Royal entry

Entry of John II of France and Joan I of Auvergne into Paris after their coronation at Reims in 1350, later manuscript illumination by Jean Fouquet

The ceremonies and festivities accompanying a formal entry by a ruler or his/her representative into a city in the Middle Ages and early modern period in Europe were known as the royal entry, triumphal entry, or Joyous Entry.[1] 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.

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. The concept of itinerant court is related to this.

From the Late Middle Ages,[2] 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,[3] 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.

  1. ^ Of course other cultures had equivalents, often even more spectacular, especially China and India.
  2. ^ 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.
  3. ^ "A remarkably consistent visual and iconographical vocabulary" according to Roy Strong.

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