FIREWORK DISPLAYS, FIREWORK DRAMAS AND ILLUMINATIONS - PRECURSORS OF CINEMA?

German Life and Letters 48:3 July 1995 001%3777

FIREWORK DISPLAYS, FIREWORK DRAMAS AND ILLUMINATIONS - PRECURSORS OF CINEMA?

HELEN WATANABE-O’KELLY

However one defines cinema, its ability to create a moving image by means of light and colour, its capacity for dramatic presentation and the typical experience of the audience in which a large number of people congregate in the dark and look up at a magnified image glowing in front of and above them must emerge as important characteristics. Since all these features are to be found in the firework display in the the sixteenth and seventeenth centuries, they have as much claim to be cited as forerunners of cinema as the mechanical devices of the early nineteenth century more frequently mentioned. This contention is illustrated in what follows by means of German examples.

1. Fireworks

Fireworks are explosives let off from a fixed position to create light and sound effects for purposes of entertainment. They have their origin in military explosives and throughout the early modern period were designed and operated by gunners and artillery specialists using the same technical expertise and the same materials. The technical treatises on fireworks underline this connection, for, with the exception of Johann Schmidlap’s pyrotechnic manual of 1560 which is devoted entirely to fireworks, instructions as to the manufacture, design and letting off of fireworks throughout the sixteenth and seventeenth centuries are to be found in works on artillery and explosives. Typical examples are Leonhart Fronsperger’s Von Geschiitz und Fewemerck of 1557, Joseph Furttenbach’s Halinitro-Pyrobolia of 1627 and Caspar Simienowicz’s Artis magnae artilleriae pars prima ( 1650), translated into German by Daniel Elrich in 1676 as Geschiitz-Feuemerck- und Biichsenmeisterey- Kunst.

The first firework display in the Empire of which we have actual records took place in Nurernberg at the Carnival procession, the so-called ‘Schem- bartlaufen’, as early as 1493 and continued to form part of these celebrations until they were forbidden in 1539. Fireworks were also let off in Nuremberg for many occasions of public rejoicing - the visits of the Emperor Charles V in 1535 and 1541, his victory over the Turks at Tunis in 1535, the planned visit of Philip I1 of Spain in 1550 and the visit of Emperor Maximilian I1 in 1570. Augsburg let off fireworks to mark the election of Charles V as Emperor in 1519 and the coronation of Emperor Ferdinand I in 1559. Frankfurt staged a firework display in honour of the same coronation in 1558, the year it actually took place, as it did for the election of Maximilian I1 in 1562 and the coronation of Matthias I in 1612. 0 Blackwell Publishers Ltd 1995. Published b Blackwell Publishers. 108 Cowley Road, Oxford OX4 IJF. UK and 238 Main Street. Cambridge. MA M142, GSA.

FIREWORKS AND ILLUMINATIONS - PRECURSORS OF CINEMA? 339

In the second half of the century we see the firework display becoming more and more important within the framework of court festivals. The weddings of Hedwig of Brandenburg and Julius of Braunschweig in Berlin in 1560, of Wilhelm of Bavaria and Renata of Lorraine in Munich in 1568, of Archduke Charles of Austria and Maria of Bavaria in 1571, of Christian of Saxony and Sophie of Brandenburg in Dresden in 1582, of Johann Wilhelm of Jiilich, Cleve and Berg and Jacoba of Baden in Diisseldorf in 1585, of Johann Friedrich of Wiirttemberg and Barbara Sophia of Branden- burg in Stuttgart in 1609 and of Frederick of the Palatinate and Elizabeth of England in Heidelberg in 1613 were all celebrated with firework displays. A princely christening was another of the occasions on which fireworks were almost invariably let off. Examples are the christenings of Christian of Brandenburg in Berlin in 1581, of Sophie of Saxony in Dresden in 1587, of Johann Georg of Brandenburg in Co11n on the Spree in 1592, of Elisabeth and Moritz of Hessen-Kassel in Kassel in 1596 and 1600 respectively and of Friedrich of Wiirttemberg in Stuttgart in 1616 (Fig. 1). This is not to say that the towns ceased to organise firework displays. Nuremberg, Augsburg, Frankfurt am Main, Konigsberg, Breslau, Danzig, Hamburg, Bremen and other towns put on firework displays on occasion to honour a visiting prince, commemorate some important happening or mark an event in the imperial or local princely family. Simienowicz lists the occasions on which fireworks are to be let off: investitures, coronations and ceremonies of allegiance to popes, emperors, kings, princes and high military or municipal officials, victories and military triumphs, saints’ feast days and canonis- ations, weddings, banquets and other rejoicings among friends ( 1676, p.195).

Up to the end of the seventeenth century, firework displays still bear the mark of their military origins by including a combat on land or sea. The focus of the combat is usually a castle or fortress, made of wood and painted cloth, which is besieged, bombarded, taken and finally blown up in the firework display. Often the fortress is set in or near the water, so that the attack can be mounted from the ‘sea’ as well as from the land. The firework combat in Graz for the homecoming of Charles of Austria and Maria of Bavaria after their wedding in Vienna in 1571 simulates the sea round the fortress by means of blue cloth, through which the oarsmen propel the boats by walking (invisibly), while their oars flash with fireworks. The fortress often represents an enemy such as the Turks, as in Bratislava in 1563, in Graz in 1571 and in Halle in 1616. We still find the fortress being used as the centre-piece of the firework display in Dresden in 1637, in Nuremberg and Dresden in 1650, in Bremen in 1668 and in Dresden in 1709. Tournaments were also often combined with fireworks, for instance in the wedding celebrations in Diisseldorf in 1585 where there was jousting with lances containing fireworks, the tilt barrier exploded, the foot tournament was brought to an end by the very earth bursting into flames on both sides of the barrier and a tournament on hobby horses was held by night, culminating in the explosion of fireworks out of the mouth, nose and

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340 FIREWORKS AND ILLUMINATIONS - PRECURSORS OF CINEMA?

from under the tail of the horses and in the bursting into flames of a huge globe (Fig. 2). Here the military aspect of the firework display contains a considerable admixture of pure entertainment.

But the manuals also give detailed instructions on how to construct and explode fireworks solely for entertainment. There are technical descriptions of every kind of rocket, Catherine wheel, squib, fire cracker and Roman candle and instructions on how to make such objects as shields, spears, fountains, dragons and statues give off sparks and light. These figures could also be illuminated from within, fireworks could be set off from a distance by means of fuses, and letters of fire could be made to glow in the sky, for instance the initials of a bridal couple, the name of a prince, a word or a motto. The exploding sparks, puffs of smoke, bangs, flames, glowing and fading letters and other representations could all be said to constitute moving images.

In addition, however, firework manuals also show how to make figures move by means of rocket propulsion - the so-called ‘Schnurfeuerwerk’. This technique enabled the firework designer to send a fiery dragon hissing across the sky or float an angel or dove of peace over the onlookers (Fig. 3). We see how this might have looked in action in a description of the fireworks held in Danzig in 1646 in honour of the visit of Ludovica Maria Gonzaga on her way to Warsaw to marry Vladislav IV, king of Poland and Sweden. The display began with two eagles, one black, one white, which flew towards one another from different buildings at opposite sides of the square before landing in a tree on a stage in the middle.

2. The Firework Display as Drama

At this point it becomes clear that the firework display was capable of providing a dramatic andlor narrative content. The wedding celebrations held in Diisseldorf in 1585, just mentioned, already illustrate the tendency for firework displays to employ a dramatic framework. There were, for instance, three different types of ‘sea’ combat held on the Rhine in the middle of the city, each on a different evening. On the first evening a fully- rigged sailing ship bombarded the city from the water and was attacked and blown up in its turn. On the second, Hercules vanquished the many- headed Hydra, and a boarding party stormed and destroyed the floating fortress of Hell. On the third there was a battle between a whale and a sea monster. Each of these combats was framed by a plot or story-line which the festival account explained.

This tendency towards dramatic presentation becomes more and more marked in the course of the seventeenth century. An example is the firework display staged in Stuttgart in 1605 as part of the celebrations to commemorate James 1’s conferring of the Order of the Garter on Friedrich of Wiirttem- berg in 1603. The significance for the German Protestant cause of this mark of favour towards one of its main adherents is heavily emphasised in the entire festival, but the firework display really hammers the sectarian 0 Blackwell Publishen Lld 1995.


message home. As a finale it presents a monastery on a wheel of fortune. A monk and a Jesuit, holding the monastery at either side, each tries to pull it towards himself, As they cling to it, the wheel of fortune turns. Each contestant is holding a Bible, which shoots fireworks at the opponent, the monastery bursts into flames and the monk and the Jesuit are incinerated with it. It is a nun who has set this process in motion and she escapes with her life.

As time goes on, the dramatic structure of the firework display becomes longer, more complex and better organised. In Dresden in 1635, for instance, there is a combat between Circe, Pluto and Proserpina representing the forces of Discord, who are vanquished at the end by the fire of Jupiter. In Dresden in 1637, St George frees Irene, the personification of Peace, from captivity and vanquishes the Vices and the minions of evil. The display staged by the Imperial ambassador, Count Piccolomini, in Nuremberg in 1650 for the ratification of the Peace of Westphalia shows Peace and Love ranged against War and Discord. The latter try to destroy mankind from the vantage point of the Fortress of Discord but only manage to destroy themselves and burn down their own stronghold. This is the traditional firework combat transformed into drama.

One of the earliest examples of the fully-fledged firework drama divided into acts or scenes is that held in Danzig in 1646 for the visit of Ludovica Maria Gonzaga and mentioned above. It is divided into five clearly defined scenes and demonstrates how war and discord, as personified by such monsters as Cerberus and the Hydra, destroy themselves and are succeeded by the stirrings of love, as personified by winged hearts coming to life and the music of sirens. Venus is seated throughout in the middle of the stage on a triumphal cart pulled by two swans and driven by Cupid. At the end, after all else has been consumed by the flames, Venus is left alone glowing triumphant and untouched, thus demonstrating the lasting power of Love.

In Dresden in 1650 the future Elector Johann Georg I1 designed a firework drama in five acts entitled ‘Jason’s Conquest of the Golden Fleece’ to celebrate both the end of the Thirty Years’ War and the double wedding of his two younger brothers to two sisters, princesses of Schleswig-Holstein. The display begins with the initials of all the noble participants in the wedding and their coats of arms lighting up the sky. Then Jason vanquishes the oxen and yokes them to the plough, he conquers the dragon and sows its teeth, out of which warriors spring and fight with firework weapons, the fortress at Colchis bursts into flames and Jason appears out of it holding the Golden Fleece.

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3. The Firework Opera

Music had already played an important part in the Danzig fireworks in 1646. In the 1660s operatic elements were added to the firework display, in the same way as they were added to the tournament in the same period, and the scenery became even more elaborate. The third part of the great

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tripartite festival held in Munich in 1662 for the christening of Max I1 Emanuel of Bavaria is a firework opera, Medea Vendicativa. This was staged on rafts specially built in the river Isar and consisted of three Acts and a prologue with at least eight separate sets. The prologue is set in Vulcan’s grotto, where he and his companions are forging swords for the goddess Revenge. Revenge, Calumny, Jealousy, Deceit and other evil forces make their appearance, signifying their influence over the deeds which follow. The ensuing three Acts show us Medea plotting to destroy the happiness of Jason and Creusa and to prevent the lovelorn Orpheus from rejoining his beloved Euridice in the underworld. We are taken in the first act from the human sphere - Medea’s palace - to the underworld, where we meet Charon, Pluto and Proserpina, while the second act gives us the heavenly dimension to men’s actions, with Jupiter, Saturn, Mars, Venus and Mercury floating above the stage on clouds. We see the fall of Phaeton’s chariot and Medea’s attempt to wage war on heaven with the help of the Titans. Each set bursts into flames at the conclusion of the scene. The third act begins in an Alpine landscape. Here Medea climbs into her chariot pulled by dragons and supported by the Furies. The war turns into an enormous naval combat, with Medea trying to take a fortress set in the Isar. It bursts into flames and a new structure emerges out of it, crowned by the imperial eagle. The goddess of Victory appears out of the orb in the eagle’s claw and spreads the flames. The fortress of Colchis emerges from the chaos. Then all is resolved into a triumphal arch, above which glow the initials of Ferdinand Maria, the reigning Elector (Fig. 4). Under this arch sits Christ in majesty holding a cross and a triple crown. Beneath him glow the words ‘laetamur in uno’ and under that again is a cradle with the baby Max I1 Emanuel lying in it, holding a snake in each hand, to resemble the baby Hercules. On the front of the stage glow the letters M E and on either side of the stage two bastions spew fireworks while rockets shoot out of the water all around. This combination of drama, music, scenic effects and pyrotechnics remains unsurpassed either then or since.

There were none the less a number of impressive firework dramas at the major courts during the next sixty or seventy years. A three-act drama was staged in Vienna in 1666 for the wedding of Leopold I and the Infanta Margarita Teresa on the theme of ‘Von Himmeln entzindete und durch allgemainen Zuruff der Erde sich himmelwerts erschwingende Frolockh- ungs-Flammen’. It too is operatic in nature and depicts Mount Parnassus with the Muses making music, Mount Aetna, a combat between Hercules and the Centaurs, a tower and a fortress representing Austria and Spain respectively, and the temple of Hymen. It ends in a pageant representing the concept of empire. A five-act drama entitled ‘Die Uberwindende Liebe’ was put on in Hanover in 1668 for the wedding of Johann Friedrich of Braunschweig-Luneburg and Benedicta Henrietta Philippina, Pfalzgrafin bei Rhein. Leopold 1’s wedding to Claudia Felicitas in 1673 was marked in Vienna with a firework drama, this time entitled ‘Die Vernichtung des Cretischen IrrGartens’ and telling the story of Ariadne, Theseus and the 8 Blackwell PuMishcn Ltd 1995


Minotaur, Daedalus and Icarus. In 1674, Wilhelm Ludwig of Wiirttemberg married Magdalena-Sybille of Hessen-Kassel and celebrated the wedding in Stuttgart with two separate firework displays, both focussing on the role and function of the ruler. The first presented nine allegorical figures in turn - Fortuna, Fama, Pax, Bellum, Remuneratio, Vindicta, Audacia and Ambitio - with Vulcan at the beginning and Marcus Curtius at the end. As the festival account explains, these are the qualities which govern the ruler and his relationship to his subjects. The second display, based on that staged in Vienna in 1666, deals with such concepts as the limitations of power and the prerequisites of good government. In 1678 the summit conference of the various members of the Saxon ducal family in Dresden was treated to a firework drama divided into a prologue, epilogue and six scenes on the theme of Hercules, his heroic deeds and his triumph over the forces of Hell. The wedding of the future Emperor Joseph I to Amalie Wilhelmine of Braunschweig-Liineburg in 1699 was celebrated in Vienna with a firework drama in three acts depicting the struggle against Mars and Saturn (representing Louis XIV and the Turks), who attempt to ruin the house of Habsburg. Mercury makes peace, Venus touches the hearts of the bridal couple and their union is sanctified by Hymen. Jupiter ratifies all the arrangements and the couple are depicted in a fiery triumphal car, while their initials and names and the words ‘Vivant, Triumphent’ glow round about. August the Strong revived his grandfather’s idea of a firework drama on the theme of Jason and the Golden Fleece for the wedding of his son Friedrich August to Maria Josepha, the Emperor’s daughter, in Dresden 1719. The wedding of her sister Maria Amalia to Karl Albrecht of Bavaria, himself later elected Emperor, was celebrated in Munich in 1722 with, among other things, two firework displays. In the first, held in Schleissheim, the union of the couple is portrayed symbolically on a stage built by the side of the lake. In the second, held actually on the lake at Starnberg and watched from boats, Hymen is seated on a rock in the water, on which burn the initials of the bridal couple, flanked by the five Bavarian rivers seated on shells, tritons and dolphins.

The aquatic hunt and firework display held in Wiirzburg in 1725 for the visit of Elisabeth, Archduchess of Austria, on her way to take up the Governorship of the United Provinces, shows how far the firework drama can go. Balthasar Neumann was the architect and on a stage specially built on the banks of the river Main, a four-act drama was mounted. In Act I the Netherlands plead to be given Elisabeth for their Governor and here Hope and Desire make their appearance. In Act I1 Elisabeth is made Governor, and here Foresight and Majesty, the Emperor Charles VI and Elisabeth herself, are presented. In Act I11 the joy of the Dutch over the appointment is manifest, and in the fourth and last act, Wiirzburg and Franconia, represented by models, present their congratulations.



FiLpre 1: The Firework Display from Esaias Hulsen and Matthaeus Merian, Reprae- sentatio der firstlichen Aufzug und Ritterspil. . . ,, Stuttgart 1616.

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Figure 2: The Firework Tournament from the Diisseldorf wedding described by Diderich Graminaeus (see bibliography). Note the fireworks exploding under the

tail of one of the horses.

4. The Illumination

While the allegorical and dramatic firework display continued to be staged up to the middle of the eighteenth century, it had a competitor in the illumination from the end of the seventeenth century. During the fifty years thereafter this new form grew steadily in popularity until it frequently supplanted the firework display. For example, illuminations and not firework displays are mounted by the town of Magdeburg on the occasion of the coronation of the Prussian king in 1701, by Frankfurt am Main to mark the election of Charles VI as Emperor in 171 1, by Braunschweig in 1726 on the occasion of the Empress’s birthday, in Dresden in 1738 to celebrate the wedding of Amalia of Saxony to King Charles of Sicily, and in Kassel in 1740 on the occasion of the wedding of Friedrich of Hessen- Kassel and Princess Mary of England.

In an illumination the principal buildings of the town are picked out in lights, special structures such as obelisks and arches are built out of wood and illuminated, and emblematic transparencies, either mounted on wooden



Figure 3: The tournament opera Antiopa Giutzficata from the tripartite festivity held in Munich in 1662. See Pietro Paolo Bissari, Antiopa GiustiJicata. Drama Gucmero.

Munich 1662. The figure emerging from the tower is propelled by rockets.

frames or set into window embrasures, are lit from behind. Unlike the firework display, these are static presentations. There is scarcely an event of importance in the first half of the eighteenth century which is not marked in this way. While the illumination does not provide a moving image, the brightness, colour and clarity of the illuminated transparencies, the manner in which subtitles, mottoes and verses can be combined with images, and the way in which the massed audience, doubtless consuming various snack foods, stands in the darkened streets of a town gazing up together at these lighted images high above them replicate the characteristic experience of the cinema.

Before the advent of cinema, the firework display and the illumination constituted the only sophisticated and technically advanced art forms to be accessible to the people en mmse, irrespective of class or level of literacy. I t was only when they witnessed these displays that the lower orders actually for once saw what their masters saw, partook of the same aesthetic pleasures. 0 Blackwell Publishers Ltd 1995


Figure 4: The firework drama Meha Vendicativa, Munich 1662 (see under Bissari in the bibliography).

While these lower orders may have caught a glimpse of the tournament procession over the shoulders of the crowd, they were certainly debarred below a certain rank from attending an opera or seeing a ballet de cour. With the firework display, however, even the socially, educationally and financially disadvantaged had access to the work of a leading pyrotechnician in a display lavishly funded by the court or the city. I t is a long way to the indiscriminately available, image-based culture of our own day but the first step towards a democratisation of the arts has been taken.

NOTES

Rather than burden the text with footnotes, both primary source material and secondary literature has been listed alphabetically here. Primary Texts: a) Firework Manuals Braun, Ernst, Novissimum fundamentum et praxis artilleriae, Danzig 1682. Brechtel, FJ., Buchsenmtisterey, Nuremberg 1591. Bry, Theodore de, Kunstbiichkin von Gcschutz und Fcwerwerck [. . .] zu Lust und SchimpfJ Frankfurt a. M. 1619.

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Buchner, Siegmund, Thoria et praxis artilleriae, Danzig 1682. Dambach, Christopff, Biichsmmeistercy [. . .] sampt getrewlicher undenueisung mancherlcy kiinstlicher Fewnuerck [. . .] zu Schimpflund E m t , Frankfurt a. M. 1609. Fronsperger, Leonhardt, Von Geschutz und Fewerwerck/ wie daselb zuwerffen und schiessen [. . ./, Frankfurt a. M. 1557. Furttenbach, Joseph, Halinitro-Pyrobolia. Beschreibung Einer newen Biichsenmeis- terty, Ulm 1627. Furttenbach, Joseph, Biichsenmeistery-Schul, Augsburg 1643. Praxis Artilleriae Pyrokchnicae, Osnabriick 1660. Schmidlapp, Johann, Kiinstlicher und rechtscha ffener Feuerwerk zum Schimpfi, Nuremberg 1590. Schreiber, Georg, Buchsenmeister-Disnrrs, Brieg 1656. Simienowicz, Caspar, Geschiitz- Feuerwerck- und Biichsenmeisterey-Kunst, Frank- furt a. M. 1676. trans. Daniel Elrich with additional second part, Frankfurt a. M. 1676. Stovesandt, J.C., Anweisung Cur Feuenuerkerei, Halle 1748.

b) Accounts of Firework Displays and Illuminations Abbildung und Beschreibung: Saeculum octavum. Oder Acht-tagiges Hoch-Fcyrliches Jubel-Fest [. . ./ In dem Hochlobl. Gotts- Hauss und Closter Ranshoven der Regulierten Chor-Herren dess H . Augustini O r d m [. . .], Augsburg 1702. Ausfuhrliche Beschreibung Des unvergleichlichen Feuer Wercks, So Ihro Hoheit Dem Kiinigl. und Chur= Printten von Sachen Und Dero aus Wien angekommenen Durchl.Gemahlin zu Ehren, In Gegenwart des gantzen Hojis und einer unrehligen Menge Zuschauer, Dresden 1 7 19. Aygentliche Beschreibung Aller Frcwden unnd Ritterspiele/ Ringelrenned auch anderer Kurtzweilen unnd gantzen ansehenluhm tipparats und Pomp/ so bty Dem Furstlichen Bcylager dess [. . ./ Herrn Iohans Georgen Marggraffen .su Brandenburg [. . .J Und [. . .J Der Durchleuchtigen [. . .] Eva Christina, Gebomer Hertzogin zu Wurtemberg [. . ./ gantz herrlictd zierlich und glucklich furiiber gangen und vollendet worden, Kempten 1610. Beschreibung aller Solennitaten Bty dem Hohen Vennahlungs-Feste, Ihro Hoch-Furstl. Durchlaucht Printz Friedrichs Mil Ihro Hoheit Der Konigl. Gross-Brittanischen Princessin Maria Welches Ende Junii und Anfangs Julii des Jahrs 1740 An ihro Kiinigl. Majestat in Schweden Hoch= Fiirstlich Hessischen Ho ffe zu Cassel vollzogen worden, Kassel 1740. Beschreibung der Hochfurstlichen Heimfuhmng Dess [. , .J Herrn Ludwigs des Sechsted Landgrafens zu Hessen [. . .J Mit (. . ,J Elisabeth Dorotheen [. . .] geb. Hertzogin zu Sachsen [. . .], Darmstadt 1667. Beschreibung der Illumination zu Dresden bcy der Koniglichen Sicilianischen in Vollmacht vollzogenen Vennahlung [. . .I, Dresden 1738. Beschreibung der Reiss [. . .] Volbringung des Hcyraths: und gliicklicher Heimfuhrung [. . .] des [. . .J Herrn Friederichen dess Fiinfien [. . .] mit der Princessin Elisabeth [. . .], Heidelberg 1613. Bey Der [. . .] Gebuhrt Des Durchlauchtigsten Kayser- und Konigl. Printzed H e r d 0 Blvkwcll Publishers Ltd 1995.


H e r d Leopoldi Wolte [. . .] A n den Vier Ecken des Marckts Mi t Vier Lust-Feuend Unter Vorstellung XVI . auf Pyramiden gemahlten Tugenden Die Ehre und Giitte der Regented wie auch Die Pfricht der Unterthanen Anno 1716 d.28. Aprilis Allerunter- thanigst vorstellen Die Stadt Bresslau, Breslau 1 7 16. Bissari, Pietro Paolo, Medea Vendicativa. Drama di Foco. Attione terZa De gli Applausi fat t i per la NascitCi Dell’ Altezza Ser.ma Di Massimiliano Emanuele, Munich 1662. Bretagne, Pierre de, Rejouissances et Jtes magnifiques qui se sont faites en Baviire l’an 1722. au manage de Son Altesse [. . ./ le Prince Electoral DUG de la Haute et Basse Baviire [. . .], Munich 1722. Cartell des Feuer- Wercks/ worinnen die Eroberung des Giildenen Fellis Durch den

Jason aussgebiildet wird [. . .I, Dresden 1650. Curicke, Georg Reinhold, Freuh-Bezeugung der Stadt Dantzig iiber die hochst- enuiinschte konigliche Wahl und darauf gliicklicherfolgte Kronung [. . .] Augusti des Andern, Koniges in Pohlen [. . .] , Dantzig 1698. Dilich, Wilhelm, Beschreibung und Abriss dero Ritterspieu so der durchleuchtige [. . .] Mori td Landgraff zu H e s s d [. . ./ auff die Fiirstl. Kindtauffm Frewlein Elisabethed und dann auch Herrn Moritzen des andern [. . .] zu Cassel, Kassel 1601. Eigentlichr Abriss und Beschreibung Des f. . J Feuer-Wercks, Welches [. . .] Der [. . .] Konig und Chufurst zu Sachsen [. . .] den 6. Junii 1709 [. . .] auf dem Elb-Strohm [. . .] verbrennen lassen [. . .I, Dresden 1709. Eigentliche Beschreibung Des prachtigen Einzugs Ihrer Hoheit Des Konigl. und Chur= P r i n t z m von Sachssen, M i t Seiner aus Wien angekommenen Durchl. Gemahlin, Dresden 17 19. Das froliche Dresden, als daselbst zu Ehren Seiner Konigl. Majestat in Preussen etc.etc. und Dero Cron=Printzen Konigl. Hoheit, bey Deroselben hohen Anwesenheit taglich Lustbarkeiten angestellet und vergniiglich vollbracht worden, Dresden 1 728. Das Frolockende Augspurg/ wie solches wegen der hochst-begluckten Geburt des Durch- leuchtigsten Ertz= Hertzogen Lcopoldi I I Seine allerunterthanigste Freude den 17. May 1716 durch verschiedene Illuminationes dargestellet hat, Augsburg 17 16. Graminaeus, Diderich, Furstliche Hochzeit So [. . .] Wilhelm Hertzog zu Gulich, Cleue und Berg [. . .I In [. . .] Dusseldorfgehaltenn, Cologne 1587. Hansen und Gleichensdorf€, J.W.W. von, Beschreibung der brennenden Feuer- Biihn welche zu hochsten Ehren Der [. . .] Fiirstin [. . .] Elisabetv Gebohrnen Erb- Printzessin zu Hungarn und Boheimb/ Ertz-Hertzogin zu Oesterreich Gubernatorin deren Oesterreichischen Niederlanden Bey Dero [. . .] Ankunfft in-[. . .] Wurtzburg vorgestellet worden [. . .] Den 22 Septembris 1725, Wiirzburg 1725. Helle (or Halle), Christoph, ‘Funfzehn Lust- und Frewden-Feur 1662-1674’, MS. Munich 1682 (BSB Cgm 2234). Hesenthaler, Magnus, Vorstellung Stuttgartischer Jiingst-gehaltener Hoch-Fiirstl. Wurtemberg-Hessischer Heimfuhrungs-Begangnis [. . .], Stuttgart 1675. Das Illuminirte Braunschweig/ Wie solches am 28ten August, des venoichenen 1727 Jahr/ Welcher war der Hohe Geburts= Tag/lhro Kauserl. Majest. Elisabeth Chris- t i d Romische Kayserin . . ist vorgestellet worden, Braunschweig 1727. Islebius, Philippus Agricola, Beschreibung des Durchlauchtigsten [. , .] Fiirsten

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[. . .] Johansen Ceorges Marggrafen zu Brandenburgk [. . .] gehaltenen Chur und Fiirstlichen celebration/ Uber seiner Churfirstlichen G& jungen Herren Sohns/ H e i d H e m Christiand [. . .] zur heiligen Tauj2 Vorbiindnurs und einlcibung [. . .I, n.p. 1581. Klotzel, Martin, Der von dnn Durchlauchtigstm Chur-Fiirstm zu Sachen [. . .I Hertzog Friderico Augurto, In Dero Residntcc Dress& Donnerstags den 7. Febr. 1695 [. . .I angestellte und geha lhe Cotter-Auflzug, Dresden 1697. Lillis, Thomas Bernhard de, Ausfirlkhe Beschreibung von a h prichtigen Eiwug ihro Chufurstl. Durchl. in B a y etc. mit a’ero Durchleuchtigsten Ertz-Hertzogin von Oesteneich Maria Antonia Theresia, so in Miinchen [. . .] 1685 Jahrs vorbcy gangen, Munich 1685. Martini, Adam Jacob, Kurtze Beschreibung und Entwurfl alles dessen was bcy der [. . .I Princessin [. . .] Ludovicae Mariae Gonzagae [. . .I Konigl. Mayst: zu Polen und Scheden [. . .] Gespons g e s c h e h Eiwuge in du [. . ./ Stadt Dantzig, Danzig 1646. Oettinger, Johan, Fiirstlicher Wurtembergischer Ritterlkher Pomp und Solennitat: mit welcher [. . .I Fria’erich Hertzog zu Wurtnnberg und Teck [. . .] den Konn. Englischen Ritters O r d d Dess Hosenbandf [. . .] An S. Georgentug den 23. Aprilis [. . .] 1605. In [. . .] Stuttgart celebriert und begangen hat, Stuttgart 1607. Oettinger, Johann, Warhaffte Historische Beschreibung Der Fiirstl. Hochzeit und &s Hochansehnlichen Beylagers So Der Durchleuchtig Hochgebom Fiirst unnd Herr/ Herr Johann Friderich Hertzog zu Wurtnnberg und Teck [. . .] mit [. . .] Barbara Sophia [. . .], Stuttgart 1610. Relation a’es Rejouissances Faitcs a Francforl sur le Mcyn Au Mois d’Aolit 1741 par ordre de son excellence Monseigneur le Marechal de Belle-Isle, d l’occasion de la Saint Louis, FilG du Roy, Frankfurt a. M. 1741. Relazione del Pomposo Ingress0 nella cittir Di Vienna della Sacra Maestci Gioseppe Primo [. . .] e [. . ./ Wilelmina Amalia D’Hannover, Rome 1699. Repraesentatio Der Fiirstlich Auflziige, Ritterspiel auch Fewerwerck und Ballet Welch [. . .] H e n Christian Wilhlm /. . .] Marggraf zu Brandenburg [. . .] auf deroselbm Fiirstlichen Freiileins [. . .] Sophien Elisabcths Kindteufl zu Halle in Sachen Den 8.9.10.11 und 12 Aprilis (. . .I gehalten 1616, Leipzig 1617. Riidiger, Andreas, Das frolocktnde Berlin [. , .] in Anwesenheit Ihrer Konigl. Majestiit in Pohlen, Berlin 1728. Schirmer, David, Entwurf Derer Chur- und Hoch-Fiirstluhen Ergetzlichkeiten Wel- che an Dnun [. . .] Ein- und Zusammenkiinfh Bcy [. . .] Herm Johann Georgens Hertzogens zu Sachen [. . ./ und auch a’es [. . .I H e m Georgens/ LandGrafens zu Hessen [. . .] Geburts-Tagen [. . .] auf a h Chur-Fiirstl. Schlosse zu Dressden sind vorstellig gemachen [. . .], Dresden 1655. Sponrib, Wenzel, Warhffte Beschreibung was vor der [. . .] Ertzogen Cads zu Osteneich etc. Hoch&tlichen HaimJLcrung in der Hauptstadt Gratz in Stcyer [. . ./ von Porten und a& Triumphirenden zierligkhaiten zuegerichtet etc., Graz 157 1 . Succinta Re1azh.t a’el Pomposo ingress0 in VimM [. . .] e delle solenni nozze [. . .] con Maria Antonia d’rlustria, Milan 1685. Tzschimmer, Gabriel, Die Durchlauchtigste Zusammenkunfld Oder: Historische Erzehlung/ Was Der Durchlauchtigste First und Herr/ Herr Johann George der Ander/ @ BILIC~WCU Publishen Ltd 1995.


[. . .] Bey Anwesenheit seiner Chufurstlichen Durchlauchtigkeit Hochgeehrtcsten Herren Gebriidere/ dero G e m a h l i n d Printzed und Princessinned zu sonderbahren E h r d und Belustigung/ in Dero Resident2 und Haubt-Vestung Dresden im Monat Februario des 1678sten Jahres A n allerhand Aufzuged Ritterlichen Excrcitien [. . .] aufluhren und vorstellen lassen [. . .], Nuremberg 1680. Die Uebenoindende Liebe Praescntiret und dargestellet Durch Ein Kiinstliches Fewr- W e d Welches Bey Hoch-Fiirstlichcr Haimbfuhrung Des [. . .] H e m Johann Friedrich/ Hertzogen zu Braunschweig und Liineburg [. . .I und Frauen Benedicta Henrietta Philippim, Pfaltz-Grajin bey Rhein [. . .], Hanover 1668. Vulpius, Johannes, Magnificentia Parthenopolitam: Das ist Dcr Ur=alten Welt= beriihmten Haupt= und Handel= Stadt Magdeburg Sonabbare Herrlichkeit, Magdeburg 1701. Wagner, Hans, Kurtze doch gegriindte beschreibung des [. . .] Herren Wilhalmed PfaltZgrauen bei Rhein [. . .] und derselben geliebsten Gemahel [. . .] gehalten Hochzeitlixhen Ehren Fests [. . .], Munich 1568. Week, Anton, Der Chur-Furstlichen Saechisch weitbcru f f m n Residentz= und Haupt= Vestung Dresden Beschrcib: und Vorstellung [. . .], Nuremberg 1680. Weckherlin, Georg Rudolf, Triumf Newlich bey der F . Kindtauf zu Stutgart gehalten. Beschriben Durch G.Rodolfen Weckherlin, Stuttgart 1616. Wirre, Heinrich, Ein warhajiige Beschreibung/ von der Kron in H u n g e d wann und wo/ auch auffwclchen tag die Allerdurchlauchtigiste/ [. . .I Mayestiit Maximiliatd sampt dern geliebtesten Gemahel/ dieselbig empfangen hat [. . .] von a h T h u r n i d Neugebautem Schloss/ und andern sacherd die sich die zeit der Kriinung zugetragen und verlauffen hat, n.p. 1563. W., M.J.F, Das hochbcehrte Augspurg, wie solches [. . .] mit [. . .] der Romischen Kayserin und Romischen Konigs Eleonore und Joseph Kronungs-Fcstivitat begliicket worden, Augsburg 1690. Von Himmeln entziindete Frolockungs-Flammen f u r Begangnuss des [. . ,] Beylagers, Vienna 1666. Wiennerische Beleuchtunged oder Beschreibung Aller deren Triumph= und Ehren= Geriisted S i n e B i l M und andcrn [. . .] Auszidrunged [. . .] zu Ehren der [. . .] Geburt Des Durchleuchtigsten Ertz-Hertzogs zu Oesterreich/ Josephi [. . .], V' ienna 1741. Wiennerische Beleuchtunged Oder Beschreibung Aller Triumph= und Ehren-Geriisten, Sinn=Bildern/ Gemahlden, und anderen [. . .] Auszierungetd [. . .] bey der [. . .] Geburt des zweyten Ertz= Hertzogs von Oesterreich Caroli, Vienna 1745. Wiennerische Beleuchtungen, Oder Beschreibung Aller deren Triumph= und Ehren= Geriisten, Sinn=Bildern/ Gemahlded Und andern [. . .] Auszierungetd wclche bcy d m n wegen der zu Frankfort glorreichest beschehnen Kaisers= Wahl und Cronung Seiner Romisch=Kaiserlich Majestat Francisci [. . .] Dann [. . .] Ihrer [. . .] Kaiserlich= Konigl. Majestat Mariae Theresiae [. . .] Zuriickkunft, Vienna 1745.

Secondary Literature: Ehrenp forte, Baldachine, Feuenuerke. Niirnberger Hewscherempfange vom 16. Jahrhun- dert bis zum Anfang des 18. Jahrhunderts, Facsimile, Nuremberg 1991. Fahler, Eberhard, Feucnoerke des Barock, Stuttgart 1974.

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Fahler, Eberhard, ‘Emblematische Feuerwerke’, in Emblem und Emblematikre- Zeption, ed. Sibylle Penkert, Darmstadt 1978, pp. 47-56. Kohler, Georg (ed.) with Alice Villon-Lechner, Die schone Kunst der Verschwen- dung. Fest und Feuenoerk in der euro~aischctl Geschichte, Zurich/ Munich 1988. Lotz, Artur, Das Feuenuerk. Seine Ctschichte und Bibliographie, Leipzig 1941, Reprint: Zurich 1978. Malinowsky, Louis von, and Robert von Bonin, Geschichte der brandenburg- preussischen Artillerie, 11, Berlin 1841. Moseneder, Karl, ‘Feuerwerk’, in Reallexikon der deutschen Kunstgeschichte, VIII, Munich 1983, cols. 530-607. Moseneder, Karl (ed.), Feste in Regensburg von der Reformation bis in die Gegen- wart, Regensburg 1986. Oechslin, Werner, and Anja Buschow, Festarchitektur. Der Architekt als Inszeni- erungskiinstler, Stuttgart 1984. Schwarzwalder, Herbert, ‘Oberstleutnant Johann Georg von Bendeleben und sein grosses Feuerwerk in Bremen zur Erinnerung an den Frieden von Habenhausen am 20. Oktober 1668’, Bremisches Jahrbuch, 58 (1980), 9-22. Seifert, Herbert, Der Sig-prangende Hochzeit-Gott. Hochzeitsfeste am Wiener Hof der Habsburger und ihre Allegorik 1622-1699, Vienna 1988. Sievernich, Gereon (ed.) with Hendrik Budde, Das Buch der Feuenuerkskunst. Farbenfeuer am Himmel Asiens und Europas, Nordlingen 1987. Vocelka, Karl, Habsburgische Hochzeiten 15W1600. Kulturgeschichtliche Studien zum manienstischen Repriiscntationsjst, Vienna/ Cologne/ Graz 1976. Wanger, Bernd Herbert, ‘Kaiserwahl und -kronung im Frankfurt des 17. Jahrhunderts. Darstellung anhand der zeitgenossischen Bild- und Schriftquellen und unter besonderer Berucksichtigung der Erhebung des Jahres 1612’, unpubl. Ph.D. thesis, Marburg 1988.

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