|
The Royal Entry, also known by various names, including Triumphal Entry, Joyous Entry, embraced the ceremonial and festivities accompanying a formal entry by a ruler or his representative into a city in the Middle Ages and Early Modern Period in Europe.〔Of course other cultures had equivalents, often even more spectacular, especially China and India.〕 The entry centred on a procession carrying the entering prince into the city, where he was greeted and paid appropriate homage by the civic authorities. A feast and other celebrations would follow. 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. From the late Middle Ages〔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.〕 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,〔"A remarkably consistent visual and iconographical vocabulary" according to Roy Strong.〕 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== 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".〔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.〕 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 Isabeau of Bavaria into Paris in 1389 was described by the chronicler Froissart.〔Bernard Ribemont, "L'entree d'Isabeau de Bavière à Paris: une fete textuelle pour Froissart," in ''Feste und Feiern'', pp. 515–24.〕 The Entries of Charles IX of France and his Habsburg 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,〔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.)〕 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.〔Victor E. Graham and W. McAllister Johnson, ''The Paris Entries of Charles IX and Elizabeth of Austria 1571'' (University of Toronto Press) 1975.〕 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〔Lingering into modern times is the ceremonial presentation of the "key to the city" to an honoured guest.〕 with a "loyal address" or speech,〔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 (1986:319–322 )).〕 and perhaps stopping to admire ''tableaux vivants'' such as those that were performed at the entry into Paris of Queen Isabeau of Bavaria, described in detail by the chronicler Froissart, conducted him through the streets which were transformed with colour, with houses on the route hanging tapestries and embroideries〔The richly worked hangings of a bed would serve.〕 or carpets〔Pile carpets were displayed on tables or on a dais; pile carpets were not usually trod under foot until the seventeenth century.〕 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, () everything was so brilliantly arrayed, that I, who am of the town and have never left it, could not recognize it.''〔Luís de Soto, chaplain of the king and coordinator of the Entry, quoted in Knighton and Morte García 1999:139.〕 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 mottoes and pictured and living allegories, accompanied by declamations and the blare of trumpets〔At Valladolid in 1513 Ferdinand was welcomed with four pairs of 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).〕 and volleys of artillery. The procession would include members of the three Estates, with the nobility and gentry of the surrounding area, and the clergy and guilds 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 Tournai in 1464 three hundred men wore large embroidered silk fleur de lys (the royal badge) on their chests and backs, at their own expense.〔Françoise Piponnier and Perrine Mane; ''Dress in the Middle Ages''; pp. 150–151, Yale UP, 1997; ISBN 0-300-06906-5〕 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.〔Strong, 1984, p. 7〕 There a ''Te Deum'' would be customary, and music written for the occasion would be performed 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「royal entry」の詳細全文を読む スポンサード リンク
|