page_title: Royal entry
section_title: Artists
hierarchical_section_title: Royal entry / Origins and development / Artists
caption_attribution_description: Henry II Between France and Fame, ca. 1548 Jean Duvet (French, 1485–ca. 1561) Etching; 11 5/8 x 8 1/4 in. (29.5 x 21 cm)
context_page_description: The Royal Entry, also known by various names, including Triumphal Entry, Joyous Entry, consisted of the ceremonies 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. 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 entries became the occasion for increasingly lavish displays of pageantry and propaganda.
context_section_description: To the occasional irritation of modern art historians, many of the great artists of the time spent a good deal of time on the ephemeral decorations for entries and other festivities, including Jan van Eyck, Leonardo da Vinci, Albrecht Dürer, Holbein, Andrea del Sarto, Perino del Vaga, Polidoro da Caravaggio, Tintoretto, Veronese  and Rubens.  For some court artists, such as Inigo Jones or Jacques Bellange, it seems to have been their major occupation, and both Giulio Romano and Giorgio Vasari were very heavily engaged in such work.  Composers from Lassus and Monteverdi to John Dowland, and writers such as Tasso, Ronsard, Ben Jonson and Dryden also contributed. Shakespeare 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 The Magnificent Entertainment, as the published record called the first entry of James I of England into London.
  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 works, and entries probably helped the dissemination of styles.
caption: 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.
exif: {}