Her understanding of the contentious nature of her candidacy and its potential for divisiveness prompted Sophia’s commission of a commemorative medal, the ‘Mathilde medal’, ahead of Macclesfield’s embassy. Its two sides bore a profile of Sophia herself and, in a markedly similar portrait on the reverse, an English princess called Mathilde, the daughter of Henry II and Eleanor of Aquitaine. In 1156 Mathilde had married George Louis’s most warrior-like forebear, Henry the Lion, Duke of Saxony and Bavaria. More than Sophia’s Protestantism, the Mathilde medal celebrated former glories and the Hanoverians’ specifically ‘English’ descent. It was among Sophia’s gifts to the suite that accompanied Lord Macclesfield in the summer of 1701. The earl himself received a gold basin and ewer that had cost his hostess half her annual income, while to William III Sophia wrote tactfully, ‘we await [the] event without impatience here, and pray with all our hearts “God save the King”’.25 Periodically she took care to deny any personal desire to occupy England’s throne, a politic deceit on the part of this ambitious princess who, despite her age, was not above opportunism. Piously she wrote to Archbishop Tenison, ‘I live in quiet and contentment, and have no reason for desiring a change.’26
Little wonder, then, that her thoughts should have turned to Caroline as a wife for George Augustus. Whatever sleight of hand was employed to convince this strutting, eager prince that the selection of Caroline for his future consort was his own, his grandmother as well as his father had reached the same conclusion ahead of him. Caroline’s desirability in George Augustus’s eyes was almost certainly sharpened by the interest she excited in Charles of Austria and his own younger cousin Frederick William. He also anticipated increased standing and greater autonomy at his father’s court as a result of his marriage. For Sophia and George Louis, other princes’ partiality mattered not a jot. Caroline’s commitment to Protestantism was a powerful weapon in the dynasty’s British aspirations, and an essential counterweight to family crisis.
In 1658, Sophia’s own marriage contract had included a clause permitting her, in Lutheran Hanover, to continue to practise the Calvinism of her upbringing. This concession was made at her father’s request rather than her own, and she did not value it highly. Later she had shown pragmatism – calculation too – in the matter of Figuelotte’s faith, placing her daughter’s marriageability above doctrinal allegiance. With Leibniz as her sounding block, she had since entertained herself with philosophical rather than specifically religious discourse, and read a number of key texts, including Boethius’s The Consolation of Philosophy.27 She was aware of Leibniz’s attempts in the early 1690s to win support for a reunion of Catholic and Protestant Churches in the electorate and, equally, was not opposed to the initiative.28 And she approved her husband’s acquiescence in a plan for building a Catholic church in Hanover, as a means of wooing the good opinion of the emperor.29
This easy-going position inevitably changed following the Act of Settlement. There were other factors too that contributed to a religious stance on Sophia’s part that appeared (although in fact it may not have been) increasingly hardline. The conversion to Catholicism of her son Maximilian in 1701 explained aspects of the permanent rupture in their relationship; until his death at the battle of Munderkingen in 1703 she was troubled by the possibility of her fifth son, Christian, following in Maximilian’s footsteps. Happily George Louis’s plodding Lutheranism permitted no grounds for concern. Caroline had demonstrated that she was likewise sound in her allegiances. Recent events appeared to indicate that she would buttress George Augustus’s faith, an essential prerequisite since the 1701 Act. For, if George Augustus failed to provide the dynasty with Protestant heirs, the family’s claims to the English crown evaporated. With Maximilian a Catholic and Sophia’s youngest son, Ernest Augustus, almost certainly homosexual, the long-term position of the electoral family was scarcely less precarious than that of the Stuarts they meant to displace.
Meanwhile, the year after Macclesfield’s official presentation, the English envoy extraordinary in Hanover, James Cresset, wrote to the Archbishop of Canterbury requesting the loan of communion plate, ‘a dozen or two’ prayerbooks and a Bible. He meant to set up a chapel in his house in Hanover and make it available to leading dignitaries. He explained his aim to Tenison as a means of ‘inspir[ing] in the Court esteem for the Established Church’.30 The archbishop, however, although he referred to himself disparagingly as ‘an uncourtlie, but well intention’d, old man’,31 was already in regular communication with Hanover’s court, via Sophia, and would take his own measures to convince the new heiress of the importance of religious conformity. Sophia responded in kind. On 16 August 1701 she had written to Tenison to express thanks for his support, and that of his fellow bishops in the House of Lords, for the Act of Settlement.32 In letters to Tenison written in French, she labelled herself with statesmanlike nicety ‘votre tres affectionée amie’. Whatever Cresset’s misgivings, Sophia understood clearly that Protestant orthodoxy was paramount among her claims on England. It was a conviction she was assiduous in broadcasting, and one she did her best to impress upon her family. Evidence like Giuseppe Pignata’s dedication to George Louis, in June 1704, of his anti-Catholic Adventures with the Inquisition suggests she succeeded.33
The lapse of almost a year between Caroline’s rejection of Charles’s suit and her marriage to George Augustus was attributable to several causes, including George Louis’s reluctance to antagonise the emperor. Equally important was the death, on 1 February 1705, of Figuelotte.
Figuelotte was thirty-seven. She died of pneumonia on the journey from Berlin to Hanover, and her sudden loss inspired near-universal regret. For five days and nights a grief-stricken George Louis immured himself in his rooms, refusing to eat, kicking the walls in his misery, talking to and seeing no one; ‘by hitting his Toes against the Wainscot … he had worn out his Shoes till his Toes came out two Inches at the Foot’.34 Rumour – lurid but unsubstantiated – suggested an alternative cause of Figuelotte’s death: that she had ‘been poisoned, before she left Berlin, with Diamond Powder, for when [her body] was opened her Stomach was so worn, that you could thrust your Fingers through at any Place’.35
Frederick devoted five months to planning funeral obsequies of surpassing magnificence, as Figuelotte had known he would. More touchingly, he renamed Lützenburg ‘Charlottenburg’ in her memory. To Leibniz, writing from Ansbach, Caroline confided devastation on a scale with George Louis’s: ‘The terrible blow has plunged me into a grievous affliction, and nothing can console me save the hope of following her soon.’ Her recovery from the strain of recent ordeals suffered a setback, and she was once again ill. Her letter betrays the extent to which Figuelotte had come to occupy a mother’s place in her emotions. ‘Heaven, jealous of our happiness, is come to carry away our adorable queen.’36 If the rhetoric is conventional, the sentiments were sharply felt. In her illness, Caroline did not attend Figuelotte’s funeral. Nor, in the short term, did she see or communicate with Sophia. But in her response to von Eltz’s proposal on George Augustus’s behalf in June, the baron reported to George Louis, she ‘admit[ted] that she would infinitely prefer an alliance with your Electoral House to any other; and she considered it particular good fortune to be able to form fresh and congenial ties to compensate for the loss she had suffered by the death of the high-souled Queen of Prussia’.37
To the prospective father-in-law whom she had never met these were honeyed words. Equally accommodating was her willingness to fall in with George Louis’s requirement that Frederick remain in the dark, a circumstance that reveals something of Caroline’s own anxiety that the match come off. Not for the last time in their lives, Caroline’s measured diplomacy contrasted with the impulsiveness of her husband-to-be. George Augustus wrote to her on the eve of 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
In Dresden and Berlin, Caroline had learned to recognise visual culture as a conduit for princely agendas. The Saxon Kunstkammer, with its collection of dynastic portraits, and the marvels of the Green Vault, had first stirred in her an aesthetic awakening continued by Frederick and Figuelotte. Sophia’s collection of paintings in Hanover rivalled her daughter’s. Her cabinet of curiosities was rich in jewels and gemstones, and her garden was the
foremost in Germany. Compared with that of his father, George Louis’s court lacked panache, peopled by ‘such leather-headed things that the stupidity of them is not to be conceived’.49 The court opera was closed, and celebrations, including that of Caroline’s marriage, missed the flourish prized by Ernest Augustus and Frederick. Court routine was dully repetitive: ‘We have not much variety of Diversions, what we did yesterday & to day we shall do tomorrow’; the daily ‘drawing room’, or formal reception, did not daily delight.50 Even Sophia’s gatherings of learned and distinguished men, albeit they included after 1710 the composer George Frederick Handel, employed as George Louis’s Kapellmeister or master of court music, wanted the sparkle of Figuelotte’s effervescent sodality. After the dowdiness of Berwart’s shadow-filled palace in Ansbach, Herrenhausen and the Leineschloss were splendid enough.
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