831:and his new Habsburg queen,
705:Entry of Henry IV into Paris
665:Duomo, Santa Maria del Fiore
562:The Return of the Golden Age
69:in Europe were known as the
7:
3145:, 3:1 (Oxford, 1822), p. 55
2809:British Library online book
2519:Les fĂȘtes de la Renaissance
2022:
1942:, animal-baiting, a staged
1837:Bref et sommaire receuil...
1042:, 1821, with temporary arch
918:developed in Florence, the
147:Cardinal Alessandro Farnese
10:
3479:
3463:European court festivities
3390:253 books online from the
3299:, 1984, The Boydell Press;
3160:(Oxford, 1969). pp. 334-5.
2631:Baumgartner, Frederick J;
2540:Giovanni Angelo Montorsoli
2251:, trumpets by the dozens,
1997:Archduke Albert of Austria
1769:1554: 19 August, entry of
1147:
1059:or balcony. The visit of
883:
729:Cardinal-Infante Ferdinand
3348:(Florence: Olschki) 1986.
3197:, 1945:28f, Faber, London
2441:25; Cassius Dio lxiii.20.
2117:. London: HarperCollins.
1758:1553: 3 August, entry of
1635:and a battle between the
1555:, Duke of Burgundy, into
1120:, New York's traditional
945:Accession Day festivities
870:Revolt of the Netherlands
711:, 1628â30: an unfinished
628:Hypnerotomachia Poliphili
560:more direct than subtle:
473:of the Triumph of Titus.
3409:Example at Borough level
3143:Ecclesiastical Memorials
2392:Enguerrand de Monstrelet
2270:Dress in the Middle Ages
2034:
1779:following their marriage
1703:Pieter Bruegel the Elder
1346:of Maximilian, coloured
967:. She rode in a chariot
743:of the god of commerce,
617:carts, often pulled by "
230:and his Habsburg queen,
153:in 1540, in a fresco by
3377:Vol 39, Issue 3 (2014).
3237:, 78, (2018), pp. 11-28
3235:Il Castello de Elsinore
2914:(Edizioni Rai 1963:20).
2582:FĂȘtes de la Renaissance
2557:The Burlington Magazine
2191:" to an honoured guest.
2162:(1999:119â163) p. 123.)
1915:François, Duke of Anjou
1699:Pieter Coecke van Aelst
1578:Arthur, Prince of Wales
1160:between France and Fame
1134:Thanksgiving Day Parade
580:Federico da Montefeltro
240:French Wars of Religion
129:Origins and development
52:manuscript illumination
42:into Paris after their
3247:See Bonner Mitchell,
3184:(Oxford, 1998) p. 129.
1934:Ferdinand I de' Medici
1786:Elizabeth I of England
1715:
1644:
1466:
1365:Triumphs of Maximilian
1355:
1246:, and writers such as
1204:Polidoro da Caravaggio
1171:
1081:. Under Napoleon, the
1043:
977:
905:
773:
716:
679:
608:'s great mural of the
587:
442:
322:
306:Increasing elaboration
197:
158:
121:. The devising of the
58:
3218:See James W. Saslow,
3011:Pinson, Yona (2001).
2901:Strong, 1984, pp. 8â9
1930:Christina of Lorraine
1805:. A 1578 entry into
1713:
1626:
1455:
1427:Puebla de los Ăngeles
1341:
1155:
1033:
969:
891:
780:triumphal entry into
761:
703:
673:
576:Piero della Francesca
574:
566:Henry VIII of England
508:Castruccio Castracani
432:
313:
179:
136:
106:is related to this.
33:
2759:Virgin of Einsiedeln
2463:Strong, 1984, p. 44
2331:Geoffrey of Monmouth
2323:Henry VII of England
2150:The entries made by
1977:James VI of Scotland
1833:Elizabeth of Austria
1829:Charles IX of France
1813:; the master of the
1784:1558: The new Queen
1725:Catherine de' Medici
1648:1515 and 1535â1536:
1580:, makes an entry to
1548:, circulated widely.
1350:, overall design by
990:St. Paul's Cathedral
902:Marie Louise Gonzaga
522:in 1443 seated on a
433:Later woodcut after
232:Elizabeth of Austria
228:Charles IX of France
149:enter Paris under a
3094:Strong, 1984, p. 88
2944:(1961:106â22, 217).
2622:Strong, 1984, p. 49
2613:Strong, 1984, p. 48
2571:Strong, 1984:40â41.
2350:Strong, 1984, p. 41
2157:Early Music History
2152:Ferdinand of Aragon
1993:Margaret of Austria
1868:Henry III of France
1866:1574: The new King
1798:much less elaborate
1788:passed through the
1731:with sculptures by
1589:Ferdinand of Aragon
1551:1457: The entry of
1534:Alfonso V of Aragon
1507:Henry VI of England
1457:Louis XII of France
1448:Examples of entries
1122:ticker-tape parades
1108:Today, though many
1083:Treaty of Tolentino
1034:Triumphal entry of
957:city of Westminster
953:palace of Whitehall
835:Louis XII of France
516:Alfonso V of Aragon
425:Classical influence
400:Henry VI of England
315:Charles V of France
139:Francis I of France
67:early modern period
3443:History of theatre
3438:Visual arts genres
3344:Mitchell, Bonner.
3231:Caterina Pagnini,
2718:Villa del Principe
2562:No. 716 p. 478.).
2475:George L. Hersey,
2390:The Chronicles of
2291:Strong, 1984, p. 7
1853:Niccolo dell'Abate
1771:Philip II of Spain
1721:Henry II of France
1716:
1645:
1629:Henry II of France
1569:collaborated with
1467:
1439:into semi-private
1371:The Triumphal Arch
1356:
1302:Ferdinand Columbus
1272:James I of England
1262:also contributed.
1172:
1158:Henry II of France
1138:Santa Claus parade
1087:FĂȘte de la LibertĂ©
1071:Ideologues of the
1056:William the Silent
1052:Henry IV of France
1044:
906:
845:Charles V entered
774:
717:
680:
610:Triumphs of Caesar
588:
443:
439:Triumphs of Caesar
410:Parlement of Paris
396:Hundred Years' War
323:
254:Isabeau of Bavaria
220:Isabeau of Bavaria
159:
59:
40:Joan I of Auvergne
3448:Parades in Europe
3115:I. D. McFarlane,
3001:Volume 3, p. 185
2988:Shearman 1962:480
2716:His frescoes for
2703:978-0-394-55948-3
2465:Picture of relief
2124:978-0-00-716054-9
2095:Adventus Iocundus
1984:Pope Clement VIII
1895:
1857:Piety and Justice
1775:Mary I of England
1760:Mary I of England
1673:
1666:Kingdom of Naples
1627:For the entry of
1600:Medici Pope Leo X
1415:Viceroy of Mexico
1405:New World entries
1184:Leonardo da Vinci
1126:Lord Mayor's Show
1078:FĂȘte de la Raison
1073:French Revolution
1009:Duchy of Lorraine
1001:English Civil War
973:lyon and a dragon
857:revolted against
778:Marie de Medici's
653:Medici Pope Leo X
447:Martianus Capella
344:genealogical tree
294:cathedral chapter
226:. The entries of
167:Count of Flanders
163:Galbert of Bruges
36:John II of France
16:(Redirected from
3470:
3453:Late Middle Ages
3354:and a series of
3281:
3271:
3265:
3258:
3252:
3245:
3239:
3229:
3223:
3216:
3210:
3204:
3198:
3191:
3185:
3180:Gordon Kipling,
3178:
3172:
3167:
3161:
3154:
3148:
3138:
3132:
3129:
3123:
3113:
3107:
3101:
3095:
3092:
3086:
3085:
3075:
3073:
3050:
3044:
3043:
3039:Via Triumphalis,
3033:
3031:
3017:
3008:
3002:
2995:
2989:
2986:
2980:
2973:
2967:
2964:
2958:
2951:
2945:
2935:
2929:
2921:
2915:
2908:
2902:
2899:
2893:
2883:
2877:
2862:
2856:
2853:
2847:
2829:
2823:
2817:
2811:
2806:
2800:
2794:
2788:
2787:Strong, 1984:47.
2785:
2779:
2776:
2770:
2751:
2745:
2740:
2734:
2731:
2725:
2714:
2708:
2707:
2684:
2678:
2668:
2662:
2659:
2653:
2650:
2644:
2629:
2623:
2620:
2614:
2611:
2605:
2598:
2592:
2578:
2572:
2569:
2563:
2549:
2543:
2532:
2526:
2515:
2509:
2495:
2489:
2486:
2480:
2473:
2467:
2461:
2455:
2448:
2442:
2435:
2429:
2428:(Florence) 1979.
2414:
2408:
2386:
2380:
2366:
2360:
2357:
2351:
2348:
2342:
2333:'s 12th-century
2315:
2309:
2306:Charles the Bold
2298:
2292:
2289:
2280:
2266:
2260:
2245:
2239:
2236:
2230:
2227:
2221:
2218:
2212:
2206:The Art Bulletin
2198:
2192:
2185:
2179:
2172:
2163:
2148:
2142:
2139:Feste und Feiern
2135:
2129:
2128:
2104:
2098:
2087:
2081:
2078:
2072:
2061:
2055:
2044:
1891:
1886:, statuettes in
1669:
1617:Jacopo Sansovino
1613:Andrea del Sarto
1482:and her husband
1224:Jacques Bellange
1196:Andrea del Sarto
1013:Thirty Years War
741:a representation
733:Gaspar Gevartius
625:and text of the
549:medieval pageant
500:and in his poem
498:Scipio Africanus
418:canopy of estate
391:in the streets.
385:Anne of Brittany
365:absolute monarch
328:medieval theatre
249:tableaux vivants
151:canopy of estate
111:Late Middle Ages
21:
3478:
3477:
3473:
3472:
3471:
3469:
3468:
3467:
3428:
3427:
3414:Francis Burdett
3392:British Library
3384:
3320:
3318:Further reading
3309:R.H. Wilenski,
3289:
3284:
3280:(1976:190â198).
3272:
3268:
3259:
3255:
3246:
3242:
3230:
3226:
3217:
3213:
3205:
3201:
3193:R.H. Wilenski,
3192:
3188:
3179:
3175:
3168:
3164:
3155:
3151:
3139:
3135:
3130:
3126:
3114:
3110:
3102:
3098:
3093:
3089:
3071:
3069:
3067:
3051:
3047:
3029:
3027:
3015:
3009:
3005:
2996:
2992:
2987:
2983:
2975:Ilaria Ciseri,
2974:
2970:
2965:
2961:
2952:
2948:
2936:
2932:
2922:
2918:
2909:
2905:
2900:
2896:
2884:
2880:
2863:
2859:
2854:
2850:
2833:Bartrum, Giulia
2830:
2826:
2818:
2814:
2807:
2803:
2798:British Library
2795:
2791:
2786:
2782:
2777:
2773:
2752:
2748:
2741:
2737:
2732:
2728:
2715:
2711:
2704:
2685:
2681:
2669:
2665:
2660:
2656:
2651:
2647:
2630:
2626:
2621:
2617:
2612:
2608:
2599:
2595:
2579:
2575:
2570:
2566:
2550:
2546:
2533:
2529:
2516:
2512:
2496:
2492:
2487:
2483:
2474:
2470:
2462:
2458:
2449:
2445:
2436:
2432:
2422:Bonner Mitchell
2415:
2411:
2387:
2383:
2367:
2363:
2358:
2354:
2349:
2345:
2316:
2312:
2302:Philip the Good
2299:
2295:
2290:
2283:
2267:
2263:
2246:
2242:
2237:
2233:
2228:
2224:
2219:
2215:
2199:
2195:
2189:key to the city
2186:
2182:
2173:
2166:
2149:
2145:
2136:
2132:
2125:
2109:Strong, Sir Roy
2105:
2101:
2088:
2084:
2079:
2075:
2062:
2058:
2045:
2041:
2037:
2025:
1904:Stirling Castle
1567:Filippino Lippi
1553:Philip the Good
1450:
1407:
1391:King of Hungary
1284:
1200:Perino del Vaga
1150:
1144:in his sleigh.
1118:Victory parades
886:
859:Philip the Good
851:sacked the city
822:
810:Caspar Barlaeus
725:Pompa Introitus
685:
490:Amorosa visione
427:
308:
131:
104:itinerant court
75:triumphal entry
50:in 1350, later
28:
23:
22:
15:
12:
11:
5:
3476:
3466:
3465:
3460:
3455:
3450:
3445:
3440:
3426:
3425:
3419:
3406:
3401:
3395:
3388:Festival Books
3383:
3382:External links
3380:
3379:
3378:
3371:
3368:
3365:
3362:
3359:
3356:short articles
3349:
3342:
3331:
3330:(Geneva) 1986.
3324:
3319:
3316:
3315:
3314:
3311:Dutch Painting
3307:
3288:
3285:
3283:
3282:
3266:
3253:
3240:
3224:
3211:
3199:
3195:Dutch Painting
3186:
3173:
3162:
3156:Sydney Anglo,
3149:
3133:
3124:
3108:
3096:
3087:
3066:978-1931112697
3065:
3045:
3003:
2990:
2981:
2968:
2959:
2953:Sydney Anglo,
2946:
2930:
2916:
2903:
2894:
2878:
2870:Andrea Alciati
2857:
2848:
2824:
2812:
2801:
2789:
2780:
2771:
2746:
2735:
2726:
2709:
2702:
2679:
2663:
2654:
2652:Wilenski:34â35
2645:
2624:
2615:
2606:
2604:(Leiden 1971).
2593:
2573:
2564:
2544:
2527:
2525:, Paris 1960).
2510:
2490:
2488:Shearman 1962.
2481:
2468:
2456:
2443:
2430:
2409:
2403:1979, p. 137;
2381:
2361:
2352:
2343:
2310:
2293:
2281:
2261:
2240:
2231:
2222:
2213:
2193:
2180:
2164:
2143:
2130:
2123:
2099:
2097:of April 1384.
2082:
2073:
2056:
2038:
2036:
2033:
2032:
2031:
2024:
2021:
2020:
2019:
2007:
2000:
1980:
1969:
1926:
1907:
1896:
1872:King of Poland
1864:
1845:Pierre Ronsard
1825:
1818:
1815:grammar school
1790:City of London
1782:
1767:
1756:
1708:
1707:
1687:
1676:Giorgio Vasari
1621:
1620:
1615:to designs by
1596:
1585:
1574:
1573:on the decors.
1559:
1549:
1530:
1511:King of France
1503:
1449:
1446:
1406:
1403:
1399:Constantinople
1352:Albrecht DĂŒrer
1344:Triumphal Arch
1336:
1335:
1283:
1282:Festival books
1280:
1232:Giorgio Vasari
1188:Albrecht DĂŒrer
1176:art historians
1149:
1146:
1025:Cabinet du Roi
961:city of London
949:Spanish Armada
934:the Luxembourg
921:ballet de cour
894:triumphal arch
885:
882:
876:in 1576 and a
864:and Charles V
831:their Republic
821:
818:
790:Dutch Republic
684:
681:
536:triumphal arch
482:Noctes Atticae
426:
423:
373:tableau vivant
348:triumphal arch
307:
304:
296:also. There a
269:
268:
205:City of London
187:Saint Donatian
175:saintly relics
155:Taddeo Zuccari
130:
127:
100:Royal Progress
26:
18:Royal progress
9:
6:
4:
3:
2:
3475:
3464:
3461:
3459:
3456:
3454:
3451:
3449:
3446:
3444:
3441:
3439:
3436:
3435:
3433:
3423:
3420:
3417:
3415:
3410:
3407:
3405:
3402:
3399:
3396:
3393:
3389:
3386:
3385:
3376:
3372:
3369:
3366:
3363:
3360:
3357:
3353:
3350:
3347:
3343:
3340:
3336:
3332:
3329:
3326:Bryant, L.M.
3325:
3322:
3321:
3312:
3308:
3306:
3305:0-85115-200-7
3302:
3298:
3294:
3291:
3290:
3279:
3276:
3270:
3263:
3257:
3250:
3244:
3238:
3236:
3228:
3221:
3215:
3208:
3207:Michael Lynch
3203:
3196:
3190:
3183:
3177:
3171:
3170:Festival Book
3166:
3159:
3153:
3146:
3144:
3140:John Strype,
3137:
3128:
3122:
3118:
3112:
3106:
3100:
3091:
3084:
3082:
3081:miles christi
3068:
3062:
3058:
3057:
3049:
3042:
3040:
3025:
3021:
3014:
3007:
3000:
2994:
2985:
2978:
2972:
2963:
2956:
2950:
2943:
2940:
2934:
2927:
2926:Barbara Wisch
2920:
2913:
2907:
2898:
2891:
2888:
2882:
2875:
2871:
2867:
2861:
2852:
2846:
2845:0-7141-2633-0
2842:
2838:
2834:
2828:
2821:
2816:
2810:
2805:
2799:
2793:
2784:
2775:
2768:
2764:
2760:
2757:or the large
2756:
2750:
2744:
2743:Festival Book
2739:
2730:
2723:
2719:
2713:
2705:
2699:
2695:
2694:
2689:
2688:Schama, Simon
2683:
2676:
2673:
2667:
2658:
2649:
2642:
2641:0-7509-0695-2
2638:
2634:
2628:
2619:
2610:
2603:
2597:
2590:
2587:
2583:
2577:
2568:
2561:
2558:
2554:
2548:
2541:
2537:
2531:
2524:
2520:
2514:
2507:
2503:
2500:
2494:
2485:
2478:
2472:
2466:
2460:
2453:
2447:
2440:
2434:
2427:
2423:
2419:
2413:
2406:
2402:
2398:
2394:
2393:
2385:
2379:
2378:0-7509-0695-2
2375:
2371:
2365:
2356:
2347:
2340:
2339:Medieval York
2336:
2332:
2328:
2324:
2320:
2314:
2307:
2303:
2297:
2288:
2286:
2279:
2278:0-300-06906-5
2275:
2271:
2265:
2258:
2254:
2250:
2244:
2235:
2226:
2217:
2210:
2207:
2203:
2197:
2190:
2184:
2177:
2171:
2169:
2161:
2158:
2153:
2147:
2141:, pp. 515â24.
2140:
2134:
2126:
2120:
2116:
2115:
2110:
2103:
2096:
2092:
2086:
2077:
2070:
2066:
2065:Roman triumph
2060:
2053:
2049:
2043:
2039:
2030:
2027:
2026:
2016:
2012:
2008:
2005:
2001:
1998:
1994:
1989:
1985:
1981:
1978:
1974:
1970:
1967:
1963:
1959:
1955:
1951:
1950:
1945:
1941:
1940:
1935:
1931:
1927:
1924:
1920:
1916:
1912:
1908:
1905:
1901:
1897:
1894:
1889:
1885:
1884:Doge's Palace
1881:
1877:
1873:
1869:
1865:
1862:
1858:
1854:
1850:
1849:Germain Pilon
1846:
1842:
1838:
1834:
1830:
1826:
1823:
1819:
1816:
1812:
1811:almost homely
1808:
1804:
1799:
1795:
1791:
1787:
1783:
1780:
1776:
1772:
1768:
1765:
1761:
1757:
1754:
1750:
1749:Festival Book
1746:
1742:
1738:
1734:
1730:
1729:Pierre Lescot
1726:
1722:
1718:
1717:
1712:
1704:
1700:
1696:
1695:Festival Book
1692:
1688:
1685:
1684:Roman Triumph
1681:
1677:
1672:
1667:
1663:
1659:
1658:Festival Book
1655:
1651:
1647:
1646:
1642:
1638:
1634:
1630:
1625:
1618:
1614:
1610:
1606:
1601:
1597:
1594:
1590:
1586:
1583:
1579:
1575:
1572:
1568:
1564:
1560:
1558:
1554:
1550:
1547:
1543:
1539:
1535:
1531:
1528:
1527:Tree of Jesse
1524:
1520:
1516:
1512:
1508:
1504:
1501:
1497:
1493:
1492:Netherlandish
1489:
1485:
1481:
1477:
1473:
1469:
1468:
1464:
1461:
1458:
1454:
1445:
1442:
1438:
1434:
1433:
1428:
1424:
1420:
1416:
1412:
1402:
1400:
1396:
1392:
1388:
1384:
1379:
1377:
1373:
1372:
1367:
1366:
1361:
1353:
1349:
1345:
1340:
1333:
1332:
1327:
1323:
1322:
1321:
1319:
1315:
1314:Thomas Dekker
1310:
1305:
1303:
1298:
1294:
1289:
1288:festival book
1279:
1275:
1274:into London.
1273:
1269:
1265:
1261:
1257:
1253:
1249:
1245:
1241:
1237:
1233:
1229:
1228:Giulio Romano
1225:
1221:
1217:
1213:
1209:
1205:
1201:
1197:
1193:
1189:
1185:
1181:
1177:
1169:
1165:
1161:
1159:
1154:
1145:
1143:
1139:
1135:
1131:
1127:
1123:
1119:
1115:
1111:
1106:
1104:
1100:
1099:Delhi Durbars
1096:
1092:
1088:
1084:
1080:
1079:
1074:
1069:
1066:
1062:
1057:
1053:
1049:
1041:
1037:
1032:
1028:
1026:
1022:
1018:
1014:
1010:
1006:
1002:
998:
993:
991:
986:
982:
981:Earl of Essex
976:
974:
968:
966:
962:
959:to enter the
958:
954:
950:
946:
941:
939:
935:
931:
927:
923:
922:
917:
916:
911:
903:
899:
895:
890:
881:
879:
875:
874:terrible sack
871:
867:
863:
860:
856:
852:
848:
843:
840:
836:
832:
828:
820:Peace and war
817:
815:
811:
807:
803:
799:
795:
791:
787:
783:
779:
771:
767:
766:
760:
756:
754:
750:
746:
742:
738:
734:
730:
726:
722:
714:
710:
706:
702:
698:
695:
694:Low Countries
691:
677:
674:19th century
672:
668:
666:
662:
658:
654:
649:
647:
646:Neo-Platonism
643:
639:
634:
630:
629:
624:
620:
615:
611:
607:
602:
600:
596:
592:
585:
581:
577:
573:
569:
567:
563:
558:
554:
550:
544:
541:
537:
533:
529:
525:
524:triumphal car
521:
517:
513:
509:
505:
504:
499:
495:
491:
488:'s long poem
487:
483:
479:
478:Aulus Gellius
474:
472:
468:
464:
460:
456:
455:Roman triumph
452:
448:
440:
436:
431:
422:
419:
415:
414:fleurs de lis
411:
407:
406:
401:
397:
392:
390:
389:mystery plays
386:
382:
378:
374:
369:
366:
362:
358:
354:
349:
345:
340:
337:
336:Nine Worthies
333:
329:
320:
316:
312:
303:
301:
300:
295:
291:
287:
283:
279:
278:three Estates
275:
267:
263:
262:
261:
259:
255:
251:
250:
243:
241:
237:
233:
229:
225:
221:
217:
212:
210:
209:New Jerusalem
206:
202:
196:
193:
188:
184:
178:
176:
172:
168:
164:
156:
152:
148:
144:
140:
135:
126:
124:
120:
116:
112:
107:
105:
101:
97:
93:
89:
88:
82:
80:
76:
72:
68:
64:
57:
53:
49:
45:
41:
37:
32:
19:
3411:
3374:
3345:
3338:
3334:
3327:
3310:
3296:
3277:
3274:
3269:
3261:
3256:
3248:
3243:
3234:
3227:
3219:
3214:
3202:
3194:
3189:
3181:
3176:
3165:
3157:
3152:
3142:
3136:
3127:
3116:
3111:
3099:
3090:
3080:
3077:
3070:. Retrieved
3055:
3048:
3038:
3035:
3028:. Retrieved
3023:
3019:
3006:
2998:
2993:
2984:
2976:
2971:
2962:
2954:
2949:
2941:
2938:
2933:
2919:
2911:
2906:
2897:
2889:
2887:The Americas
2886:
2881:
2866:emblem books
2860:
2851:
2836:
2827:
2815:
2804:
2792:
2783:
2774:
2758:
2749:
2738:
2729:
2721:
2712:
2692:
2682:
2674:
2671:
2666:
2657:
2648:
2632:
2627:
2618:
2609:
2601:
2596:
2588:
2585:
2581:
2576:
2567:
2559:
2556:
2552:
2547:
2535:
2530:
2522:
2518:
2513:
2501:
2498:
2493:
2484:
2476:
2471:
2459:
2451:
2446:
2438:
2433:
2425:
2417:
2412:
2400:
2396:
2389:
2384:
2369:
2364:
2355:
2346:
2338:
2326:
2313:
2296:
2269:
2264:
2243:
2234:
2225:
2216:
2208:
2205:
2201:
2196:
2183:
2175:
2159:
2156:
2146:
2138:
2133:
2113:
2102:
2094:
2090:
2085:
2076:
2068:
2059:
2042:
2011:Joyous Entry
1957:
1947:
1937:
1923:Spanish Fury
1856:
1836:
1744:
1679:
1662:Andrea Doria
1563:Charles VIII
1542:Castel Nuovo
1537:
1472:Joyous Entry
1440:
1436:
1430:
1410:
1408:
1380:
1369:
1363:
1357:
1343:
1329:
1324:
1317:
1308:
1306:
1285:
1276:
1267:
1244:John Dowland
1180:Jan van Eyck
1173:
1156:
1107:
1086:
1076:
1070:
1045:
1024:
994:
978:
970:
942:
938:illustration
937:
929:
919:
913:
907:
844:
823:
813:
798:Amstel River
785:
775:
770:Jean Fouquet
762:
724:
718:
704:
686:
657:Jacopo Nardi
650:
632:
626:
603:
599:Sack of Rome
594:
589:
561:
552:
545:
539:
501:
489:
481:
475:
450:
444:
403:
393:
370:
341:
324:
319:Jean Fouquet
297:
290:fleur de lys
270:
264:
247:
244:
235:
215:
213:
198:
180:
160:
108:
99:
85:
83:
79:Joyous Entry
74:
70:
60:
56:Jean Fouquet
3458:Art history
2874:Cesare Ripa
2452:Jewish Wars
2437:Suetonius,
2249:kettledrums
2009:1648: The "
1975:, bride of
1911:French Fury
1794:Westminster
1753:illustrated
1733:Jean Goujon
1719:1549â1550.
1605:chiaroscuro
1502:in England.
1500:Magna Carta
1423:Mexico City
1264:Shakespeare
1220:Inigo Jones
1142:Santa Claus
1114:processions
997:Restoration
765:Jehoshaphat
763:Triumph of
690:Reformation
642:hermeticism
467:Cassius Dio
405:houppelande
394:During the
192:reliquaries
123:iconography
71:royal entry
63:Middle Ages
3432:Categories
3293:Roy Strong
3287:References
2767:Jean Duvet
2763:Master E.S
2450:Josephus,
2202:all'antica
1971:1590: The
1909:1583: The
1898:1579: The
1841:Jean Dorat
1777:to London
1745:all'antica
1737:tournament
1561:1494: For
1538:all'antica
1470:1356: the
1328: [
1297:engravings
1256:Ben Jonson
1240:Monteverdi
1208:Tintoretto
1168:Jean Duvet
965:Temple Bar
915:intermezzi
892:Temporary
878:long siege
794:trumpeters
772:, 1470â75.
683:Propaganda
676:oil sketch
532:bas-relief
381:Mary Tudor
201:Richard II
119:propaganda
96:coronation
44:coronation
3072:20 August
3030:20 August
2633:Louis XII
2454:vii. 4â6.
2370:Louis XII
2341:2008:50).
1949:intermedi
1650:Charles V
1637:Tupinamba
1609:grisaille
1523:Cheapside
1164:engraving
1065:Cherbourg
1061:Louis XVI
1048:Henry III
1017:Richelieu
782:Amsterdam
633:I Trionfi
591:Charles V
528:baldachin
503:I Trionfi
486:Boccaccio
463:Suetonius
332:pageantry
258:Froissart
224:Froissart
143:Charles V
115:pageantry
109:From the
34:Entry of
3337:Part I,
2690:(1989).
2553:Broncone
2321:in 1486
2257:sackbuts
2111:(2005).
2023:See also
2018:screens.
1958:tableaux
1880:Palladio
1643:Indians.
1641:Tabajara
1582:Coventry
1571:Perugino
1476:Brussels
1419:Veracruz
1411:entradas
1293:woodcuts
1212:Veronese
1124:and the
1095:Highland
806:pavilion
802:tableaux
786:de facto
623:woodcuts
619:unicorns
606:Mantegna
584:unicorns
578:, 1472,
557:carnival
526:under a
518:entered
510:entered
494:Petrarch
471:Josephus
435:Mantegna
216:possesso
92:triumphs
87:adventus
2722:entrata
2418:entrate
2405:Lydgate
1919:Antwerp
1807:Norwich
1803:Deborah
1691:Antwerp
1593:Navarre
1496:Charter
1488:Brabant
1437:entrées
1432:cabildo
1421:and at
1413:of the
1395:Bohemia
1389:, then
1383:account
1348:woodcut
1309:livrets
1252:Ronsard
1192:Holbein
1148:Artists
1136:or the
1110:parades
1103:bunting
1005:masques
955:in the
884:Decline
866:in 1539
862:in 1453
749:Scheldt
745:Mercury
727:of the
721:Antwerp
713:Baroque
638:emblems
595:entrate
540:trionfo
377:masques
361:ballets
353:masques
299:Te Deum
286:Tournai
274:mottoes
236:entrate
3303:
3063:
2843:
2700:
2639:
2376:
2327:Eburak
2276:
2253:shawms
2121:
2002:1604:
1962:masque
1954:Uffizi
1939:calcio
1876:Venice
1820:1561:
1654:Bruges
1633:Brazil
1587:1513:
1576:1498:
1532:1443:
1505:1431:
1480:Joanna
1460:enters
1376:Bruges
1307:These
1260:Dryden
1236:Lassus
1216:Rubens
1040:Dublin
985:Strand
926:masque
910:Medici
904:, 1646
898:GdaĆsk
753:Indies
737:Rubens
709:Rubens
661:Vasari
604:After
520:Naples
357:operas
282:guilds
171:parley
145:, and
3026:: 212
3016:(PDF)
2211:.2 ).
2052:India
2048:China
2035:Notes
2013:" of
1966:opera
1944:joust
1888:sugar
1796:. A
1741:Rouen
1706:show.
1680:Lives
1557:Ghent
1515:Paris
1478:, by
1474:into
1463:Genoa
1441:fĂȘtes
1334:]
1326:were.
1248:Tasso
1130:float
1054:, of
1038:into
1021:fĂȘtes
855:Ghent
827:Genoa
784:lent
707:, by
659:, as
614:print
553:carri
512:Lucca
137:King
77:, or
48:Reims
3301:ISBN
3074:2013
3061:ISBN
3032:2013
2872:and
2841:ISBN
2698:ISBN
2637:ISBN
2521:II:
2439:Nero
2374:ISBN
2319:York
2304:and
2274:ISBN
2255:and
2119:ISBN
2050:and
1995:and
1988:Este
1893:Book
1843:and
1773:and
1671:Book
1393:and
1358:The
1258:and
1238:and
1230:and
1214:and
1112:and
1050:and
979:The
847:Rome
839:Doge
640:and
465:and
459:Livy
359:and
330:and
117:and
65:and
38:and
2868:of
2761:by
2560:104
2420:is
2317:At
1809:is
1678:'s
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1513:in
1397:to
1331:sic
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1222:or
1166:by
963:at
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896:in
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54:by
46:at
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2835:,
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2502:38
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2284:^
2209:68
2167:^
2160:18
2106:*
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