The First Iron Lady: A Life of Caroline of Ansbach. Matthew Dennison

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СКАЧАТЬ her departure for Hanover, ‘I desire nothing so much as to throw myself at my Princess’s feet and promise her eternal devotion,’ and there is puppyishness even in the copybook posturing. ‘You alone, Madam, can make me happy; but I shall not be entirely convinced of my happiness until I have the satisfaction of testifying to the excess of my fondness and love for you.’38 Undoubtedly Caroline reached her own estimate of this ‘fondness and love’ that was based on a single meeting. But with memories of her mother’s treatment at the hands of the elector John George still painful, she could only be reassured by such effusive auguries. Like Eleonore’s second marriage, Caroline’s marriage to George Augustus represented a step up the ladder; her response to von Eltz’s proposal indicates her assessment of the prize at stake. At twenty-two, ambitious and clear-sighted but with a genuine attachment to the electoral family based on her affection for Figuelotte and Sophia, she was still young enough to hope for love too.

      Like Hollar’s etching of Ansbach, the view of Hanover by an unknown draftsman published by printmaker Christoph Riegel in 1689 depicts a Gothic town compact within its walls and dominated by church spires.39 At intervals along the city boundaries, fortified towers bristle above undulations of the Leine river. The only building identified in the key that is not a church is the Fürstlich haus, the home of Hanover’s ruling family called the Leineschloss. From its extensive but otherwise unremarkable façade long views unroll across the water. Behind it, hugger-mugger along busy streets cluster the tall houses of townsfolk, their steep roofs red-tiled and gabled, modest in their dimensions since Hanover’s nobles lived elsewhere, in castles and country manor houses. From Versailles Liselotte remembered the market square as overrun with street urchins and, at Christmas, its box trees decorated with candles.40

      A windmill in the foreground denotes the proximity of farmland: British diplomat George Tilson described it as ‘flat Country … very full of fir and Corn; mostly rye’.41 It is grazed by sheep for the lucrative wool trade or set aside for hops. Out of sight, nearby forests are plentifully stocked with game. Within tranquil surrounds lies this small, unassuming town of no more than ten thousand inhabitants, ‘neither large nor handsome’ in the estimate of the well-travelled Lady Mary Wortley Montagu, and lacking magnificence, rich only in ‘miserable’ taverns.42 The main gates were closed every night.

      Despite its middling size, smaller and so much less impressive than the Dresden and Berlin of her childhood, the town that greeted Caroline at the end of her ten-day journey from Ansbach, undertaken in the company of her brother, offered intimations of a grandeur absent from many provincial capitals. Sophia’s late husband Ernest Augustus, the eldest of four brothers, had ultimately succeeded to the bulk of the brothers’ joint inheritance, united under his rule as the Duchy of Hanover. Ambition had prompted his campaign for electoral status, which was granted in 1692, six years before his death. Like his Brandenburg son-in-law Frederick, he had exploited cultural initiatives to support his political aspirations, to the benefit of his old-world capital. In addition to the masquerades, gondola festivals, illuminations and Venetian-style annual carnival that raised the court of Hanover above many of its neighbours for style and splendour, these included a theatre in which French comic actors performed nightly, and an opera house within the Leineschloss hung with cloth of gold and crimson velvet and capable of seating 1,300 spectators. Lady Mary rated the latter as ‘much finer than that of Vienna’.43 Its completion at breakneck speed within a single year stemmed from competitiveness with the neighbouring court of Wolfenbüttel, which had embarked on a similar endeavour at the same time.44 Ernest Augustus sealed his victory with an inaugural performance of Steffani’s opera Enrico Leone, a celebration of the dynasty’s superhero, Henry the Lion. Three years later the Leineschloss opera house staged ‘the finest operas and comedys that were ever seen … [including] the opera of Orlando Furioso’.45 Ernest Augustus also oversaw the embellishment of a palace begun by his father in 1665: Herrenhausen.

      For Caroline, as for Sophia before her, Herrenhausen would become the glory of Hanover. Two miles outside the city walls, it occupied three sides of a large courtyard, a sprawling two-storey expanse designed in its first phase by Venetian architect Lorenzo Bedoghi and completed by his countryman Hieronymo Sartorio ten years later. Where Lützenburg aimed to delight and to showcase the refinements of its savant princess, the purpose of Herrenhausen was magnificence. Its stables accommodated six hundred horses. An outdoor theatre, overseen for Ernest Augustus by Steffani, suggested an Italian opera house. Here in 1702 George Louis and Figuelotte took part in a dramatic performance based on Petronius’s account of Trimalchio’s banquet in the Satyricon, written for the occasion by Leibniz. As at the Leineschloss the palace exterior was unassuming. Within, Gobelins tapestries, damask-lined walls and coffered ceilings painted and gilded conjured the heavyweight majesty of divinely ordained princely rule.

      Beyond lay the gardens. South of the palace was the Great Garden, bordered by poker-straight avenues of trees, and on three sides by an artificial canal on which gondolas floated under the watchful eye of a Venetian gondolier, Pierre Madonetto. Largely Sophia’s creation, it was laid out from 1683 in conscious emulation of the baroque formal gardens she remembered from her childhood in the Dutch Republic. In 120 acres, melons grew under Murano glass cloches, a mulberry plantation fed silkworms, pomegranate and fig trees, date palms, apricot and peach trees defied a changeable climate, and hothouses warmed by tiled stoves nurtured the orange, lemon and pineapple trees which so astonished Lady Mary Wortley Montagu visiting in the chill of December in 1717.

      At the garden’s heart lay the Great Parterre, created by court gardener Henry Perronet to designs by Sartorio. It featured swirling arabesques of low box hedging, gravel paths and classically inspired statues by Dutch sculptor Pieter van Empthusen carved from white Deister sandstone from nearby Barsinghausen. Imported from Paris were twenty-three busts of Roman emperors. There was a grotto and a cascade, a maze, hedges and screens of hornbeam and, in time, an allée of more than 1,300 lime trees. A wooden temple, filled with doves, occupied the centre of a labyrinth. Additional designs devised by Sophia’s gardener Martin Charbonnier, a Huguenot exile, extended the parterre’s doily-like geometry. Like Siméon Godeau, whom Figuelotte had employed at Lützenburg, Charbonnier was a pupil of the great Le Nôtre. However powerful Sophia’s attachment to the gardens of The Hague, the influence of Versailles was all-pervasive. Fountains animated circular pools – Leibniz had advised on the necessary hydraulic mechanisms. Afterwards George Louis consulted English architect and politician William Benson to create ever more spectacular jets and falls, ‘great and noble’ waterworks of the sort commended during his visit of 1701 by John Toland. The result was a fountain thirty-six metres high whose installation cost George Louis the enormous sum of £40,000.

      In her widowhood Sophia occupied one wing of the palace. Daily she made a lengthy circuit of the gardens she described as her life, ‘perfectly tiring all those of her Court who attend[ed] in that exercise’, a promenade of two or three hours which one English visitor considered the sole ‘gaiety and diversion of the court’.46 Herrenhausen was not, as her niece Liselotte assumed, Sophia’s dower house. In 1699 she had made over to George Louis the income willed to her by Ernest Augustus for its upkeep, and the palace continued to serve as the court’s summer residence from May to October.47 In the year of Caroline’s marriage, George Louis embarked on an extensive refurbishment. Under Sophia’s influence furniture, tapestries and objets d’art were commissioned from the Dutch Republic. For the large building in the garden called the Galerie, a little-known Venetian painter, Tommaso Giusti, created a fresco cycle depicting the story of Aeneas, that epic tale of filial piety and the foundation of an empire.48

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