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From Jacob Burckhardt's 2nd edition of the Civilization of the Renaissance in Italy; edited for this on-line publication, by ELLOPOS
Part Five: Society and Festivals
Festivals
» Full Contents of this Part
Page 16
Nevertheless, the secular 'Trionfi' were far more frequent than the religious. They were modelled on the procession of the Roman Imperator, as it was known from the old reliefs and the writings of ancient authors. The historical conceptions then prevalent in Italy, with which these shows were closely connected, have already been discussed.
We now and then read of the actual triumphal entrance of a victorious general, which was organized as far as possible on the ancient pattern, even against the will of the hero himself. Francesco Sforza had the courage (1450) to refuse the triumphal chariot which had been prepared for his return to Milan, on the ground that such things were monarchial superstitions. Alfonso the Great, on his entrance into Naples (1443), declined the wreath of laurel, which Napoleon did not disdain to wear at his coronation in Notre-Dame. For the rest, Alfonso's procession, which passed by a breach in the wall through the city to the cathedral, was a strange mixture of antique, allegorical, and purely comic elements. The car, drawn by four white horses, on which he sat enthroned, was lofty and covered with gilding; twenty patricians carried the poles of the canopy of cloth of gold which shaded his head. The part of the procession which the Florentines then present in Naples had undertaken was composed of elegant young cavaliers, skillfully brandishing their lances, of a chariot with the figure of Fortune, and of seven Virtues on horseback. The goddess herself, in accordance with the inexorable logic of allegory to which even the painters at that time conformed, wore hair only on the front part of her head, while the back part was bald, and the genius who sat on the lower steps of the car, and who symbolized the fugitive character of fortune, had his feet immersed in a basin of water Then followed, equipped by the same Florentines, a troop of horsemen in the costumes of various nations, dressed as foreign princes and nobles, and then, crowned with laurel and standing above a revolving globe, a Julius Caesar, who explained to the king in Italian verse the meaning of the allegories, and then took his place in the procession. Sixty Florentines, all in purple and scarlet, closed this splendid display of what their home could achieve. Then a band of Catalans advanced on foot, with lay figures of horses fastened on to them before and behind, and engaged in a mock combat with a body of Turks, as though in derision of the Florentine sentimentalism. Last of all came a gigantic tower, the door guarded by an angel with a drawn sword; on it stood four Virtues, who each addressed the king with a song. The rest of the show had nothing specially characteristic about it.
Civilization of the Renaissance in Italy: Table of Contents
url: www.ellopos.net/politics/renaissance/default.asp
Cf. The Ancient Greece * The Ancient Rome
The Eastern Roman Empire (Byzantium) * The Making of Europe
