Joyeuses Entrées

Abstract: At the end of the 14th century, the County of Flanders, held by Louis of Male, was inherited by his daughter Margaret and her husband Philippe the Bold, Duke of Burgundy. The new sovereigns had to prove their authority in the face of significant privileges previously gained by the cities in the county, one of the most developed territories in Europe. The Revolt of Ghent and the Battle of Roosebeke (1384), won by the ruler, confirmed the control of the Valois Burgundy Dynasty over the recently acquired lands. The conflict between cities and the political aspirations of the Dukes of Burgundy would be a constant problem throughout the 15th century in the Low Countries, as confirmed by the many other riots and revolts that took place in Ghent and Bruges. Every conflict between a city and the sovereign inspired the court to celebrate victory and applaud ducal control over Flemish cities. Ducal control was expressed in the iconography of art works, which portrayed the glorious entry of the duke into the humiliated city in question. The aim of this paper is to investigate and describe the construction of the visual glory of the duke by analysing the chronicles that describe the celebrations associated with the ducal entry into a city. The comparison between the iconographical analysis of the manuscripts, tapestries and

In the Middle Ages, cities of a certain importance used to organise a ceremony called «joyous entry» to welcome the rulers passing within their walls. This celebration was some kind of festival, mixing different types of art and media. Analysing it clearly reveals the cultural trends of the time as well as the nature of the – sometimes conflictual – relationship between the prince and the city.
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Quand les grands centres urbains du Moyen Âge reçoivent un souverain de passage entre leurs murs, ils le gratifient d’une cérémonie d’accueil appelée joyeuse entrée. Celle-ci prend la forme d’un véritable festival, mêlant différents arts et supports d’expression. Ces célébrations, révélatrices des tendances culturelles du moment, permettent
de saisir les rapports – parfois conflictuels – qui prévalent entre le prince et ses villes.

Статья посвящена одну из самых известных памятников французского Возрождения - Фонтану Невинных в Париже. Считается, что именно в нем проявилось французское понимание античного наследия. Однако первоначальная структура памятника была сильно изменена в конце XVIII века. В статье предпринята попытка реконструировать первоначальную семантику монумента, являвшегося единственным постоянным сооружением для торжественной церемонии Въезда Генриха II в Париж в 1549 году.

Abstract: This article examines the significance of the Cardinal-Infante Ferdinand of Austria’s Joyeuse Entrée into Ghent. He made a number of triumphal entries all around the territory as governor of the Nether- lands after his victory in Nördlingen. One of the most brilliant of these entries took place in the city of Ghent, on January 26th, 1635. This entry is fully described about in the book, Serenissimi Principis Ferdinandi Hispaniarum Infantis S.R.E. Cardinalis Triumphalis introitus in Flandriae Metropolim Gandavum. The author was the Jesuit Guilielmo Becano. It was printed in Antwerp in 1636 by the printing press of Ioannis Meursi. In it, Ferdinand is linked to classical characters from mythology, while his great-grandfather Emperor Charles v, his is presented as the young ruler’s Speculum Principis.

Keywords: Joyeuse Entrée, Cardinal-Infante, Nördlingen, Ghent, triumphal arches.


Resumen: En este artículo nos acercaremos al significado de la Joyeuse Entrée gantesa del Cardenal Infante Don Fernando de Austria. Como gobernador de los Países Bajos y tras su victoria en Nördlingen, realizó diferentes entradas triunfales por todo el territorio. Una de las más brillantes fue la que le dedicó la ciudad de Gante el 26 de enero de 1635. Esta entrada está recogida en el libro Serenissimi Principis Ferdinandi Hispaniarum Infantis S.R.E. Cardinalis Triumphalis introitus in Flandriae Metropolim Gandavum. Su autor fue el jesuita Guilielmo Becano. Fue editado en Amberes en el año 1636 por la imprenta Ioannis Meursi. En ella, Don Fernando se vinculó con personajes de la mitología clásica, mientras que el Emperador Carlos v, su bisabuelo, se convirtió en Speculum Principis, del joven gobernante.

Palabras clave: Joyeuse Entrée, Cardenal Infante, Nördlingen, Gante, arcos triunfales

La première entrée de l’évêque en sa cité est l’ultime étape du parcours qui le mène de sa désignation à la prise de possession de son siège. Elle constitue un rite performatif qui permet à tous de voir que le prélat est installé en son bénéfice. Telle qu’elle se déroule à la fin du XVe siècle en France, la première entrée porte le souvenir des adventus antiques – organisation des processions, opposition entre extérieur et intérieur de la cité, présence du corps de ville – mais la présence d’acteurs purement médiévaux – réguliers, vassaux et chanoines – montre qu’il s’agit d’un rituel né au Moyen Âge. Il semble qu’il plonge ses racines dans le Xe siècle pour s’épanouir au XIIIe siècle, et que la réforme grégorienne en soit à l’origine. Malgré de nombreuses caractéristiques communes aux entrées des différents diocèses, quelques oppositions entre le nord et le sud du royaume révèlent des contextes religieux et politique particuliers.