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On 31 January 1629, Louis XIII made his royal entry into Dijon, the capital of Burgundy, a highly-sensitive province on France's eastern frontier. Although the city had only been given three weeks, rather than the months that were usually allowed to prepare the elaborate and expensive ceremony, Louis's entry was on the whole typical of late sixteenth and early seventeenth-century French entrees royales et princieres. The allegorical archways along the procession route, designed and erected by the city government, employed classical themes and allegories to extol Louis's heroic virtues, comparing him alternately with Apollo and Caesar Augustus. The ceremony also highlighted the city's submission and fidelity to the king while four of the five archways celebrated Louis's recent defeat of the rebellious Protestant stronghold of La Rochelle. Slightly more than three and one-half years later, Henri de Bourbon, prince of Conde and first prince of the blood made his entry into Dijon as Burgundy's new royal governor. In contrast with Louis's entry, the city had plenty of time to prepare, especially after Conde delayed the ceremony from May until late September 1632. As was the case in 1629, the ceremonial program was typical for a princely entry in the early seventeenth century. Conde was portrayed as Apollo, Louis XIII was depicted in imperial garb, and their superlative virtues were prominently celebrated. The entry also stressed the populace's love for its new governor and protector. Like Louis's entry, then Conde's was a standard celebration of royal majesty, "an occasion to adulate the royal person

December 22
Journal of Social History

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