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4 of Kings •srmatio on Berna and evolu MIKAEL ALM & BRITT-INGER JOHANSSON (EDS.) Opuscula Historica Upsaliensia utges av Historiska institutionen vid Uppsala universitet och syftar till att sprida information om den forskning som bedrivs vid och i anslutning till institutionen. Huvudredaktör: Mikael Alm Redaktion: Josefin Englund, Jonas Lindström, Cristina Prytz och Patrik Winton. Löpande prenumeration tecknas genom skriftlig anmälan till Opuscula, Historiska institutionen, Box 628, 751 26 Uppsala, [email protected], http://www.hist.uu.se/opuscula/ Enstaka nummer kan beställas från Swedish Science Press, Box 118, 751 04 Uppsala, www.ssp.nu, [email protected], telefon 018/36 55 66, telefax 018/36 52 77 Scripts of Kingship Essays on Bernadotte and Dynastic Formation in an Age of Revolution MIKAEL ALM & BRITT-INGER JOHANSSON (EDS.) Distribution Swedish Science Press, Box 118, 751 04 Uppsala [email protected], www.ssp.nu Cover illustration: Pehr Krafft (the Younger), The Coronation of Charles XIVJohn in Stockholm 1818 (detail). Nationalmuseum. Photo: Nationalmuseum, Stockholm. © The authors Graphic design: Elina Antell Print: Reklam & katalogtryck AB, Uppsala 2008 ISSN 0284-8783 ISBN 978-91-977312-2-5 Editors' Preface The following nine essays emanate from the interdisciplinary project The Making of a Dynasty (Sw: En dynasti blir till. Medier, myter och makt kring Karl XIV Johan), financed by The Bank of Sweden Tercentenary Foundation and directed by Nils Ekedahl. The introduction by Solfrid Söderlind is written specifically for this book, and Torkel Janssons contribution is an elaborated version of a previously published artide. The remaining seven essays were all presented as conference papers at the European Social Science and History Conference (ESSHC) in Amsterdam in March 2006. Mikael Alrns contribution was presented at the session Rising to the Top. The Formation of Elites in Times ofPolitical Reform, Britt-Inger Johanssons and Per Widéns at the session Art and the Representation of Power, while Cecilia Rosengrens, Karin Hallgrens, Per Sandins and Nils Ekedahls contributions were presented at the projects own session, To Fabricate a New Dynasty: Continuity and Change in the Dynastic Establishment of an Upstart Royal Family. Together with the authors, the editors would like to express their gratitude to the organisers of the ESSHC, the network organiser Jouko Nurmiainen, and the organisers of and participants at the different sessions, foremost Doina Pasca Harsanyi, Central Michigan University, USA, and Dr. Fiona Smith, University of Dundee, Scotland, UK. As always, the book has been shaped through extensive collaboration with, and big-hearted assistance from, collegues near and far. All included; all be thanked. The publication has been made possible by generous financial con­ tributions from The Bank of Sweden Tercentenary Foundation and Berit Wallenberg Foundation. Mikael Alm Britt-Inger Johansson List of Plates Colour plates I Charles xiv, oil painting by E. Maserc 1843 II The Bernadotte family, oil painting by F. Westin c. 1837 III The Coronation of Charles xiv, oil painting by Pehr Krafft the Younger 1826 rv The Acclamation of King Charles in 1818, oil painting by C. S. Bennet, unknown date V Bengt Erland Fogelberg in his studio, oil painting by C. S. Bennet c. 1832 VI A Norwegian Landscape, oil painting by Charles xv mid-icfth century VII Charles xiv and Crown Prince Oskar visiting Gamla Uppsala, oil painting by Johan Way 1836 VIII Memorial stone dedicated to Charles xiv at Frösön in Jämtland 1838 Black and white plates 1 Charles xin with a portrait bust of Charles John, oil painting by Pehr Krafft the Younger 8 1817 2 Oskar 1 with a portrait bust of Charles xiv, oil painting by Fredrik Westin, unknown date 9 3 Charles Johns Oath of Allegiance, drawing by Emanuel Limnel c. 1810-11 30 4 The Coronation of Charles xiv, detail, oil painting by Pehr Krafft the Younger 1826 37 5 The funeral procession of Charles xiv, engraving 1844 41 6 Mathias Rosenblad, three oil paintings by U. F. Pasch 1789, C. F. von Breda 1803, and F. 45 Westin before 1847 7 Svea grieves Charles August, engraving, unknown date 48 8 Plans of the ground floor and the mezzanine of the Royal Palace in Stockholm 58 9 Plans of the first and second floor of the Royal Palace in Stockholm 59 10 Charles xiv at his desk, oil painting by C. S. Bennet, unknown date 65 11 Charles xiv in his bed, oil painting by C. S. Bennet, unknown date 74 12 The portrait hanging sequence in the upper drawing-room of Gripsholm Palace, drawing 86 by M. Röhl 1832 13 Charles XIII, marble sculpture by Bengt Erland Fogelberg, unkown date 89 14 Facade and plan of the planned art museum at Rosendal, drawing by F. Blom, unknown 92 date 15 Sections of the planned art museum at Rosendal, drawing by F. Blom, unknown date 93 16 The i8th century Opera House, lithography by A. Burman, unknown date 99 17 King Gustav Vasas dream, drawing by J. Hall the Younger, unknown date 103 18 The Vestal Virgin, costume drawing by C. J. Hjelm, unknown date 115 19 Scanian peasants from Torna härad, engraving by C. D. Forssell and J. G. Sandberg 1827-32 129 20 "May I propose a toast?", lithography by Hjalmar Mörner 1830 133 21 Crown Prince Oskar receiving a sword, engraving by Hugo Hamilton 1825 135 22 Society Bali in Stockholm, water colour 137 23 Crown Princess Josefina and Prince Charles, oil painting by F. Westin 1826 142 24 Pehr Adam Wallmark, engraving 1858 153 25 Map of the united kingdoms Sweden and Norway, engraving by Whitelocke 1837 157 26 Reviewing the papers, cartoon by F. Tollin 1840 164 27 Queen Desideria, oil painting by F. Westin 1830 178 28 Crown Princess Josefina, oil painting by F. Westin 1836 179 29 Triumphal Gate, water colour by C. G. Gjörwell 1823 184 30 Map of the Nordic countries, engraving by I. C. M. Reinecke 1809 190 31 Charles xiv as king of Sweden, oil painting by F. Westin 1840 212 32 Charles xiv as king of Norway, oil painting by F. Westin 1844 213 Contents Introduction. Bernadotte Reconsidered 7 by Solfrid Söderlind Dynasty in the Making. A New King and His 'Old' Men 23 in Royal Ceremonies 1810-1844 by Mikael Alm Housing a Dynasty. Tradition and Innovation within 49 the Walls of the Stockholm Royal Palace by Britt-Inger Johansson Dynastic Histories. Art Museums in the Service of 79 Charles xiv by Per Widén Operas Role in Royal Image Making. Repertoire and 97 Performances 1810-1826 by Karin Hallgren Celebrating Monarchy. Panegyrics as a Means of 119 Representation and Communication by Nils Ekedahl Journalism on Royal Duty. Pehr Adam Wallmark in 147 Defence of Charles xiv by Cecilia Rosengren Meeting Grounds. Royalty and Voluntary Associations 169 in Sweden and Norway c. 1810-1860 by Per Sandin Between Two Worlds. Nordic Political Cultures in 185 a Comparative Perspective by Torkel Jansson List ofReferences 221 Contributors 236 Introduction Bernadotte Reconsidered SOLFRID SÖDERLIND The French Marshal Jean Baptiste Bernadotte came to Sweden for the first time in 1810 after the riksdag (the assembly of the four estates) had elected him heir to the throne. By virtue of having been adopted by Charles xiii, he was a graft on the Holstein-Gottorp family tree, which through him would continue to hold the royal throne. Bernadotte was given the name Charles xiv John (Sw: Karl x/v Johan) as a symbol of continuity in a line of monarchs dominated by the names Karl/Charles and Gustav. Two hundred years have passed by since then, and to this day one of his descendants sits on the Swedish throne. Continuity is still demonstrated by the names Charles and Gustav, but in the list of kings the name Oskar has been added with the new dynasty. The link to the house of Holstein-Gottorp has also dropped out of general awareness, and today the dynasty is exclusively known by the name Bernadotte. How was it possible for a French soldier - a commoner — to inherit a royal throne in northern Europé, through successful power-play create a double monarchy, retain his position for a quarter of a century and finally pass on two united realms to his son to be handed on to the next generation? Bernadottes successful establishment of a new royal dynasty came about through considering domestic conditions. Also the new dynasty kept its hold despite the violent instability that marked the European continent. Seen in a European context, Bernadotte managed to establish and uphold a new dynasty against poor odds. In this respect, he was more successful than Napoleon himself, who in 1810-1811 attempted to found a new dynasty with an imperial alliance as a basis for legitimacy and in 1814 failed to uphold his sons rights. Bernadottes military qualifications and his strategic and administrative talents have been examined by generations of historians, and it is justifiable to ask whether the subject has thereby been exhausted. A first reason to answer 7 i. Charles XIII with a portrait bust of his adoptive son, confirming the latters status in the royal line of succession and acknowledging him as a true scion of the kings Holstein- Gottorp dynasty. (Oilpainting by Pehr Krajft the Younger 1817. Socialstyrelsen. Photo: Svenska Porträttarkivet, Nationalmuseum, Stockholm.) 8 2. Oskar i with a portratt bust ofhis father as the founder ofthe Bernadotte dynasty. As is the case with the similar portrait of Charles XIII, the motif illustrates different stages of the dynastic transition process. (Oil painting by Fredrik Westin, unknown date. Private oivner. Photo: Svenska Porträttarkivet, Nationalmuseum, Stockholm.) 9 'no' to that question, is connected with historiography. Bernadotte has of course been treated in different ways dependent upon the research interests within the field of history which have varied over time.
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