page_title: Royal entry
section_title: Examples of entries
hierarchical_section_title: Royal entry / Examples of entries
caption_attribution_description: Brazilian_ball_for_Henry_II_in_Rouen_October_1_1550
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: 1356: the Joyous Entry into Brussels, by Joanna and her husband Wenceslaus I, Duke of Luxembourg, upon her becoming Duchess of Brabant.  "Joyous Entry" is a common term for French or 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 the Magna Carta in England.
  1431: Henry VI of England returned to London after being crowned King of France in Paris, 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 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.
  1443: Alfonso V of Aragon's triumphal entry into Naples was "the earliest of the triumphal entries all'antica in Europe" 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
  1494: For Charles VIII's entry into Florence, which occasioned the temporary eclipse of Piero de' Medici, Filippino Lippi collaborated with Perugino on the decors.
  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".
  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. 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.
  1515 and 1535–36: Charles V 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 Bruges is one of the best recorded of the old medieval style, with an unusually well-illustrated Festival Book for the date. In 1533 he was regally entertained in Genoa by Andrea Doria, with a mock battle staged in the harbour. In 1535–36, 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 Kingdom of Naples.Book His Imperial Entry into Rome, on April 5, 1536, is particularly well documented in contemporary accounts, in Giorgio Vasari's Lives and in surviving drawings; it drew on the imagery of the ancient Roman Triumph. Throughout the tour, he was presented as the heir, and surpasser, of the Roman Emperors, and triumphal arches and Roman imagery abounded.
  1548–49: 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 Antwerp as the culmination, shown in a well-illustrated Festival B
caption: 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 Tabajares Indians.[62]
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