This article examines the sugar sculptures created for a ball in honor of Henri III of France in the Palazzo Ducale in Venice in 1574. The first part discusses the production and display of the statuettes. In the next section, the setting of the sugar sculptures is examined in the context of the collation prepared for the king in Palazzo Grimani in Santa Maria Formosa, which contains the city's greatest collection of antiquities. Finally, the article examines the possible relationships between sugar statuettes and ancient sculptures and their use in crafting the image of Venice as a new Rome.

This article examines the Ballet des Polonais (1573), a magnificent festival given by Catherine de Médicis on the occasion of the election of her son, Henri de Valois, the future Henri III of France, to the throne of Poland. It argues that the invention of spectacle, as described in the official Latin account by the poet and humanist Jean Dorat, is much more relevant to the political situation of the time than scholars have previously recognized. Placed in an immediate historical, literary, and visual context, the text of the Ballet makes allusions to contemporary topics, including the military glory of Henri de Valois and the imperial destiny of the French monarchy. The elaborate web of references to books 5 and 9 of the Aeneid and to Catullus 64 displays the primary role of Catherine de Médicis, who is lauded for overcoming her maternal sorrow at Henri’s departure for the sake of promoting the Valois Empire.