The dukes of Burgundy made numerous ceremonial entries into the cities of their duchy. Such events, elaborately planned and exactingly executed, enhanced the duke’s prestige as well as the standing of those who participated in or contributed to the performance. Entries cemented (or repaired) ties with townspeople even as they cost the cities an enormous amount of money. In the case of Ghent, the entry of 1458 marked a reconciliation: several years before this time, the town had unsuccessfully rebelled against the duke. The description here is from the Chronicle of Flanders; it presents the point of the view of the townspeople.

The Joyous Entry of my most redoubted [awesome] lord and prince Philip [the Good] . . . which he made into his city of Ghent on the feast of St. George, Sunday, April 23, 1458, and which was organized by the aldermen and others of the same city of Ghent in the following manner. . . .

Outside the Walpoort [one of the gates of Ghent], on the outskirts of the city along both sides of the street to the end of the Waldamme [near the Walpoort] as far as the ramparts [city walls], the deacons and all the sworn members of the weavers [guild] were spread as far out as possible, each finely dressed in his long cloak of office down to the ground and as many as 500 in number, each bearing a lit torch in his hand. When they became aware of the approach of my redoubted lord, they fell to their knees and removed their hats in fine and graceful order. . . .

Between the crenellations of the gate there were many trumpeters and minstrels who played most agreeably from the arrival of my redoubted lord until he was led far into the city, and they were all richly dressed in the [coat of] arms [the heraldic devices] of my said lord and of the city as befitted the occasion. . . . All of the parish priests and other priests of the city, people in minor orders, and the beguines of both the beguinages were present within the city close by the gate each in their most precious copes, habits, and chasubles [names for various liturgical garments] of their churches in the manner of a fine procession. . . .

Inside the said Walpoort, opposite the house called De Roze, there was a stage covering the street next to the canal, and upon it stood the figure of the Prodigal Son who had ignobly squandered his portion, finely presented in the following manner. The father wore a long hooded gown and a small hat with a red brim, with three servants dressed in black behind him. The son was poorly dressed, his doublet in tatters, his stockings rent at the knee, and the father met him in this pitiful state and pardoned him as a result of the son acknowledging his misdeeds. Beneath the said stage were written the words, “Father, I have sinned against Heaven and against you. Luke [15:21].” . . .

Across the Holstraat there stood a stage which bore a great black lion with its jaws gaping as if it was roaring. In its paw the lion held a fine standard bearing the [coat of] arms of our most redoubted lord. Opposite this lion there was another, a beautiful white female meekly stretched out, and between them lay three white lion cubs which seemed to be half-dead. When the black lion roared, they awoke and were brought back to life. Everything was masterfully crafted and lifelike. On the edge of this stage was written “He will roar like a lion and the children will be afraid. Hosea [11:10].” . . .

In front of the gate of the residence of my redoubted lord . . . children sweetly sang a new song that had been composed for the Entry of my redoubted lord . . . :

[After a speech by an important official of Ghent] the prince [Duke Philip] made a gracious reply and all returned to their homes or lodgings. It was fully nine in the evening, and my lord had spent more than four hours passing between the gate and his palace.

Source: Andrew Brown and Graeme Small, eds., Court and Civic Society in the Burgundian Low Countries, c. 1420–1530 (Manchester: Manchester University Press, 2007), 176–86, slightly modified.

Question to Consider

Considering that Ghent and the duke had recently been at war against one another, what might be the symbolic meanings of the various staged dramas?