During the tour of Philip II in 1548-49 from Spain to the court of his father Charles V, the Prince landed in Italy and proceeded in triumph via Genoa, Milan, Mantua, Trento, and up through Germany to the Low Countries. Each town competed with the other in splendour and solemnity of its greeting of the Prince. Philip’s entry into Milan from December 19th to January 7th was a significant event in the Italian and European political scene. For this occasion, Ferrante Gonzaga – the governor of Milan and a devoted ally of the Empire – organized a solemn festa, the grandest of the Prince’s Italian entries, including triumphal arches, figurative tournaments, banquets, interludes, and theatrical representations. Furthermore, Ferrante took the opportunity of Philip’s arrival to simultaneously celebrate the marriage of his daughter Hippolyta to Fabrizio Colonna, lending the marriage the character of a dynastic and imperial event. By considering theatre and festival as a result of a coherent political project of a hegemonic culture, which engages a poetic and iconographic programme inspired by antiquity , this article aims to analyse Philip’s Milanese entry as a complex political and multimedia event: visual, poetical, and performative shows of humanistic imagery, reflecting regal images of Charles V and his future heir Philip, and promoting the imperial political propaganda within Ferrante’s diplomatic policies.
CONCORDIAM PRINCIPUM. The triumphal entry of prince Philip II in Milan 1548-49 / Bortoletti, F. - STAMPA. - (2021), pp. 103-140.
CONCORDIAM PRINCIPUM. The triumphal entry of prince Philip II in Milan 1548-49
Bortoletti F
2021-01-01
Abstract
During the tour of Philip II in 1548-49 from Spain to the court of his father Charles V, the Prince landed in Italy and proceeded in triumph via Genoa, Milan, Mantua, Trento, and up through Germany to the Low Countries. Each town competed with the other in splendour and solemnity of its greeting of the Prince. Philip’s entry into Milan from December 19th to January 7th was a significant event in the Italian and European political scene. For this occasion, Ferrante Gonzaga – the governor of Milan and a devoted ally of the Empire – organized a solemn festa, the grandest of the Prince’s Italian entries, including triumphal arches, figurative tournaments, banquets, interludes, and theatrical representations. Furthermore, Ferrante took the opportunity of Philip’s arrival to simultaneously celebrate the marriage of his daughter Hippolyta to Fabrizio Colonna, lending the marriage the character of a dynastic and imperial event. By considering theatre and festival as a result of a coherent political project of a hegemonic culture, which engages a poetic and iconographic programme inspired by antiquity , this article aims to analyse Philip’s Milanese entry as a complex political and multimedia event: visual, poetical, and performative shows of humanistic imagery, reflecting regal images of Charles V and his future heir Philip, and promoting the imperial political propaganda within Ferrante’s diplomatic policies.File | Dimensione | Formato | |
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