Abstract
From the mid-fi fteenth century, tableaux vivants were central to joyous entries in the southern Netherlands. The ideal means to communicate a civic political programme to the entering prince and burghers, they shared the persuasive rhetoric of contemporary theatre and painting. By the beginning of the seventeenth century, these theatrical features were no longer able to compete with theatre and painting. The success and decline of the tableaux are discussed, focusing on the Ghent entry of Philip the Good in 1458, the Antwerpentry of Charles V and his son Philip in 1549, and the Antwerp entry of don Ferdinand in 1635. These are linked with theatre, from the rederijkers (rhetoricians) to Jesuit spectacle, and with paintings by the brothers Van Eijck, Van der Goes, Coecke van Aelst and Rubens.
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