Ostatnie wielkie widowisko barokowej Europy: polskie relacje z uroczystości weselnych Fryderyka Augusta i Marii Józefy w Wiedniu i Dreźnie w 1719 r.
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| 246 | 1 | 3 | |a The last great spectacle of Baroque Europe : Polish accounts of the wedding celebrations of Frederick Augustus and Maria Josepha in Vienna and Dresden in 1719 |
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Datensatz im Suchindex
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SPIS TRESCI
Wst^p . 7
Wykaz skrotow. 27
Relacyja krotka aktu weselnego najjasniejszego Fryderyka Augusta
krolewicza polskiego i ksi^cia saskiego z najjasniejsz^ Marig. Jozefg,
arcyksi^zn^ rakusk^ w palacu cesarskim Faworyt nazwanym,
d. 20 Aug. Anno 1719. 29
Opisanie przyjmowania najjasniejszej arcyksi^zny rakuskiej alias
[albo] relacyja wjazdu i przenosin tejze najjasniejszej arcyksi^zny
krolewiczowej polskiej, ksi^zny saskiej w Dreznie . 35
Summary.133
Indeks osob.143
THE LAST GREAT SPECTACLE OF BAROQUE
EUROPE
Polish accounts of the wedding celebrations of Frederick
Augustus and Maria Josepha in Vienna and Dresden in 1719
SUMMARY
Jacek Staszewski, writing about the wedding celebrations of Frederick
Augustus and Maria Josepha, which took place in Dresden in 1719,
described them as the last spectacle of such grandeur in Baroque Eu-
rope. The events were designed by the Elector of Saxony and King of
Poland, Augustus II of Saxony himself. In 1719, the King reigned and
revelled, and showed his Saxon and Polish subjects, as well as entire
Europe, his aspirations, the wealth of his country, and his own politi-
cal and artistic imagination, which must have seemed unlimited to his
contemporaries. Mixing politics and entertainment suited the contrast-
ing aesthetics of the Late Baroque. Augustus II, who in many aspects
of his government emulated the ruler of France, Louis XIV, managed
to surpass the Versailles model in terms of his personal involvement in
creating the programme of the wedding and active participation in it.
There is every indication that carnival games and entertainments, as
well as feasts connected with specific events important for the country
or the reigning family, brought the King a lot of personal, authentic
joy. The Elector of Saxony and King of Poland delighted in personal
participation in concerts, spectacles, masked balls, fairs, and carousels.
His health permitting, he used such events to demonstrate his physical
condition, impressive strength, and great fitness.
This human component connected with the ruler was not the only
reason for the lavishly organised court entertainments. The revival of
the idea of a court carnival in Augustus II’s times was not accidental; it
133
was part of a very carefully thought-out programme of propaganda of
the royal authority. When he held the carnival in Dresden for the first
time in 1695, the Elector referred back to the 16th-century tradition of
organising extravagant court banquets, continued in the times of his
grandfather, John George II (1656-1680). In 1695, the court admired
a parade of gods and goddesses, held in a styled, mythological setting,
and enjoyed a running at the ring. The young Elector wore the costume
of Mercury, probably emulating a similar ensemble of Augustus, Elector
of Saxony, from 1574. Particular splendour was displayed during the
festivities connected with the visit of the King of Denmark, Frederick IV
of the House of Oldenburg, to Dresden in 1709. The celebrations lasted
from 26 May to 29 June. This was the first time that ladies also partici-
pated in a running at the ring; the guests also enjoyed tournaments and
admired a parade of the four continents (the costumes were modelled
on the Parisian carousel of 1662). The pageant ended with a parade of
gods, similar to the one in 1695. This time, the Elector wore the costume
of Apollo, with a gold Sun mask. Each cycle of entertainments was, as
a result of its high level of allusiveness and clear symbolism, a theatre of
royal majesty. Augustus II took care of every detail that could emphasise
his position; as a result, his court entertainments contained many clear
elements which ‘fabricated’ the King and the Elector. In 1695 the ruler
appeared as Mercury; two years later he was Alexander the Great; in
later years he impersonated Saturn or Jove and led the carnival parade.
Wearing the Sun mask in 1709 signalled to the wider audience that the
King intended to pursue broad political plans again.
The symbolic and propaganda aspect of the 1719 wedding celebra-
tions has been the subject of many detailed studies. They have empha-
sised the significance of the festivities of the seven planets for building
the image of Augustus II on the national and international arena; they
have also analysed all sorts of details connected with the ruler and his
decorum. Historians have been particularly interested in the feast of the
Sun held on 10 September 1719. All allusions to the Wettins’ interna-
tional aspirations have been analysed in detail, including the symbolic
connections between the Golden Fleece and the imperial crown, as well
as fireworks which spelt out the name of Maria Josepha in the sky. The
premiere of the opera Theophano on 13 September was not accidental,
134
either. Its topic — the wedding of Otto II to Theophano, the Byzantine
Emperor’s daughter — was a clear allusion to the current political situ-
ation, signalling the Saxon dynasty’s hopes connected with a marriage
to the Emperor’s heiress.
The importance of the 1719 wedding celebrations far exceeded the
significance of a typical marriage of an heir to the throne. The Prince’s
fiancée, Maria Josepha, was the eldest daughter of Emperor Joseph I of
the House of Habsburg (1705-1711) and his wife, Wilhelmine Amalia of
the House of Brunswick-Lüneburg. Efforts to secure this marriage had
started in 1717, although the list of potential candidates for the wife of
the son of the Elector of Saxony was long (it included the names of duch-
esses from England, Denmark, and the Reich). The official engagement
was announced in March 1718. Although through this engagement the
Elector of Saxony accepted the conditions of Charles Vi’s Pragmatic
Sanction, which gave his daughters, rather than his late brother’s chil-
dren, precedence in succession to the throne, Katrin Keller emphasises
that the declarations of Augustus II clearly showed that in favourable
conditions it would be possible for the House of Wettin to join the rivalry
for the imperial crown. In the political reality of 1719, such plans were
not just a pipe dream. Charles Vi’s daughters, Maria Theresa and Maria
Anna, were both under the age of two; the succession of Joseph I’s adult
children seemed possible.
The organisation of the Crown Prince’s wedding, which was gossiped
about already in April and officially announced in May 1719, took up at
least several months. King Augustus II himself was the initiator of the
four seasons parade, which took place on 23 September; he also person-
ally approved the timetable of the festivities which were spread out over
22 days. The innovativeness of the idea in 1719 did not consist in the
original character of the festivities but in combining tried and trusted
elements on an unprecedented scale. The celebrations were divided into
seven cycles, for which the planets served as patrons: the Sun, the Moon,
Mars, Jupiter, Mercury, Venus, and Saturn; in their allegorical form they
referred to mythological figures. It was mythology that was the actual
point of reference; Mars served as patron of the tournaments; Jupiter
inspired the Carousel of the Four Elements held in the Zwinger; Mercury
was patron of crafts and trade, and Saturn of the days themed around the
135
riches of the earth. Saturn was the undisputed ruler of the celebrations,
and the Elector of Saxony performed the role of his earthly emanation,
usually presented as Hercules in iconography (Hercules Saxonicus). The
celebrations were to be inaugurated by the arrival of Maria Josepha in
Dresden, designed with truly masterly skill and lavishness. The scenario
of the festivities was not meant to be an erudite play with mythology.
Behind it, there was a deeper political thought of the director of the events,
Augustus II. The planets were, after all, serving as patrons of a union
between the House of Habsburg and the House of Wettin, which could
have a great significance for the future of Europe. Individual parts of
the festivities of the planets are important for the interpretation of their
significance: the aim of the tournament organised under the auspices of
Mars was to showcase the greatness of the nobility and the absolutist
aspirations of the ruler; Jupiter’s universal harmony was a clear allusion
to the peace efforts of the Elector, whose goal was the happiness of the
subjects; and the presentation of the condition of crafts, trade, and mines
demonstrated Saxony’s prosperity.
In May 1719 invitations were sent out; the invited guests included
20 senators and 18 other dignitaries from the Commonwealth. 31 May
saw the christening of the Buccentauro, a galley modelled after the
ships of Venetian doges, which was supposed to play a special role in
the celebrations — it was on this ship that the new wife of the Prince
Elector would come to Dresden. During the launch on the Elba, some
technical difficulties were experienced which were solved during the
later voyages. In June, lodgings for the guests were organised; the fol-
lowing months were spent rehearsing the entertainments which were
part of the scenario approved by the Elector. Carousels, tournaments,
and hunts were constantly being ‘tested’ and a detailed timetable of the
celebrations was being prepared. The monarch also approved the project
of publishing an album (a folio edition containing 562 pages), illustrated
with 30 copperplates, which was to be distributed at courts all over Eu-
rope after the wedding. In the end, financial reasons made this project
impossible to complete.
The preparations got into a full swing in August 1719. The guests
participating in the Viennese wedding ceremony only heard rumours of
the rehearsals in Dresden. Apparently Maria Josepha herself was a great
136
supporter of such a lavish ceremony; in her opinion her marriage should
be held in an extraordinary setting. In accordance with the Emperor’s
wish, the Crown Prince was to set off for Vienna; Emperor Charles VI
did not consent to a ceremony per plenipotentem. Frederick Augustus
was accompanied by a suitable entourage of ministers (including Jacob
Heinrich von Flemming, who was responsible for all the formalities
connected with the wedding).
The preparations in Dresden continued right until the event took place.
The, mainly wooden, structures which formed the Zwinger were only
announced as finished on 25 August 1719. The cost of the building work
exceeded the original budget three times over. Renovations were being
carried out simultaneously in the Elector’s castle, in the Taschenberg
Palace (the Prince Elector’s residence) as well as the Turkish and Dutch
Palaces. The preparations included not only monumental architecture but
also a number of details, such as designing and tailoring the outfits for the
participants in the festivities. To a large extent, costumes left over from
previous celebrations were used; they were refreshed and put together
in new combinations, a special costume programme was designed for
Augustus II; for each day of the wedding a separate outfit and jewellery
set were prepared. The costumes’ textures and colours dazzled (they were
either contrasting or very bright), as did the meticulous workmanship (two
of the costumes, the red and golden ones, can be admired in the Dresden
Rüstkammer), while the jewellery included some of the grandest and most
valuable precious stones in the royal treasury. The most frequently used
jewels were the Elector’s famous diamond set and the point d’Espagne,
but Augusts II also appeared wearing his ruby, sapphire, agate, silver,
and gold sets. According to art historians, the programme clearly alluded
to the outfits of Louis XIV, demonstrating the Elector’s ambitions to his
contemporaries. The diamond agraffes adorning his outfit on 2 Septem-
ber were a la française-, during the feasts Hercules Saxonicus appeared
dressed up very similarly to Louis XIV; historians even read the tendency
to imitate the French ideal of fashion and power into the famous outfit
made out of golden fabric and embroidered with golden thread, which
was used by Augustus during the running at the ring.
The significance of the 1719 wedding celebrations goes far beyond
issues connected to demonstrating the royal splendour. The last such
137
lavish celebration in Europe did not bring either Augustus II or his
successor any tangible political benefits. He was also unlikely to find
favour among his Polish subjects, who cast a critical eye over the form
of all the celebrations and the splendour that surrounded them. On the
other hand, however, it seems that Poles were interested in the Viennese-
Dresden wedding, which — multiplying a series of carnival games under
the slogan of a festival of the seven planets — must have made quite an
impression on its participants and observers (the number of accounts and
descriptions of the festivities in various languages, as well as copperplates
documenting the entertainments, is impressive). The 1719 celebrations
probably also strengthened the impression among the contemporaries
that the House of Wettin’s connections with Catholicism were not ac-
cidental or ephemeral. Frederick Augustus had converted to Catholicism
in 1712; this was only announced officially six years later, when he was
finishing his grand tour of Europe. From that moment on, he participated
in Catholic services together with Augustus II, and in September 1719
he ceremoniously brought his new wife, from the Catholic House of
Habsburg, to Dresden. The religious ceremonies during the September
nuptials were naturally set in Catholic churches; at the same time Au-
gustus II made a courteous gesture towards his Saxon subjects and on
3 September the Te Deum was also heard in Protestant churches.
The characteristics of the sources and the principles of editing
The celebrations organised in Vienna and Dresden in 1719 were a sig-
nificant propaganda and social event; as a result they were the subject
of many accounts, mainly in German. Information about the festivities
was being systematically published by the European press. Various ef-
forts were made to satisfy the curiosity of Augustus II’s Polish subjects.
News was circulated on a current basis through letters and newspapers.
Poles were particularly interested in the most spectacular fragments of
the ceremonies, such as Maria Josepha’s ceremonious arrival in Dres-
den, which was given the most attention in letters and the press. Reports
related to this event were varied; some of them concentrated on merely
listing the order and number of the participants in the famous parade,
without showing the context or setting of the events. Even the mere
138
enumeration of individual groups which took part in the several-hour-
long parade demonstrated the scale of the event.
At the same time, complex descriptions of the wedding were also
created in Polish. One of them was a Short Account of the Wedding
Ceremony of His Highness Frederick Augustus, Polish Crown Prince
and Saxon Prince Elector, to Her Highness Maria Josepha, Archduchess
of Austria, in the Imperial Palace Called Favoriten, on the 20th Day of
August, Anno 1719. It includes chronologically presented information
about the Viennese-Dresden celebrations (the structure of German pub-
lications is analogous; it cannot be excluded that the author of the Polish
version used them to some extent). The Account starts in the capital of
the Austrian Habsburgs, briefly describing the wedding ceremony and
the couple’s journey to Saxony; later, already in Dresden, the text brings
detailed information about the following 22 days of celebrations. The
value of the text is not limited to its informative function. What is much
more significant is the Account’s angle, reflecting the needs and interests
of the citizens of the Commonwealth; it includes important details about
the presence and participation of Polish senators and magnates in vari-
ous parts of the wedding. This element distinguishes it from the printed
contemporary German descriptions, in which Polish guests are mentioned
rather briefly, understandably so — the publications were addressed to
readers from the German Reich.
The author of the Account is unknown. He was certainly a Pole who
visited Dresden during the wedding celebrations; perhaps he was one
of the magnates who were giving up-to-date accounts about everything
that was happening in the Saxon capital. The meticulous character of
the description suggests that he either witnessed the events himself or
used first-hand information from participants in various celebrations. If
he was the author of the translation of Diana on the Elba from Italian
to Polish, he can easily be described as an erudite with a considerable
literary flair. As was already mentioned, his account was composed so
as to meet the needs of Polish readers and is therefore quite different
from the descriptions presented in e.g. Saxon printed accounts from the
period. It is equally as meticulous with regard to the presentation of the
displayed splendour and the richness and colourfulness of the clothes; it
also contains detailed data about the makeup and activity of the Polish
139
delegation participating in the wedding celebrations. As a result, some of
its fragments are longer and more precise in comparison with the German
descriptions, especially with regard to the Polish participation in various
entertainments (this is particularly conspicuous in the case of the feast of
Venus on 23 September). The author’s goal is to present the pomp and
extraordinariness of the celebrations; on the propaganda level, he presents
the vision which was desired by Augustus II. At the same time, the author
does not avoid judgements and opinions, e.g. writing about the premiere
of the opera Theophane, he reports on the splendour that accompanied
the production and emphasises that an equally rich and costly premier
had not been seen in Italy. His remarks are skilfully interwoven into the
account; the description of this spectacle is an excellent opportunity to
emphasise the analogies between the Liudolfings and the Wettins, espe-
cially in the context of their aspirations to the imperial crown.
There are many surviving copies of Polish accounts about the wed-
ding of Frederick Augustus to Maria Josepha. This publication is based
on two manuscripts. The first one is kept in the Library of The Princes
Czartoryski in Krakow, in the Naruszewicz Files, manuscript number
205IV, k. 885-936, and the second in the Ossolinski National Institute in
Wroclaw, manuscript number 9790/TI. They differ considerably — they
were likely composed by two different writers. Fragments of accounts
can be found in numerous archives and libraries, which demonstrates
the considerable popularity of the marriage among Augustus II’s Polish
subjects. The versions known to us, although containing different details,
had the same goal: to provide a description of events which were full of
pomp and royal splendour, and consequently to make a strong impres-
sion on the readers.
The guide for preparing Polish accounts about the 1719 celebrations
in Dresden for publication was the Editorial Instructions for Historical
Sources from the 16th to the mid—19th Centuries, edited by Kazimierz
Lepszy (Wroclaw 1953). Some of his directions were modified or omit-
ted. What was decisive was not so much the ‘age’ of the instructions,
published in 1953, as the necessity to flexibly adjust editorial rules to
the specificity of the source, which is widely postulated by modem
historians (such as Jerzy Dygdala). Due to a large number of footnotes
about people and facts, the scientific apparatus has been limited to the
140
minimum. All Latin words and phrases have been translated and pro-
vided in square brackets or footnotes. The personal data of the people
mentioned in the text have been explained in footnotes, although the
identification of some figures, such as some ladies-in-waiting of Maria
Josepha or Christiane Eberhardine, was not always possible, mainly as
a result of a lack of monographs about their courts (all doubts are men-
tioned in the footnotes). Due to the author’s numerous mistakes in the
spelling of German names, the personal data of the persons appearing
in the Account were first explained in the footnotes and then repeated in
the square brackets in the text.
The significance of Polish accounts about the wedding is not limited to
the facts and data they contain, although the fact that they were intended
for Augustus II’s Polish subjects and were to reflect the considerable
Polish participation in the festivities in Dresden is not meaningless.
However, the accounts are first of all an invaluable source of information
about how the citizens of the Commonwealth perceived the splendour
accompanying the marriage of Augustus II’s son; to what extent they were
captivated by the variety of entertainments modelled on the famous Saxon
carnivals; and whether the meticulous design of the wedding was able to
result in their increased attachment to the Saxon House of Wettin.
Translated by Anna Sosenko
INDERS OSÓB*
Sporz^dziia Jolanta Pabian
Afrodyta, bogini grecka 102
Aglauros, postac mitologiczna 96
Ahmed III33
Ajetes, król Kolchidy70, 73
Aklippe, postac mitologiczna 96,
101
Apollo, bog grecki 96,124
Ares, bóg grecki 96
Artemida 37, 70, 96, 124
Atañas, postac mitologiczna 70
August II Sas 29, 35, 36, 38^10, 42,
44-46, 49, 55, 57-71, 75, 82,
84—88,90-99,105,107-115,117,
119-121, 123, 125-132
Bachus, Bacchus, bóg grecki 124,
125
Baudissin Wolf Henryk 78, 81
Bibra, baronessa 117, 124
Bludowsky Gottlibe Agnieszka Karo-
lina 107
Bobrowicz Jan Nepomucen 84
Bokum Urszula Katarzyna 95
Bomsdorff Hiob Fryderyk 58, 59
Bose Karolina Joanna 119
Bose Krzysztof Teodoryk 119
Böttcher Hans Joachim 61
Brockdorf Anna Konstancja, hrabina
Cosel 53, 91
Brühl Henryk 97
Caldara Antonio 34
Ceres, Cerera, bogini rzymska 117
Christian I Sachsen-Merseburg 107
Christian Sachsen-Weißenfels 55
Chiystian VI Oldenburg 63
Clery, bereiter 45
Corneille Piotr 75
Corneille Tomasz 67, 69
Czartoryski August Aleksander 131
Czartoryski Kazimierz 131
Czartoryski Michal Fryderyk 131
* W indeksie nie uwzglçdniono osób wymienionych we wstçpie i w streszczeniu. Przy
sporz^dzaniu indeksu zrezygnowano z zamieszczania zarówno tytulów, jak i przedrostka
von. Dane te znajduj^ siç w przypisach do tekstu zródla. Wyj^tek uczyniono día postaci
mitologicznych oraz día osób, któiych dokladna identyfikacja nie byla mozliwa.
Dafhe, nimfa 96, 100
Damat Nev§ehirli Ibrahim Pasza 33,
34, 108
Daun Henryk Jözef 61
De Beem, karlica 126
Diana, bogini rzymska 70, 72, 73, 95,
98-103,120
Dietrich Andrea 99
Dietrichstein Gundaccar Poppo 52-56,
61, 115
Dunin Borkowski Jerzy 39
Eckstädt Fryderyk Vitzthum 59, 78,
81,90, 105, 106, 111, 117
Eleonora Magdalena Pfalz-Neuburg
30-33
Elzbieta Krystyna Braunschweig-
- Wolfenbüttel 31, 32
Erdmannsdorff Jan Fryderyk 67
Flemming Jakub Henryk 49, 60, 64,
66, 69, 95, 106, 110, 115
Flora, bogini rzymska 117, 124, 125
Foscari Alvise 60
Frankenberg Sigismunda Anna 61
Friesen Henryk Fryderyk 90
Fryderyk August Wettyn 29, 30, 35,
38-40, 45, 50-58, 60-69, 71, 72,
75, 83, 85,87, 89-96,98-99,106,
110, 111-113, 115, 121, 123-125,
127, 128, 130-132
Fryderyk Ludwik Württemberg-
-Winnental 65, 66, 86, 87, 90, 95,
110, 115, 121
Fryderyk Schleswig-Holstein-
-Sonderburg-Wiesenburg 65
Fryksos 70, 73
Fugger, hrabina 55-56
Gal, koniuszy 51
German, sw. 72, 105, 109
Gospod (?), general 110-111
Grimaldi Girolamo 92, 94, 108, 127
Guarini Ignacy 68
Haendel Jerzy Fryderyk 62
Helle, postac mitologiczna 70
Henning Andreas 60
Henryk I Ptasznik 72
Henryk Sachsen-Merseburg 107
Henryk Sachsen-Weißenfels-Barby
65,66,68, 106, 107, 110, 115
Herkules, postac mitologiczna 111
Hildebrand Henrietta 119
Hoym Rahela Karolina 106, 119
Jablonowski Jan Stanislaw 60, 66
Jan Adolf Sachsen-Weißenfels 63,
65
Jan Jerzy II 38
Jan Jerzy III 99
Jazon, postac mitologiczna 70, 71
Jerzy Albrecht Sachsen-Weißenfels-
-Barby 107, 116, 121
Joanna Wilhelmina Sachsen-
- Weißenfels 63, 107, 115, 119,
121
Jordan E, kammerjunkier 117, 124
Jordan Michaf Stefan 60, 66
Jowisz, bög rzymski 70, 72, 73, 84,
87
Jözef I Habsburg 29
Karol VI Habsburg 29-33, 131, 132
Karol VII Wittelsbach 29
Karol Hessen-Kassel 65, 67, 94, 106,
110, 115, 121
Klimena, postac mitologiczna 96,
100-103
144
Knaut, major 114
Kollonitz Zygmunt 31, 32, 33
Königlin Klaudia (?) 119
Königsmarck Aurora 60, 107
Krystyna Eberhardyna Brandenburg-
-Bayreuth, elektorowa saska 29,
57-59, 61, 62-66, 71, 75, 79, 84,
86, 87, 90-94, 97, 105, 106, 108,
110-113, 116-118,120, 122, 123,
127-132
Kupidyn, bog rzymski 101
Lagnasco, Piotr Robert Taparello 61,
106, 110, 121
Lange, bereiter 114
Leopold I Habsburg 29-31, 33, 95
Leubnitz Karol Gottlob 42, 95, 97
Loss Jan Adolf 50, 57, 95
Lotti Antoni 62, 68, 83
Löben, Joanna Wiktoria Tugendreich
107, 123
Löser Hans 44
Löwendal Anna Zofia 116
Löwendal Malgorzata Adelajda 116
Löwendal Woldemar 50, 59, 62, 106,
116, 127, 128, 131
Lubomirska Karolina Ludwika 106
Lubomirski Aleksander Jakub 106,
117, 125
Lubomirski Jerzy Dominik 95
Lucchini Antonio Maria 126
Luiza Krystyna von Stolberg-Stolberg
55
Lützelburg Anton 51, 56
Manteuffel Ernest Krzysztof 61, 107
Manteuffel Gottliebe Agnieszka Karo-
lina 107
Mardefeld Gustaw 110
Maria Amalia Habsburg 29, 31, 33
Maria Anna Habsburg 31
Maria Elzbieta Habsburg 30-34
Maria Jozefa Habsburg 29,31,33-35,
37-40, 51-59, 61-69, 71, 72, 75,
79, 83, 84, 86, 87, 91-96, 98,
99, 106, 110-115, 118, 119-125,
127-132
Maria Magdalena Habsburg 30, 31
Maria Teresa Habsburg 31
Mars, bog rzymski 70
Martinitz Adolf Bernard 61
Marx Barbara 60
Mauro Alessandro 37
Maurycy Saski 60, 98, 107, 121
Merkury, bog rzymski 70
Minerwa, bogini rzymska 124
Mniszech Jozef 55, 60, 64, 66
Mniszech Konstancja z Tarlow 55,
106
Molier 91, 96
Mordax Jan Zygmunt 42
Mlinnich Burchard Krzysztof 49
Mycielski Maciej 61
Nefele, postac mitologiczna 70
Niesiecki Kacper 84
Nisa, nimfa 96
Nollarn von Nollenstein Baltazar
Franciszek 31
Oginska Elenora z Wojnow 36, 55,
106
Oginska Helena 36, 53, 59, 61
Oginska Marianna 36, 53, 59, 61,
119
Ogihski Jozef 90, 97, 117, 125
Oginski Kazimierz Dominik 36, 60,
66, 90, 97, 99
Okeanos, postac mitologiczna 96
145
Ossolinski Franciszek Maksymilian
60
Otton I 83
Otton II 83
Pflugk, dwörka (?) 117
Pociej Antoni Aleksander 61
Pociej Ludwik Konstanty 95
Pociejowa Agnieszka Emercjanna
z Warszyckich 95, 106, 115, 119,
123
Poninski Karol Samuel 56
Posejdon, bog grecki 96
Potocki Stefan 61
Promnitz Erdmann II 61
Przebendowski Jan 60
Przebendowski Jan Jerzy 60, 64, 66
Racknitz Karol Gustaw 58, 62, 79,
81, 111
Rantzau Benedykta Malgorzata 106,
116
Rokeleng, kapitan 117
Rudolf, hoffourier 46
Salema Jan Baptysta 68
Saturn, bog rzymski 70, 73, 126,
128-130
ScharfFenberg, hrabina 118
Schmidt Jerzy Krzysztof 123
Schwan, baronowa 119
Seyffertitz Adolf 58
Sieniawska Elzbieta 38, 53, 58, 67
Sieniehski Dominik 56
Sinzendorf Sigmund Rudolph 30
Starcke Jan Jerzy 99
Stein, baron 61, 116
Szaniawski Konstanty Felicjan 54,
57—60, 132
Szembek Krzysztof Andrzej Jan 56
Szembek Krzysztof Antoni 60
Szembek Jan 54, 60, 64, 66
Szymanski Jözef 3 2
Tarlo Jan 60
Tarlo Piotr 60
Teofano, cesarzowa83, 113, 131
Tetyda, postac mitologiczna 96
Trillsam Andreas Franz
Vitzthum Karolina Frydeiyka 106
Wackerbarth August Krzysztof 61,
71, 128
Walewski, kammerfourier 47
Watzdorf Krzysztof Henryk 61, 106,
110
Watzdorf WilhelminaFiydeiyka 106,
119
Wenus, Wenera, bogini rzymska 70,
73, 97, 99-101, 116, 118, 120,
123-125
Werthem Rahela Helena 107
Werthem-Beichlingen Jerzy 107
Wielopolski Franciszek 54
Wielopolski Hieronim 55
Wielopolski Jan 54
Wilhelmina Amalia Braunschweig-
-Lüneburg 29, 31-33
WiSniowiecki Janusz Antoni 60, 66
Würben Jan Jözef 131,132
Zech Elzbieta 119
Zech Bernard 119
Zefir, postac mitologiczna 124
Zeweidyrtz (?) 111
Zofia Magdalena Brandenburg-
-Kulmbach 63, 65, 116, 121
\
che
¡omeR
y |
| any_adam_object | 1 |
| author2 | Kuras, Katarzyna ca. 20./21. Jh |
| author2_role | edt |
| author2_variant | k k kk |
| author_GND | (DE-588)102607228X |
| author_facet | Kuras, Katarzyna ca. 20./21. Jh |
| building | Verbundindex |
| bvnumber | BV043457031 |
| contents | Indeks |
| ctrlnum | (OCoLC)958160366 (DE-599)BVBBV043457031 |
| era | Geschichte 1719 gnd |
| era_facet | Geschichte 1719 |
| format | Book |
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| geographic | Dresden (DE-588)4012995-0 gnd Wien (DE-588)4066009-6 gnd |
| geographic_facet | Dresden Wien |
| id | DE-604.BV043457031 |
| illustrated | Illustrated |
| indexdate | 2025-01-11T13:08:16Z |
| institution | BVB |
| isbn | 9788365080158 836508015X |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028874337 |
| oclc_num | 958160366 |
| open_access_boolean | |
| owner | DE-12 DE-255 |
| owner_facet | DE-12 DE-255 |
| physical | 146 Seiten, 16 ungezählte Seiten Bildtafeln Illustrationen 21 cm |
| psigel | DHB_BSB_DDC |
| publishDate | 2015 |
| publishDateSearch | 2015 |
| publishDateSort | 2015 |
| publisher | Towarzystwo Wydawnicze "Historia Iagellonica" |
| record_format | marc |
| spelling | Ostatnie wielkie widowisko barokowej Europy polskie relacje z uroczystości weselnych Fryderyka Augusta i Marii Józefy w Wiedniu i Dreźnie w 1719 r. wstęp i opracowanie: Katarzyna Kuras przy współpracy Jolanty Pabian The last great spectacle of Baroque Europe : Polish accounts of the wedding celebrations of Frederick Augustus and Maria Josepha in Vienna and Dresden in 1719 Kraków Towarzystwo Wydawnicze "Historia Iagellonica" 2015 146 Seiten, 16 ungezählte Seiten Bildtafeln Illustrationen 21 cm txt rdacontent n rdamedia nc rdacarrier Zusammenfassung in englischer Sprache unter dem Titel: The last great spectacle of Baroque Europe : Polish accounts of the wedding celebrations of Frederick Augustus and Maria Josepha in Vienna and Dresden in 1719 Indeks Maria Josepha Polen, Königin 1699-1757 (DE-588)11917426X gnd rswk-swf August III. Polen, König 1696-1763 (DE-588)118505092 gnd rswk-swf Geschichte 1719 gnd rswk-swf Hochzeit (DE-588)4025292-9 gnd rswk-swf Eheschließung (DE-588)4013657-7 gnd rswk-swf Dresden (DE-588)4012995-0 gnd rswk-swf Wien (DE-588)4066009-6 gnd rswk-swf Wien (DE-588)4066009-6 g Dresden (DE-588)4012995-0 g Hochzeit (DE-588)4025292-9 s Geschichte 1719 z DE-604 August III. Polen, König 1696-1763 (DE-588)118505092 p Maria Josepha Polen, Königin 1699-1757 (DE-588)11917426X p Eheschließung (DE-588)4013657-7 s Kuras, Katarzyna ca. 20./21. Jh. (DE-588)102607228X edt Pabian, Jolanta oth Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028874337&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028874337&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028874337&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Register // Personenregister |
| spellingShingle | Ostatnie wielkie widowisko barokowej Europy polskie relacje z uroczystości weselnych Fryderyka Augusta i Marii Józefy w Wiedniu i Dreźnie w 1719 r. Indeks Maria Josepha Polen, Königin 1699-1757 (DE-588)11917426X gnd August III. Polen, König 1696-1763 (DE-588)118505092 gnd Hochzeit (DE-588)4025292-9 gnd Eheschließung (DE-588)4013657-7 gnd |
| subject_GND | (DE-588)11917426X (DE-588)118505092 (DE-588)4025292-9 (DE-588)4013657-7 (DE-588)4012995-0 (DE-588)4066009-6 |
| title | Ostatnie wielkie widowisko barokowej Europy polskie relacje z uroczystości weselnych Fryderyka Augusta i Marii Józefy w Wiedniu i Dreźnie w 1719 r. |
| title_alt | The last great spectacle of Baroque Europe : Polish accounts of the wedding celebrations of Frederick Augustus and Maria Josepha in Vienna and Dresden in 1719 |
| title_auth | Ostatnie wielkie widowisko barokowej Europy polskie relacje z uroczystości weselnych Fryderyka Augusta i Marii Józefy w Wiedniu i Dreźnie w 1719 r. |
| title_exact_search | Ostatnie wielkie widowisko barokowej Europy polskie relacje z uroczystości weselnych Fryderyka Augusta i Marii Józefy w Wiedniu i Dreźnie w 1719 r. |
| title_full | Ostatnie wielkie widowisko barokowej Europy polskie relacje z uroczystości weselnych Fryderyka Augusta i Marii Józefy w Wiedniu i Dreźnie w 1719 r. wstęp i opracowanie: Katarzyna Kuras przy współpracy Jolanty Pabian |
| title_fullStr | Ostatnie wielkie widowisko barokowej Europy polskie relacje z uroczystości weselnych Fryderyka Augusta i Marii Józefy w Wiedniu i Dreźnie w 1719 r. wstęp i opracowanie: Katarzyna Kuras przy współpracy Jolanty Pabian |
| title_full_unstemmed | Ostatnie wielkie widowisko barokowej Europy polskie relacje z uroczystości weselnych Fryderyka Augusta i Marii Józefy w Wiedniu i Dreźnie w 1719 r. wstęp i opracowanie: Katarzyna Kuras przy współpracy Jolanty Pabian |
| title_short | Ostatnie wielkie widowisko barokowej Europy |
| title_sort | ostatnie wielkie widowisko barokowej europy polskie relacje z uroczystosci weselnych fryderyka augusta i marii jozefy w wiedniu i dreznie w 1719 r |
| title_sub | polskie relacje z uroczystości weselnych Fryderyka Augusta i Marii Józefy w Wiedniu i Dreźnie w 1719 r. |
| topic | Maria Josepha Polen, Königin 1699-1757 (DE-588)11917426X gnd August III. Polen, König 1696-1763 (DE-588)118505092 gnd Hochzeit (DE-588)4025292-9 gnd Eheschließung (DE-588)4013657-7 gnd |
| topic_facet | Maria Josepha Polen, Königin 1699-1757 August III. Polen, König 1696-1763 Hochzeit Eheschließung Dresden Wien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028874337&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028874337&sequence=000005&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028874337&sequence=000006&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
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