French Ceremonial Entries in the Sixteenth Century: Event, Image, Text French Ceremonial Entries in the Sixteenth Century: Event, Image, Text. Edited by N <scp>icolas</scp> R <scp>ussell</scp> and H <scp>élène</scp> V <scp>isentin</scp> . (Publications of the Centre for Reformation and Renaissance Studies, 11). Toronto, Centre for Reformation and Renaissance Studies, 2007. 275 pp. Pb $28.00.
Bibliographic record
Abstract
The eight essays (six in English, two in French) presented in this book demonstrate admirably the importance of an interdisciplinary approach to a cultural phenomenon that combined political concerns with artistic media such as music, architecture and literature. The editors stress in their introduction the need to take into account not just political and cultural contexts but also the written sources (published and archival) that describe the events and their iconography. Drawing examples from a range of entries between 1531 and 1632, the opening essay by Margaret M. McGowan discusses the status and authenticity of entry accounts, the function of images in relation to their political concerns and the nature of the linguistic registers employed. Two chapters consider how different elements combine to give meaning to particular entries. Daniel Russell's analysis of the famous allegorical painting of François Ier demonstrates how text and image together can function rather like an emblem whose meaning is gradually revealed as the viewer progresses along an entry route or through a text. Luisa Capodieci compares Henri II's entries into Reims, Lyon, Paris and Rouen (1547–1550) whose recurrent motifs (the royal name as mirror of virtue; the notion of the Golden Age; the theme of celestial apotheosis) contribute to the monarch's association with the divine as the entry route moves from outside the city to the cathedral. William Kemp's examination of accounts relating to the reign of François Ier considers technical aspects of their production, showing how they developed from simple gothic pamphlet to elaborate commemorative booklet exemplified by Eleonor's Paris entry (1531) published by Geofroy Tory. Three essays examine fresh forms of the entry tradition. Richard Cooper's analysis of the 1552 entries of the papal legate Alessandro Farnese into Avignon and Carpentras reminds us that such events fêted dignitaries other than rulers and reveals how local conventions and conditions could be exploited. A recalibration of the entry album genre is demonstrated in Benoît Bolduc's analysis of a text by the poet Le Plessis describing the arrival of François II and Catherine de Medici at Chenonceau in 1559, not an entry as such, but an account that draws on a variety of contemporary cultural motifs in its portrayal of Catherine as a key political figure following the rout of the Amboise conspiracy. Ann W. Ramsey's discussion of Henri IV's Paris entry of 1594 shows how ceremonial was transformed by the political climate during the wars of religion, the emphasis placed here on the king's performance of religious ritual designed to dispel Catholic unease at being ruled by a heretical monarch. Lawrence M. Bryant's concluding overview illustrates the progressive shift, well established by 1550, from an entry ceremonial based on popular urban ritual to one marked by more elaborate royal and humanistic symbolism designed ‘to serve the interests of new political powers and cultural groupings’. An Index of Names and a set of 25 illustrations complete a richly documented and scholarly collection of articles that offers valuable new insights on and approaches to this complex Renaissance genre.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.005 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.003 | 0.006 |
| Science and technology studies | 0.005 | 0.003 |
| Scholarly communication | 0.008 | 0.004 |
| Open science | 0.000 | 0.001 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.038 | 0.003 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".