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Ritual and Civic Identity in Philip II's 1549 Antwerp Blijde Incompst

Ritual and Civic Identity in Philip II's 1549 Antwerp Blijde Incompst Ritual and Civic Identity in Philip lI's 1549 Antwerp Blijde Incompst Mark A. Meadow Of all the spectacles staged in 1549 to honor and welcome Philip 11 (fig. I) as the heir apparent to his ailing father, Holy Roman Emperor Charles V, that put on by Antwerp was by far the most extravagant, employing as it did thousands of the city's laborers, militiamen, artisans and artists, and costing an estimated 260,000 florins. 1 The Antwerp Blijde incompst, or joyous entry, was designed, constructed and financed by the city itself, and served as the opportunity for Antwerp to present its identity, its interests and its concerns to Philip. What I shall argue in this essay is that we must examine this entry neither as simple propaganda, nor as a purely theatrical festivity, but as a site for negotiating the terms of the relationship between city and ruler, that is, for negotiating power. Thus, we should understand it as an efficacious ritual meant to produce an abiding, affective relationship between the Prince and his subjects. Primarily, I wish to examine how Antwerp - as the collective author of this event - structured Philip's entry to achieve the desired results. In http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online Brill

Ritual and Civic Identity in Philip II's 1549 Antwerp Blijde Incompst

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Publisher
Brill
Copyright
Copyright 1998 by Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0169-6726
eISSN
2214-5966
DOI
10.1163/22145966-90000717
Publisher site
See Article on Publisher Site

Abstract

Ritual and Civic Identity in Philip lI's 1549 Antwerp Blijde Incompst Mark A. Meadow Of all the spectacles staged in 1549 to honor and welcome Philip 11 (fig. I) as the heir apparent to his ailing father, Holy Roman Emperor Charles V, that put on by Antwerp was by far the most extravagant, employing as it did thousands of the city's laborers, militiamen, artisans and artists, and costing an estimated 260,000 florins. 1 The Antwerp Blijde incompst, or joyous entry, was designed, constructed and financed by the city itself, and served as the opportunity for Antwerp to present its identity, its interests and its concerns to Philip. What I shall argue in this essay is that we must examine this entry neither as simple propaganda, nor as a purely theatrical festivity, but as a site for negotiating the terms of the relationship between city and ruler, that is, for negotiating power. Thus, we should understand it as an efficacious ritual meant to produce an abiding, affective relationship between the Prince and his subjects. Primarily, I wish to examine how Antwerp - as the collective author of this event - structured Philip's entry to achieve the desired results. In

Journal

Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online – Brill

Published: Jan 1, 1998

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