Weigert

A Spectacle for a Spanish Princess

Introduction

• The document discusses the festive entry of Joanna of Castile into Brussels in 1496.

• It examines how her procession was not just a political event but a spectacle filled with entertainment.

Background

• Edited by Dagmar H. Eichberger and published by Brepols.

• Supported by the Centro de Estudios Europa Hispánica, Madrid.

• The cover illustration features the Last Judgement Triptych of Zierikzee.

The Article by Laura Weigert

Abstract

• Focus on the experience of Joanna of Castile's entry as an act of entertainment that expanded into the city environment.

• Highlights the 'entertainers' involved and emphasizes the collaboration between various civic groups.

• Contributes to understanding of civic entertainment traditions in the 15th century.

Key Concepts

• Entertainment: A complex term encompassing amusement, pleasure, interludes, and diversions.

• The concept of joieus entrée emphasizes feelings of joy in civic festivities.

• The event’s success was tied to its ability to astonish and amuse beyond its moral messages.

The Role of Rhetorician Chambers and Guilds

• Rhetorician chambers and shooting guilds, along with political elites, crafted the spectacle.

• These groups utilized various entertainment forms, including theatrics and pyrotechnics, showcasing cooperation in civic events.

• Cultural performances often reflected broader themes of civic pride and identity.

Visual Analysis of Joanna's Entry

Processional Details

• Joanna rode on a mule, dressed elegantly, accompanied by the Crossbowmen’s guild, symbolizing prestige.

• Visual representations in the manuscript depict her arrival dominated by vibrant torches and adorned guild members.

• The event was not only a visual feast but also relied on the engagement of the crowd’s senses, with light, colors, and various entertainers.

Crossbowmen's Guild

• The guild is crucial in orchestrating both civic ceremonies and shooting contests leading to a multifaceted display that included virtues and social prestige.

• Their attire and symbolic representations engaged the onlookers, promoting a sense of awe and community.

Entertainers and Performative Aspects

• Entertainers included jesters, wild men and women, reinforcing the festive nature of the entrance.

• Their costumes and antics blurred social boundaries, adding layers of humor and parody to the performance.

Cultural Significance

Broader Civic Entertainment

• The events reflected a culture where civic celebrations allowed for enjoyable experiences that communicated moral lessons indirectly.

• Performances often punctuated with laughter aimed to provoke joy and unity among the city’s inhabitants.

Contemporary References to Pleasure

• Civic performances were curated to serve multiple purposes; they provided entertainment and also aimed to create civic identity.

• The presence of pleasure houses depicted in the performances hints at accepted social practices that coexisted with formal entertainment.

Conclusion

• Joanna's entry into Brussels represents a turning point showcasing how civic festivities were designed to engulf the entire city in a celebratory atmosphere.

• The interplay between visual spectacle, civic pride and personal joy highlights the significance of communal experiences in 15th-century urban life.