Martin Engelbrecht’s Theatre de la Milice etrangere: Engraving "Otherness" from Affective Subjecthood to the Habsburg Empire of Man By Acer Lewis Submitted to Central European University Department of History In partial fulfillment of the requirements for the degree of Master of Arts Supervisor: Professor Robyn Dora Radway Second Reader: Professor Laszlo Kontler CEU eTD Collection Vienna, Austria 2021 i STATEMENT OF COPYRIGHT Copyright in the text of this thesis rests with the Author. Copies by any process, either in full or part, may be made only in accordance with the instructions given by the Author and lodged in the Central European Library. Details may be obtained from the librarian. This page must form a part of any such copies made. Further copies made in accordance with such instructions may not be made without the written permission of the Author. CEU eTD Collection ii Abstract This thesis attempts a textual and visual analysis of a little known and unstudied print collection, Martin Engelbrecht’s Theatre de la Milice etrangere: Schau-Bühne verschiedener bißhero Teutschland unbekannt gewester Soldaten von ausländischern Nationen (ca. 1742). This collection depicts irregular soldiers from the Habsburg borderlands with the Ottoman Empire, who were recruited to fight in the War of Austrian Succession. These men, women, and children are depicted marching, fighting, resting, and eating as they passed through Southern Germany. Unique poetic texts caption each print, and provide commentary from multiple different perspectives upon these figures. Costume books are frequently analyzed as depictions of human cultural alterity or otherness and may include some contextualization with contemporary cultural and political debates. However rarely do scholarly analyses of costume collections show these to be active works of art which engage with contemporary discourses to propose new meanings. This thesis identifies several textual and visual rhetorical elements, which when contextualized within seventeenth and eighteenth century shifts in the intellectual culture of the Enlightenment and the Rococo, reveal this collection to be a deeply engaged political and cultural commentary on the CEU eTD Collection Habsburg state and the young Queen Maria Theresia. iii Acknowledgements To Mariam, for endless support and coffee in the park Thanks also to Professors Radway and Kontler for advice and support, Robin Bellers and Sanjay Kumar for feedback, and friends for friendship. My sincere appreciation to Christopher Frey at Antiquariat INLIBRIS, Peter Harrington at the Brown University Library, Jim McDougall, Anna Weinberger at the Heeresgeschichtliches Museum Collection, and Vit Lucas at the Getty Library for research aid and making these amazing prints available to during a pandemic. CEU eTD Collection iv Table of Contents Introduction ................................................................................................................................ 1 Framework of Analysis ........................................................................................................... 5 Thesis Roadmap: ................................................................................................................... 7 Chapter 1: Contexts and Materiality ........................................................................................... 9 Introduction ............................................................................................................................ 9 What ....................................................................................................................................... 9 What is the Theatre de la Milice etrangere? ........................................................................ 9 What is a costume book? ...................................................................................................10 What do these prints look like? ..........................................................................................12 When .....................................................................................................................................14 When was the collection made? .........................................................................................14 Where....................................................................................................................................21 Where was the collection produced? ..................................................................................21 Where did the collection circulate? .....................................................................................22 Who .......................................................................................................................................24 Who was Martin Engelbrecht? ...........................................................................................24 Who produced it? ...............................................................................................................25 Who was it produced for? ..................................................................................................26 Who does it depict? ...........................................................................................................27 How? .....................................................................................................................................30 How was collection made? .................................................................................................30 How was the collection used? ............................................................................................31 How might have Engelbrecht accessed the soldiers he depicted? .....................................33 Why .......................................................................................................................................34 Why was this collection produced? ....................................................................................34 Conclusions ...........................................................................................................................37 Chapter 2: Emotional “Otherness” and Maria Theresia .............................................................38 Introduction ...........................................................................................................................38 CEU eTD Collection Chapter Roadmap: .............................................................................................................39 The Early-Modern Fascination with Emotions: .......................................................................40 Le Brun’s Passions and the Conférence sur l’expression: ..................................................40 Emotions for Othering: .......................................................................................................43 v Venice and the Dalmatians ................................................................................................45 Quantitative Analysis of Emotions in the Theatre: ..................................................................47 Qualitative Analysis of Emotions in the Theatre collection: ....................................................49 Emotions and Power: ............................................................................................................51 Loyalty and Love of the Queen ..............................................................................................54 Conclusion ............................................................................................................................60 Chapter 3: Green Sprigs and the “Empire of Man” ....................................................................63 Introduction ...........................................................................................................................63 Green Sprigs as an Emblem of Nature: .................................................................................65 The “wilde Mann” as Emblem of Nature against Civilization: ..............................................70 Nature and Francis Bacon’s “Empire of Man”: .......................................................................72 Philosophy and the Aristocratic “Garden Français”: ...........................................................74 The Nature of the Theatre de la Milice etrangere within the “Empire of Man”: ........................76 The Nature of Buffon and the Rococo:...................................................................................77 Maria Theresia’s Leafy Throne ..............................................................................................80 Conclusions: ..........................................................................................................................81 Conclusions to the Thesis: ........................................................................................................82 Figures Cited: ...........................................................................................................................86 Bibliography: ........................................................................................................................... 101 CEU eTD Collection vi All images are used with permission, and are not for reproduction. List of illustrations [Figure 1] Martin Engelbrecht, #37 “Ein voller Courage von seiner Liebsten Abschied nehmender Pandur” (Augsburg,