Study of the School of Fontainebleau
Project/Area Number |
04801009
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Research Category |
Grant-in-Aid for General Scientific Research (C)
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Allocation Type | Single-year Grants |
Research Field |
Fine art history
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Research Institution | TOYAMA University |
Principal Investigator |
IWAI Mizue TOYAMA University Department of Humanities assistant professor, 人文学部, 助教授 (00223363)
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Project Period (FY) |
1992 – 1993
|
Project Status |
Completed (Fiscal Year 1993)
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Budget Amount *help |
¥1,200,000 (Direct Cost: ¥1,200,000)
Fiscal Year 1993: ¥400,000 (Direct Cost: ¥400,000)
Fiscal Year 1992: ¥800,000 (Direct Cost: ¥800,000)
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Keywords | The School of Fontainebleau / fete / Royal Entry / Catherine de' Medici / Antoine Caron / the House of Valois / フォンテーヌブロー派 / 人市式 / 宗教戦争 / エンブレム / タイポロジー |
Research Abstract |
It is, in France, at the mid-fourteenth century that we can confirm the formation of the royal entry as a cotract between king and citizens, and between king and clerks of a city, When the procession gained the principal church of the city, the king, who had sworn at the city gate to protect the liberty of citizens, swears to respect the rights of the church and attends to the mass of <te deum>. This formula didn't changed fundamentaly when, at the sixteenth century, the satages of royal ceremony were covered with pagan allegorical themes. The <mystere> was introduced in the satages of royal entry in 1380, the same year of its first celebration in Paris, although trans-formed into a sort of political-allegorical drama while the monarchy had in view the centralization of government. In the reigns of Francis I and Henry II, cities were abound of architectural stage settings <a l' antique> in the day of royal entry, but the procession was always ended with <te deum>, accompagnied with medieval ceremony of touching the sick. The penetration of the themes of royal fetes into the arts of the School of Fontainebleau is evident : program of the Galerie Francois l_<er> ends with the apotheosis of the king ; tombs of Louis XII, Francis I and Henry II are conceived as triumpal arches. Antoine Caron's Augustus and the Tiburtine Sibyl - which represents not only the sacred line of the king but the futur peace and unity that Henry III would produce in his kingdom - is a testimony of political mystere celebrated at the close of the House of Valois.
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Report
(3 results)
Research Products
(5 results)