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Dynastic Representation: A Book Collection of Queen Hedwig Eleonora (1636–1715) and Her Role as a Patron of the Arts

2011; Taylor & Francis; Volume: 80; Issue: 2 Linguagem: Inglês

10.1080/00233609.2011.560683

1651-2294

Lisa Skogh,

Medieval European History and Architecture

Click to increase image sizeClick to decrease image size Acknowledgements I am grateful to editor Martin Olin, for inviting us to participate in this special issue of Konsthistorisk Tidskrift and to Anna Bor- tolozzi for arranging the research in progress symposium in April 2010. I thank Hans Henrik Brummer for his role as moderator of my panel and to Margaretha Rossholm Lagerlöf for her elegant concluding remarks, and I am especially indebted to my advisers Peter Gillgren and Mårten Snickare. To Hans Helander I am deeply indebted for sharing his knowledge of Latin. I thank Linda Hinners, Andreas Hellerstedt, and Vera Keller for reading early drafts of this paper and article. At early stages I received invaluable advice from Elisabeth Westin-Berg, Jill Bepler, and Mara Wade. I am grateful to Kerstin Lund- ström and Kathleen Smith for correcting my transcriptions. Foremost I thank the Centre for Editing Lives and Letters (CELL), Uni- versity of London, for receiving me as a visiting junior scholar in 2010 and for letting me present a paper in the Director's Seminar on the earlier stages of the research concerning Hedwig Eleonora's collection of books, as well as the Thomas Browne Seminar for Intellectual History at the Centre for Renaissance & Early Modern Studies (CREMS), York University, where another version was given as a paper. A fellowship was granted by the Herzog August Bibliothek where a very early stage (2007) of research was part of a seminar on Furstinnen and early modern libraries. Notes 1. Uppsala, Uppsala universitets bibliotek (UUB), Westin 321. 2. This paper is an extended and completely revised version of my chapter, »Das Uppsala-Inventar. Zu einer Büchersammlung Hedwig Eleonoras von Schleswig-Holstein-Gottorf (1636–1715) in Königinwitwe von Schweden«, Sammeln, Lesen, Übersetzen als höfische Praxis in der Frühen Neuzeit. Die böhmische Bibliothek der Fürsten Eggenberg im Kontext der Fürsten- und Fürstinnenbibliotheken ihrer Zeit, eds Jill Bepler and Helga Meise, Harrassowitz, Wiesbaden, 2010, pp. 307–334, which may be referred to for a more bibliographical analysis and presentation of the books collection; the chapter primarily discusses the library and the books as part of a literary Fürstinnen practice rather than from a patron and collector of art perspective. 3. Lisa Skogh, »Liebhaberin of the Arts: Hedwig Eleonora as a Patron and Collector« working title doctoral dissertation, History of Art Department, Stockholm University (forthcoming, expected 2012). 4. The ducal court at Gottorf attracted many scholars, musicians, architects, theologians, and artists of various skills who were part of a flourishing creative and erudite community. For further reading on Gottorf, see for example the exhibition catalogues Gottorf im Glanz des Barock, vols I–IV, Schleswig, 1997. Regarding the ducal collections and Hedwig Eleonora, see especially vol. II, Die Gottorfer Kunstkammer (eds Mogens Bencard, Jørgen Hein, Bente Gundestrup and Jan Drees) and in vol. I, Kunst und Kultur am Schleswiger Hof (1544–1713) (eds Heinz Spielmann and Jan Dress), see especially Mogens Bencard ‘Idee und Entstehung der Kunstkammer’, pp. 261–267; Jorgen Hein, »In Einem Dunckern Keller: Das Schicksal einiger Gottorfer Familienpretiosen«, pp. 269–273; and Lars Ljungström, »Hedwig Eleonora – Prinzessin von Schleswig-Holstein-Gottorf, Königin von Schweden«, pp. 287–290. 5. It is therefore of particular interest that Jacques de Campredon (1672–1749), a French diplomat at times stationed in Stockholm, takes special notice of Hedwig Eleonora's political influence and position. Jacques de Campredon, Mémoire sur le négociations dans le Nord… 1674–1719 (1864). To Linda Hinners I am most grateful for introducing me to this valuable source. 6. Martin Olin, Det karolinska porträttet. Ideologi, ikonografi, identitet, Stockholm, 2000, p. 99. 7. Erik Jöransson Tegel, Breviarium Gustavianum : thet är: ett kort vthtogh aff k. Gustaffz den förstes historia, begynnandes på thet åhret 1518… / först wijdlöfftigt sammanskrifwen aff fordom Erich Jörenson Tegell, och åhr, 1622. in folio aff trycket vthgången, Stockholm, 1671. 8. Samuel Pufendorf, Samuelis liberi baronis de Pufendorf De rebus a Carolo Gustavo Sveciæ rege gestis commentariorum, libri septem elegantissimis tabulis æneis exornati cum triplici indice, Nürnberg, 1696; Herrn Samuel Freyherrns von Pufendorf: Sieben Bücher Von Gedenen Thaten Carl Gustavs Königs in Schweden/ Mit Vortrefflichen Kupffern ausgezieret und mit nöthigen Registern versehen aus dem Lateinischen ins Hoch-Teutsche übersetzet, von S. R. Nürnberg, 1697. Samuel Pufendorf: Sechs und zwanzig Bücher Schwedisch und Deutschen Kriegs-Geschichte von König Gustaf Adolfs Feldzuge in Deutschland an, biss zur Abdanckung der Königin Christina …/ aus dem Lateinischen in die hochdeutsche Sprache übersetzet von J[ohan] J[oachim] M[öller] v. S .[ommerfeld], Frankfurt am Main und Leipzig, 1685. Or possibly: Bogislaus Philip von Chemnitz: Königlichen Schwedischen in Teutschland geführten Kriegs Erster Theil. Worin, negst vmbständlicher Ausführung der Ursachen dieses Krieges, dessen völliger Verlauf von Anfang, biß auf des glorwurdigsten Königs; Gustaff Adolph, des Andern: vnd Grossen, tödtlichen Abgang, vnd zu End des tausend sechshundert, zwey vnd dreyssigsten Jahres beschrieben wird …/ durch … Bogislaff Philip von Chemnitz, Stettin, 1648. All of these are in the Royal Library in Stockholm. 9. The Biblia of Charles XI was not published until 1703 and was dedicated to Charles XII . 10. The painting exists in all in three versions, all contemporary. Two were in the royal collection (NMDrh 181 and NMGrh 3559), while the third is still in a private collection that originates with Ehrenstrahl's daughter, Anna Maria, who worked as a painter in her father's workshop. The latter painting is slightly smaller in size as well as being somewhat a variation on the motifs. 11. Allan Ellenius, Karolinska bildidéer, Acta Universitatis Upsaliensis, Uppsala, 1966, pp. 86–88. Ellenius also argued that contemporary viewers contemplated this particular motif as an allegory for the King's accession to the throne. As Allan Ellenius's research has argued, Nicodemus Tessin, Hedwig Eleonora's adviser and the Royal court architect etc., was inspired by Charles LeBrun's artwork, such as for example Cardinal Mazarin's tomb. Tessin's design for Bengt Oxenstierna's funeral monument shows a particular resemblance. For further information about the sculptural workshops at the Royal Palace see Linda Hinners, »De fransöske hantwerkarna vid Stockholms slott 1693–1713. 12. Iam indebted to Hans Helander, professor in Latin, Uppsala University, for his translations, his analyses of the Latin sentences, and for generously sharing his knowledge with me. 13. David Klöcker Ehrenstrahl, Die vornehmste Schildereyen, welche in denen Pallästen des Königreiches Schweden zu sehen sind,/inventiret, verfertiget und beschrieben von David Klöcker Ehrenstrahl, Stockholm, 1694. 14. Ellenius, 1966, p. 142. Ellenius notes that Die vornehmste Schildereyen was written on royal commission. 15. See the forthcoming article by Jill Bepler, who has worked extensively on the book catalogue of Madgadelena Sibylla. This is a citation from Bepler's lecture in Stockholm, 5 September 2010: »Magdalena Sibylla obviously later received the opulent volume of engravings celebrating the equestrian festivities of 1672 Das große Carrossel und Prächtige Ringrennen, which was only finished in 1685, and a volume on the coronation called Frolockendes Schweden. She continued to acquire books from Sweden after her return to Germany, some of which perhaps presents that were sent to her by Hedwig Eleonora. Among these were further lavishly produced books of engravings such as Erik Dahlberg's topographical documentation Suecia antiqua et hodierna, which started appearing in 1698, David Klöcker Ehrenstrahl's Die vornehmste Schildereyen/ Welche In denen Pallästen Des Königreiches Schweden zu sehen sind from 1694 and a volume of engravings described in her catalogue as Ein Buch Voller Kupferstück Von allen Palatiis und Lusthäußern im Königreich Schweden. Her interest in Sweden and the Swedish language went beyond merely being able to revisit places she been in her youth by looking at graphic art, however. Important poetical works in Swedish which Magdalena Sibylla acquired while in Stuttgart were the sonnet-cycle Wenerid, published under a pseudonym in 1680, and Haquin Spegel's verse epos on the creation, Gudz werk och hwila (God's work and rest) published in 1685. Other works in German on Swedish politics and history such as Samuel Pufendorff's Sechs und Zwantzig Bücher Der Schwedisch- und Deutschen Kriegs-Geschichte of 1688 and his Sieben Bücher Von denen Thaten Carl Gustavs Königs in Schweden from 1697 show Magdalena Sibylla's continuing interest in Sweden as a political force in Europe.« I am much grateful to Jill Bepler for sharing her research with me. 16. For scholarship on the early modern Royal Library and in particular where Hedwig Eleonora is mentioned, see especially Sten G. Lindberg, who mentions Hedwig Eleonora in Kungliga bokband, Stockholm, 1962, unmarked pages »Drottning Hedvig Eleonora, som eljest föredrog sammestband i sitt rikhaltiga bibliotek på Gripsholm, mottog ett dedikationband i denna stil av skalden Samuel Columbus (nr 56)« (Kungl. biblioteket: F1700 1877). Lindberg, the most notable historian on the Royal Library collections, also wrote the book, Biblioteket på Drottningholm, Stockholm, 1971. See also Stig Fogelmarck ed., Biblioteket på Drottningholms slott., Stockholm, 1998, and Per S. Ridderstad ed., A Royal Library, Stockholm, 1984, Catalogue No. 21. Two recent articles with which this author does not directly agree with since they do not emphasize that Hedwig Eleonora had interest in books nor had a library are the articles of Åsa Karlsson, »Hedvig Eleonora – en karolinsk landsmoder«, in Drottningholms slott. Bd. 1. Från Hedvig Eleonora till Lovisa Ulrika, eds G. Alm und R. Millhagen, Stockholm, 2004, pp. 24–39, see especially p. 37 for a different opinion, and Karlsson in »Karolinska förbundets årsbok«, Stockholm, 2007, pp. 9–23. This last article was published in the same volume as Skogh's »Källor till Hedvig Eleonoras samlande«, pp. 48–63, where the book collection was mentioned. 17. I am grateful to Linda Hinners for discussions on Nicodemus Tessin's papers and role at the court. 18. Other inventories, even palace specific, present books although, never as a library. The following books were recorded in Hedwig Eleonora's Prayer Chamber. Stockholm, Slottsarkivet, Drottninholm 1719, DI:3, fol. 10. [---] Postilla af tweene Tomer med Silfwer beslag 60 En tysk Bibel med Silfwer Spännen Swart Band 16 En Swänsk Psalm-Bok af Åhr 1653 2 En Dito af Åhr 1695 2 Lüneburgiske Biblen i franskt Band 15 Arendts öfwer psaltaren i dito Band 10 19. See note 2, Skogh, 2010. 20. The author's translation of this library is the Royal Library, direct from Kungl. Biblioteket, as it is called and has always been called in Swedish. Since a brief time in history the official English translation of the institution's name has become the National Library of Sweden, signifying that this is an official national collection, and not royal. This new translation is avoided in this article, as it complicates and confuses rather than sets the reader in the right direction, nor does it do justice to the origin of the library's name in Swedish, or to the argumentation of the article. 21. Gunilla Dahlberg, Komediantteratern i 1600-talets Stockholm, Stockholm, 1992. 22. Uppsala, Westin 321, fol. 24 »Comedie de Mollier 4 Tomes. Ditto 4 Tomi på Tyska«, in my translation: »Comedies of Molière 4 volumes. Ditto 4 Volumes in German«. 23. Uppsala, Westin 321, fol. 24 »48 st: Comedier och tragedier på fransöske af åthskillige autorer«, in my translation: »48 pcs: of Comedies and tragedies in French by several authors«. 24. Hendrik Jordis, De Stockholms Parnas ofte Inwijdingh van de Konincklijcke Schouburg, Stockholm, 1667. 25. Jordis, 1667, p. 15. The English translation of a section of the dedication referred to in this article is translated by Kristoffer Neville and published in his Nicodemus Tessin the Elder and German Artists in Sweden in the Age of the Thirty Years’ War, PhD dissertation, Princeton, 2007, p. 102. For more in-depth research on Jordis's literary production see Dahlberg, 1992, see especially pp. 172–176. 26. Coelestin Friedrich Gutermuth, Christlicher Fürsten-Lehre: ander Theil; mittelst welcher durch Figuren und Bilder wird zur Historie, so wol der geistlichen, als weltlichen, nebst einer gantz kurtzen Repræsentation der IV [–] Auff ihrer kniglichen Mayst. der verwittweten Knigin … Hedewig Eleonora … unkosten zum druck befordert, nach vorhergegangener Censur und Approbation der theologischen Facultt in Upsal., vols I–II, Stockholm, 1698–1702 (Kungl. biblioteket F1700 1059/1–2). These two volumes have not yet been the subject of any scholarly research. 27. See for example a comment on Guthermuth and his views on theatre in Dahlberg, 1992, p. 435. 28. Mara Wade, »Invisible Bibliographies: Three Seventeenth-Century German Women Writers«, in Women in German Yearbook, vol. 14, 1998, pp. 41–69, see especially pp. 48–50. 29. Maria Elisabeth's Bible in the Royal Library collection. 30. Animæ afflictæ sanctuarium, oder Betrübter Seelen Heiligthum […] /anfänglich in englischer Sprache beschrieben durch […] Johann Hayward […] und […] übersetzet von Johann Lange. Hamburg 1673. Kungl. biblioteket: RAR: 173 R. 31. See for example, note 15, p. 49. Mara Wade's research is groundbreaking in terms of re-evaluating authorship and including the role of princesses in both writing and financing the production of the texts, but also analysing what the network of elite women did to their cultural production. See also Mara Wade, »The Queen's Courts: Anna of Denmark and her Royal Sisters: Cultural Agency at Four Northern European Courts in the Sixteenth and Seventeenth Centuries«, in Women and Culture at the Courts of the Stuart Queens, ed. Clare McManus, pp. 49–80. 32. RA, Kungl. Arkiv, Skrivelser till Hedwig Eleonora. 33. Among his titles, Hedwig Eleonora held Simon Isogaeus, Carla Seger-skiöld hwilken then stormäcjtigste konung Carl XII…., Stockholm, 1714. For recent scholarship on the theological and political implications of this publication please see, Andreas Hellerstedt: »Det rättfärdiga kriget i Simon Isogaeus Carla seger-skiöld«, in Karolinska Förbundets årsbok, 2008, pp. 7–39; and Andreas Hellerstedt, Det svenska ödets teater. Ödesföreställningar i Sverige vid 1700-talets början, PhD. dissertation, Lund and Stocholm, 2009, S. 27– 28. 34. See further in Jill Bepler's chapter »Die Lektüre der Fürstin. Die Rolle von Inventaren für die Erforschung von Fürstinnenbibliotheken in der Frühen Neuzeit«, in Sammeln, Lesen, Übersetzen als höfische Praxis in der Frühen Neuzeit. Die böhmische Bibliothek der Fürsten Eggenberg im Kontext der Fürsten- und Fürstinnenbibliotheken ihrer Zeit, eds Jill Bepler and Helga Meise, Harrassowitz, Wiesbaden, 2010, pp. 201–227, where Bepler discusses early modern German princesses’ libraries and book production, especially focusing on Hedwig Eleonora's niece, Magdalena Sibylle (1652–1712), daughter of Landgraf Ludwig VI. I am deeply grateful to Dr Bepler for generously sharing her research with me, including this quote (Darmstadt Archive D4 241/1). 35. Uppsala, Westin 321, fol. 11 »Joséphus Swänsk, grefvinnan Gyllenstiernas, 1 dehl«. 36. Gyllenstierna used the French edition by Robert Arnauld d'Andilly (1588–1674). 37. I am grateful to Kerstin Lundström, Department of German Studies, Stockholm University, for helping me to analyse the letter of Maria Euphrosyne. This letter, which was written the same year as Maria Euphrosyne died, contains mainly worries about life and death. 38. Maria Euphrosyne, Der Geistlich-hungerigen Seelen Himmelisches Manna…, Stockholm, 1681. (Kungl. Biblioteket Sv.Saml. Praktsaml.). 39. Magdalena Sibylla von Württemberg, Gott0geweyhtes Andachts0Opffer … dann einem vollständigen Wetter-Büchlein vermehret, Stuttgart, 1706. (Kungl. biblioteket: 289 Pr 1). 40. For more information on the literary production and affiliation of Magadalena Sibylle, please see the chapter by Jill Bepler (see above, notes is and 34) and Jill Bepler »Zu meinem und aller dahrer die sichs gebrauchen woollen, nutz, trost und frommen. Lektüre, Schrift und Gebet im Leben der fürstlichen Witwe in der Frühen Neuzeit«, in Witwenschaft in der Frühen Neuzeit. Fürstliche und adelige Witwen zwischen Fremd- und Selbstbestimmung, ed. Martina Schattkowsky, Leipzig, 2003, pp. 303–319. The 1665/1666 diary of Landgraf Ludwig VI of Hessen Darmstadt explains how he talks about his daughter with Hedwig Eleonora, but not what they talked about (see note 40). For more on Magdalena Sibylle's stay in Sweden, see also Lars Ljungström, Magnus Gabriel De la Gardies Venngarn. Herresätet som byggnadsverk och spegelbild, Stockholm, 2004, pp. 21 and 229–230. 41. Regarding Hedwig Eleonora's own education, very little, if anything, is known. Her mother, Maria Elisabeth of Saxony, was, however, brought up with a training in music by, among others, Kapellmeister Heinrich Schütz (1585–1672) at the court in Dresden. Her daughters, among them Hedwig Eleonora, were pupils of Franz Tunder (1614–1667), organist at the court in Gottorf. 42. See note 15 (Bepler, 2010). Among the books that Jill Bepler has found to be part of Magdalena Sibylla's library are many titles that concern her Swedish royal relations: 1672 Das große Carrossel und Prächtige Ringrennen (1685); Erik Dahlberg's Suecia antiqua et hodierna (which started appearing in 1698), and David Klöcker Ehrenstrahl's Die vornehmste Schildereyen/ Welche In denen Pallästen Des Königreiches Schweden zu sehen sind (1694). She also kept poetical works published in Sweden and theological works such as Haquin Spegel's verse epos on the creation, Gudz werk och hwila (1685). From a political-dynastic point of view, Magdalena Sibylla also owned books by Samuel Pufendorff: Sechs und Zwantzig Bücher Der Schwedisch- und Deutschen Kriegs-Geschichte (1688) and Sieben Bücher Von denen Thaten Carl Gustavs Königs in Schweden (1697). I am most grateful to Jill Bepler for sharing this information with me. I thank Lars Berglund and Maria Schildf for sharing this information. 43. See for example, Hans Helander, Neo-Latin Literature in Sweden in the Period 1620–1720. Stylistics, Vocabularly and Characteristic Ideas, Acta Universitatis Upsaliensis, Studia Latina Upsaliensia 29, especially pp. 398–410. 44. Johan Peringskiöld, Kort beskrifning om provincien Nya Swerige uti America, som nu förtjden af the engelske kallas Pensylvania. Af lärde och trowärdige mäns skrifter och berättelser ihopaletad och sammanskrefwen, samt med åthskillige figurer utzirad af: Thomas Campanius Holm. Stockholm, tryckt uti kongl. boktr. hos sal. Wankijfs änkia med egen bekostnad, af J.H. Werner. Åhr MDCCII, Stockholm, 1702 [Elektronisk resurs]. 45. Georg Lohmeier, Der Europäischen Reiche und Fürstenthümer historische und genealogische Erläuterung … wieder aufgelegt …, Lüneburg, 1695 (Kungl. biblioteket: RAR: 121 A). 46. See among others Jill Bepler, »Im dritten Gradu ungleicher Linie Seitwart verwandt: Frauen und dynastisches Bewußtsein in den Funeralwerken der Frühen Neuzeit«, in Dynastie und Herrschaftssicherung in der Frühen Neuzeit. Geschlechter und Geschlecht. Zeitschrift für Historische Forschung, Beiheft 28, ed. Heide Wunder, 2002, pp. 135–160. 47. For example, Christina, Kurfürstin Sachsen-Weisenfels, Duchess of Schleswig-Holstein-Gottorf (1656–1698) and August (1577–1656) Duke of Sachsen-Lauenburg (NMGrh 39), two personalia of two relatives that Hedwig Eleonora also owned portraits of, which are still in the royal collections, part of the State Portrait Collection. 48. Adam Olearius, Hochfürstliche ansehnliche Leichbegängniss des … Herrn Friederichs, Erben zu Norwegen, Hertzogen zu Schlesswig Holstein, Stormarn und der Dithmarschen, [––] Schleswig, 1662 (Kungl. biblioteket: RAR: 161 G?2 q Fol. 1659). For discussions on the frontispiece see Elio Brancaforte, Visions of Persia. Mapping the Travels of Adam Olearius, Cambridge, MA and London, UK, 2003, p. 40. For discussions on the authorship of this book please see Mara Wade, »Paper Monuments and the Creation of Memory: The Personal and Dynastic Mourning of Princess Magdalena Sibylle of Saxony«, in Eduring Loss in Early Modern Germany. Cross Disciplinary Perspectives, ed. Lynne Tatlock, part of Studies in Central European Histories, no. 50, pp. 161–186, especially p. 179. Mara Wade has further also presented this funerary work in the article »Invisible Bibliographies« (see note 28, pp. 50–51), where Wade describes Maria Elisabeth's activities in the literary field as »part of the pious court ethos« that she established. 49. See Wade (1998), especially pp. 50–51 (see note 28). 50. Erik Jöransson Tegel, see note 7. 51. Per Bjurström & Mårten Snickare (eds), Nicodemus Tessin the Younger: sources, works, collections, Catalogue du Cabinet des beaux arts 1712, Stockholm, 2000. This is an annotated facsimile edition of Nicodemus Tessin, Catalogue des Livres, Estampes & Desseins, du Cabinet des beaux arts, & des Sciences, Appartenent au Baron Tessin, Marèchal de la Cour du Roy & Sur-Intendent de Battiments & Jardins Royaux de Suede, Stockholm, 1712. The collection of Nicodemus Tessin is today in the Nationalmuseum (engravings and drawings) and in the Royal Library (books). 52. For discussions on the publication, please see Jan Drees, »Die ‘Gottorffische Kunst-Kammer’ Anmerkungen zu ihrer Geschichte nach historischen Textzeugnissen«, in Gottorf im Glanz des Barock, vol. II, Die Gottorfer Kunstkammer, Schleswig, 1997, pp. 11–48. 53. »…E. Kön. Maj. auch eine sonderliche Liebhaberin solcher Sachen ist, mir zu solcher Schrifft selbst veranlassung gegeben... « Adam Olearius, Die Gottorfische Kunst-Cammer, Schleswig, 1666, copy in the collections of the Library of the Academy of Sciences (Kungl. Vetenskapsakademins bibliotek), Stockholm University library. The author is currently researching the concept of the Liebhaber (Liefhebber) or as in this case, Liebhaberin, in reference to Hedwig Eleonora's role as a patron of the arts. She was often in her own time referred to as a Liebhaberin/n and hence a person of special skill, interest, and love for the arts. 54. In the Royal Library in Copenhagen, Denmark, there is copy of the Gottorfische Kunst-Cammer (1666) with a handwritten signature of Adam Olearius addressing the book to the Danish King Frederick III.