Cover Page
The handle
http://hdl.handle.net/1887/136474holds various files of this Leiden University
dissertation.
Author:
Dencher, A.R.Title:
Commemorating Conquest: The triumphal entry of William III of Orange, King of England, into The Hague in 1691Commemorating Conquest : The triumphal entry of William III of Orange,
King of England, into The Hague in 1691.
Proefschrift
Ter verkrijging van
de graad van doctor aan de Universiteit Leiden,
op gezag van Rector Magnificus prof. mr. C.J.J.M. Stolker,
volgens besluit van het College voor Promoties
te verdedigen op woensdag 2 september 2020
klokke 10.00 uur
door
Alexander Robert Dencher
geboren te ‘s-Gravenhage
Promotores:
Prof. dr. Caroline van Eck
Prof. dr. Colette Nativel (Université Paris I Panthéon-Sorbonne)
Promotiecommissie:
Prof. dr. Stijn Bussels
Prof. dr. Jeroen Duindam
Table of Contents
1 ACKNOWLEDGMENTS 1 INTRODUCTION 3 QUESTIONS 5 METHODS 14THE TRIUMPHAL ENTRY AS A CULTURAL ARTEFACT 18
1. THE TRIUMPHAL ENTRY INTO THE HAGUE 21
THE MAGISTRATES CONTROVERSY AND VICTORY AT DROGHEDA 22
THE VOYAGE TO THE HAGUE 26
THE TRIUMPHAL ENTRY ON 5FEBRUARY 1691 31
THE TRIUMPHAL ARCH ON THE MARKT 37
THE TRIUMPHAL ARCHES ON THE PLAATS 40
THE TRIUMPHAL ARCH ON THE BUITENHOF 44
THE FIREWORK DISPLAY ON THE HOFVIJVER 49
ILLUMINATIONS, FIREWORKS AND FESTIVITIES AFTER THE TRIUMPHAL ENTRY 55
THE CONGRESS OF ALLIES 59
CONCLUSION 60
2. THE ART OF THE TRIUMPH 63
WILLIAM AS TRIUMPHATOR MAGNIFICUS 65
MEDALS AND ROYAL IMAGERY 69
THE MATERIALITY OF MONUMENTS 79
ADVISORS & ARTISTS 84
THE LIST OF PAYMENTS 89
COURTIERS AND SCHOLARS 94
CLASSICAL CULTURE AND COURTLY AMBITIONS 99
CONCLUSION 112
3. ROMAN TRIUMPH OR JOYOUS ENTRY? 114
PUBLIC ENTRIES IN EARLY MODERN EUROPE 115
POLITICAL PAGEANTRY IN THE HAGUE 123
RITUAL AND REPRESENTATION 126
THE TRIUMPHS OF CAESAR 130
MODESTY AS A POLITICAL ASSET 137
CONCLUSION 139
4. IN THE SHADOW OF LOUIS XIV 143
THE ART OF LOUIS XIV OF FRANCE 144
DEBATES ABOUT PUBLIC ART 150
THE RECEPTION OF THE TRIUMPHAL ENTRY IN FRANCE 161
PIERRE DE LA TOUCHE POLITIQUE 161
LES AFFAIRES DU TEMPS. 164
THE TRIUMPHAL ENTRY AND THE HISTOIRE MÉTALLIQUE 169
CELEBRATING THE SIEGE OF NAMUR IN 1695 205
THE PEACE OF RYSWICK AND THE LONDON ENTRY IN 1697 214
TRIUMPH AND RESTORATION 223
ANGLO-DUTCH VIEWS ON PUBLIC REPRESENTATION 229
EPILOGUE 233
CONCLUSION 236
242 APPENDIX: SOURCES PUBLISHED ON THE OCCASION OF WILLIAM’S TRIUMPHAL ENTRY
IN 1691 243
BIBLIOGRAPHY 253
ARCHIVES 253
GAZETTES AND NEWSPAPERS 254
SOURCES PUBLISHED BEFORE 1800 254
MODERN SOURCES 260
LIST OF ILLUSTRATIONS 282
RESUME FRANÇAIS 294
Acknowledgments
This dissertation would not have been possible without the support of many individuals and organisations, and it is only right to thank them here, beginning with my supervisors Caroline van Eck and Colette Nativel. I would like to thank Caroline for her guidance, patience and many eye-opening conversations. I thank Colette for her encouragement and assistance without which my academic career in Paris would have been unthinkable.
My research benefitted from the generous support of the Ministère nationale de l’éducation de France, the Université Paris I Panthéon-Sorbonne, the Prins Bernhard Cultuurfonds, the Johan Huizingafonds as well as the Leiden University Centre for Arts in Society, which has contributed to the expenses of printing this book. I would also like to thank the members of the Andla Fonds, in particular Machteld de Vos van Steenwijk, who ensured that the move from Paris to Amsterdam was a comfortable one. This dissertation was researched and written in numerous libraries and I thank the staff of the Bibliothèque nationale de France, la Bibliothèque Mazarine, l’Institut national d’histoire de l’art and the Fondation Custodia in Paris, the Library of the Rijksmuseum. Research seminars organised by the European PALATIUM network, the Paul Mellon Centre for British Art in London and the Koninklijk Nederlands Instituut in Rome helped further expand my ideas and refine my questions.
Numerous conversations with friends and colleagues have shaped the content of this thesis, and I would like to thank Kira d’Alburquerque, Dirk Jan Biemond, Hubert Baaija, Wolf Burchard, Stijn Bussels, Eveline Deneer, Jeroen Duindam, Margriet van Eikema Hommes, Eelco Elzenga, Johan de Haan, Lydia Hamlett, Pieter ter Keurs, Roos van der Lint, Philip Mansel, Suzanne van de Meerendonk, Eelco Nagelsmit, Koen Ottenheym, Anne-Sophe Pellé, Kitty van Rechteren-Limpurg, Jan Pelsdonk, Amandine Peytregnet, Léonard Pouy, George Sanders, Frits Scholten, Cécile Tainturier, Carel van Tuyll van Serooskerken, Pieter Vlaardingerbroek, Robert Wellington and Ada de Wit. I also want to thank my colleagues at Leiden University and at the Rijksmuseum, especially Reinier Baarsen and the Department of Decorative Arts, for their support and understanding during the final stages of this dissertation. Finally, I also thank my students at the Sorbonne and in Leiden for always keeping me on my toes.
