The coronation of the first
King in Prussia Friedrich I

The coronation
procession

Over 20 copperplate engravings illustrate a ceremonial act


The first Prussian coronation in the year 1701

The coronation of Friedrich I in the year 1701 as the first King in Prussia is seen as an important milestone in the history of Prussia. The copperplate engravings made by Johann Georg Wolfgang, who was commissioned by the new king, document the crowning, the procession, the anointment, and the festivities. They were a tool used to gain the nobility’s recognition of the new status quo.



The Prussian crown was not built on inheritance, war, election, or elevated status. It was an official agreement made during diplomatic negotiations with the Holy Roman Emperor. Even though the political circumstances to create a new monarchy were favourable, the coronation did not receive as much attention as desired.


The copperplate engravings of the coronation were to counteract this. They were published  alongside the report The History of the Prussian Coronation by the head of ceremonial proceedings, Johann von Besser. This account of the event permanently recorded the coronation ceremony and helped consolidate royal power. The detailed commentary by Besser is particularly useful in understanding how and why certain decisions about the ceremony were made. The combination of imagery and text is the most important source in recreating the coronation ceremony of the first Prussian King even though this cannot be regarded as a factual report.


Nothing was left to chance at the coronation of Friedrich I – and not in the production of the copperplate engravings either. The ceremonials and protocol were key elements of everyday court life during the time of Absolutism around 1700. Therefore, the ceremonial procedure of the coronation was meticulously orchestrated by Friedrich and his advisors and reveals how the Prussian King saw himself.





Detail from the coronation procession: The King on his way to the Schlosskirche. SBB-PK. Public Domain Mark 1.0


Portrait of Friedrich I. SBB-PK. Public Domain Mark 1.0

Johann von Besser’s report on Friedrich I’s coronation was first printed in 1702, one year after the event had taken place. The second edition, which included the copperplate engravings, was not published until 1712. The number and large scale of the copperplate engravings increased the significance of the coronation and the book honouring the new king; however, producing them was expensive and time consuming.

The production process reveals that the main focus was clearly more on the ceremonial presentation rather than a realistic portrayal of the event itself. Johann von Besser personally attended the event and based the book on his own observations. Whether the artist Johann Friedrich Wentzel (1670–1729), who created the drawings for the series of illustrations, also attended the ceremony remains uncertain to this day. The copperplate engraver Johann Georg Wolfgang (1664–1744) joined the court in 1704 and based his plates, of which he made a limited number of copies, on the drawings by Johann Friedrich Wentzel.

The desire for equality

Friedrich, who came from the House of Hohenzollern, felt he had a rightful claim to the crown: the kinship, political alliances, large territories, military strength, and magnificent court were all features worthy of a King. As a German Kurfürst (elector) he was on the same level as a king but under the authority of the Holy Roman Emperor. However, other European Princes did not regard the status of ‘elector’ as equal to that of ‘king’. The end of the 17th century signalled a change in the European hierarchical system as William of Orange ascended the English throne and the Saxon elector ascended the Polish throne, driving Friedrich to strive for his own crown.

The first failed attempt

Friedrich’s first attempt to become king was thwarted by Kaiser Leopold I in 1693. Even though Friedrich desired a kingdom, which was independent from the emperor and his lands, the emperor’s consent was imperative. For a title meant nothing if not acknowledged by others. The emperor’s approval would ensure that Friedrich’s elevated status was swiftly recognised by the other European princes.

Success at last!

In 1698, the Elector of Brandenburg was able to use to his advantage the dispute between the emperor and the French King about the heir to the King of Spain, Karl II. After the death of Karl II on 1 November 1700, the Holy Roman Empire and France were on the verge of a military conflict. The emperor was under pressure and needed the support of the Elector of Brandenburg. Negotiations about the Prussian kingship were brought to a swift conclusion. In the so-called Krontraktat of 27 November 1700, an agreement between the emperor and Friedrich, the emperor gave his approval. In return, Friedrich pledged to give military support to the emperor if the dispute about the Spanish heir resulted in a military encounter.

Friedrich, who was from the House of Hohenzollern, became Elector of Brandenburg (Friedrich III) in 1688 and King in Prussia (Friedrich I) in 1701. He was not unlike the other princes of his time with a pronounced desire for prestige and very conscious of his status. Becoming the first King in Prussia was one of the biggest successes of his rule and an important step towards unifying the dispersed territories of Prussia and Brandenburg since these areas were simply held together by the elector himself and had no collective name.

Brandenburg and Prussia prospered culturally under his rule. Friedrich invited artists and scientists to his court, transforming Berlin into a Residenzstadt in the Baroque style. The impressive royal court, grand Residenzen, and luxurious lifestyle became Friedrich’s status symbol. However, these came at great expense. Therefore, his rule was also characterised by poor state finances and corruption.

Johann von Besser was greatly admired for his expertise in European ceremonials and was appointed the first master of ceremonies at the Brandenburg court. He was responsible for introducing foreign ambassadors and envoys at court and for establishing the Hollenzollerns’ place in the hierarchy of European rulers. As head of ceremonial proceedings planning and choreographing the coronation of the Prussian King was the highlight of his career.

Portrait of Johann von Besser, copperplate engraving by Martin Bernigeroth, before 1733.SBB-PK. Public Domain Mark 1.0
Portrait of Johann von Besser,
copperplate engraving
by Martin Bernigeroth,
before 1733.

Overview of the copperplate engravings

This overview shows all the copperplate engravings of the coronation procession. You can click on individual plates to gain further information and view a larger image.

Go to plate no. 1

The proclamation of the Prussian coronation

Go to plate no. 1

Foundation of the order of chivalry, the coronation, and enthronement

Go to plate no. 2

Bishops and other clergy

Go to plate no. 3

The first choir

Go to plate no. 4

The Hofmarschall (Lord Chamberlain), the cupbearer and the royal councils

Go to plate no. 5

The members of the Hofhalsgericht

Go to plate no. 6

Church officials and delegates from the university

Go to plate no. 7

The Hofgerichtsräte and members of the tribunal in Königsberg

Go to plate no. 8

The delegates from the Prussian estates

Go to plate no. 9

The delegates from the city, the knights, and the higher nobility

Go to plate no. 10

The courtiers, ministers, and real privy councillors

Go to plate no. 11

The privy councillors

Go to plate no. 12

The second choir

Go to plate no. 13

The Obermarschälle and the Hundertschweizer (Swiss Guard)

Go to plate no. 14

The Prussian Oberräte (Prussian cabinet) with the royal regalia and the crown prince

Go to plate no. 15

His Majesty the King

Go to plate no. 16

Her Majesty the Queen

Go to plate no. 17

The Anointment

Go to plate no. 18

The public enthronement

Go to plate no. 19

Scattering coronation coins and relinquishing the red carpet

Go to plate no. 20

The roast ox and the two wine fountains

Go to plate no. 21

Plate no. 1


The proclamation of
the Prussian coronation

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“Therefore, it thrived by the wise foresight of God: the Hertzogthum Prussia will henceforth be known as the Kingdom of Prussia and our most illustrious and powerful prince and lord Friedrich has been declared King in Prussia: so, we publicly declare and manifoldly hail: Long live Friedrich, our most gracious king! Long live Sophie Charlotte, our most gracious Queen!”

Moritz Holzendorf, first Herald

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Königsberg

Königsberg was the Residenzstadt of the Duchy of Prussia and was therefore chosen as the location for the coronation ceremony. The Duchy of Prussia arose out of the State of the Teutonic Order in 1525 and was initially in feudal service to the King of Poland. Finally in 1657, the duchy gained independence.


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„Demnach es ist durch die allweise Vorsehung Gottes dahin gediehen: dass dieses bisherige Hertzogthum Preussen zu einem Königreich aufgerichtet und desselben Souverain der Allerdurchlauchtigste Großmächtigste Fürst und Herr, Herr Friderich König in Preussen geworden: So wird solches hiemit manniglich kund gethan, publiciret und ausgeruffen: Lange Lebe Friderich, unser Allergnädigster König! Lange Lebe Sophie Charlotte, unsere Allergnädigste Königin!“

Moritz Holzendorf, Erster Herold

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Königsberg

Königsberg war die Residenzstadt des Herzogtums Preußen und wurde deshalb als Ort der Krönungszeremonie ausgewählt. Das Herzogtum Preußen war 1525 aus dem Staat des katholischen Deutschen Ordens geschaffen worden, hatte zunächst unter der Lehnsherrschaft des Königs von Polen gestanden und war 1657 ein unabhängiges und souveränes Herzogtum geworden.



The plates of the coronation procession show the chronology of the event. After the emperor had consented to Friedrich’s rise in rank in November 1700, Friedrich wasted no time and gave immediate instructions to prepare for his journey from Berlin to Königsberg. His so-called Dignitätsconseil, a board of advisors, had been extensively discussing the coronation ceremony for months so as to effectively consolidate Friedrich’s new position among the European nobility. Which traditions of the coronation ceremony were particularly important and which did not need to be complied with?

On 29 December 1700 Friedrich arrived at Königsberg. The Prussian coronation was announced by heralds on 15 January 1701 at five locations in and around Königsberg. This plate shows the enthusiasm and jubilation of the crowd in Königsberg. The vivat for the King and Queen was accompanied by drums and trumpets.

King ‘in’ Prussia

Friedrich had himself proclaimed King ‘in’ Prussia instead of ‘of’ Prussia. Unlike the Electorate of Brandenburg, the Duchy of Prussia was independent and not part of the Holy Roman Empire. Therefore, the emperor acknowledged the kingdom but did not name Friedrich king. However, the western Prussian territories still belonged to the Kingdom of Poland, which is why Friedrich wanted to avoid any conflict. Even though the title did not apply to the Margraviate of Brandenburg, a few decades later the whole territory of the House of Hohenzollern was known as Prussia.

Plate no. 2


Foundation of the order of chivalry,
the coronation, and enthronement

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The ritual of founding the order

Receiving an order was a traditional ritual of status and reward. Kings used to grant knighthoods in order to demonstrate the might of their power. Not only was such an award a special privilege but it also bound the knights even tighter to the elector and helped consolidate his rule. The Prussian Order of the Black Eagle was founded before Friedrich’s coronation, a very unusual practice in Europe at the time.

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The Order of the Black Eagle

The medal was a star with a black eagle at the centre, which gripped a laurel wreath and thunderbolts in its talons. The eagle, surrounded by the motto of the order Suum cuique, is both the animal on Friedrich’s coat of arms and a symbol of justice. Like the eagle his motto is also about justice: ‘to each their own’, meaning that everyone should receive what they have rightfully earned.

This star of the Order of the Black Eagle was worn on the coat. Photo: bpk

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Self-crowning

With a small number of courtiers in the audience chamber Friedrich places the crown on his head himself. By doing so Friedrich reveals the origin of the Prussian crown, which was not bestowed on him but rather belonged to him by virtue of his sovereignty and the grace of God.

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Enthronement through power

The king and queen ascend the throne with the crown, purple robes and sceptre and complete the enthronement through their own power.

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No need for an oath

Only emperors and kings had the right to a coronation ceremony. When non-royal rulers came to power, they received the oath of allegiance from their subjects. Friedrich had already received such an oath in 1688 when he became the Elector of Brandenburg. Now for the first time, the courtiers and representatives of the Prussian estates paid their respects and hailed the ruling couple as king and queen.


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Das Ritual der Ordensstiftung

Die Verleihung eines Ordens war ein traditionelles Status- und Belohnungsritual. Könige pflegten Ritter zu schlagen, um ihre eigene Macht zu beweisen. Die Verleihung des Ordens stellte außerdem eine besondere Gunst dar, band die Ritter noch enger an den Fürsten und stabilisierte damit dessen Herrschaft. Anders als sonst in Europa üblich wurde der preußische Ritterorden vom Schwarzen Adler noch vor der Krönung Friedrichs gestiftet.

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Der Orden vom Schwarzen Adler

Der Orden zeigte einen Stern mit gekröntem Adler, der in seinen Klauen einen Lorbeerkranz und Donnerkeile hält. Dazu kam der Wahlspruch ‚Suum cuique‘. Der Adler ist zum einen das Wappentier Friedrichs, zum anderen ein Bildnis der Gerechtigkeit. Auch der Wahlspruch verhieß Gerechtigkeit: ‚Jedem das Seine‘ meinte, jedem das ihm Zustehende zu gewähren.

Dieser Stern des Ordens vom Schwarzen Adler war am Mantel zu tragen. bpk

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Selbstkrönung

In kleinem höfischen Kreis setzt sich Friedrich in seinem Audienzzimmer selbst die Krone auf. Er zeigt damit den Ursprung der preußischen Krone, die ihm nicht verliehen worden war, sondern die er aus eigener Souveränität und Stiftung sowie Gottes Gnade erhielt.

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Inthronisation aus eigener Macht

König und Königin nehmen mit Krone, Purpur und Zepter den Thron ein und vollziehen damit die Inthronisation aus eigener Macht.

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Krönung ohne Huldigung

Auf eine Krönung hatten nur Kaiser und Könige Anspruch, während nicht-königliche Herrscher zu ihrem Regierungsantritt die Huldigung (den Treueeid) ihrer Untertanen entgegennahmen. Einen Huldigungseid hatte Friedrich bereits 1688 bei seinem Antritt als Kurfürst erhalten. Nun grüßten die Höflinge und Vertreter der preußischen Stände in tiefer Verneigung das Herrscherpaar zum ersten Mal als König und Königin.



This plate depicts four scenes: The founding of the Order of the Black Eagle on 17 January 1701 (bottom) was followed by the coronation of Friedrich in the audience chamber on 18 January (left). Afterwards, the king entered the queen’s apartments and crowned her (right). Finally, the crowned king and queen ascended the throne at Königsberg castle (top).



The significance of the coronation

The scenes show numerous people. The King and Queen are seamlessly integrated into the whole scene and can be recognised by the position they are in.

The placement of this plate within the entire chronology of the copperplate engravings is remarkable. Therefore, it is evident that the coronation took place before the procession and the anointment.

Friedrich broke with the tradition of receiving the crown after being anointed. However, the heavily symbolic coronation ceremony is depicted as just one part of a whole scenario and therefore does not have a very powerful effect on the public. It is possible that this is because a worldly coronation does not enjoy the same recognition and validity as a divine coronation.

Plate no. 3


Bishops and other clergy

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Appointing two bishops

The anointment ceremony customarily required one bishop. Friedrich appointed the reformed court chaplain Benjamin Ursinus and the Lutheran Professor of Theology Bernhard von Sanden from Königsberg bishops. In doing so he was invoking the worldly and divine power of a Protestant sovereign.

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The announcement of the procession

The first herald called out in order the names of the participants in the procession. Before the king and queen entered the Schlosskirche, there came a procession of heralds, pages, drummer, and trumpeters, followed by representatives of the administration, the judiciary, the church, the universities, the courtiers, and privy councillors.


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Die Ernennung zweier Bischöfe

Die Salbungszeremonie erforderte traditionellerweise einen Bischof. Friedrich ernannte kurzerhand den reformierten Oberhofprediger Benjamin Ursinus und den Königsberger lutherischen Theologieprofessor Bernhard von Sanden zu Bischöfen. Er berief sich dabei auf die weltliche und geistliche Macht evangelischer Herrscher.

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Die Ankündigung der Prozession

Der erste Herold verlas die Anwesenden in der Reihenfolge ihres Auftritts in der Prozession. Auf die Herolde, Pagen, Pauker und Trompeter folgten Vertreter der Verwaltung, der Justiz, der Kirche und der Wissenschaften sowie die Höflinge und Geheimen Räte, bevor König und Königin in die Schlosskirche einzogen.



The coronation was followed by the procession to the Schlosskirche, where the anointment of the king and queen took place. Wooden boards, covered by a red carpet had been laid on the path. Even though the procession merely went over the Schlosshof, the order and size of the procession was planned down to the last detail. The larger the number of participants and the more prestigious they were, the more magnificent and honourable the procession and consequently the king was too. The procession was to demonstrate the greatness and dignity of the new king and thus persuade the other European rulers to accept his kingship.



A Protestant kingdom

Upon arriving at the Schlosskirche, the procession was greeted by the bishops. Friedrich firmly believed in the Reformation and strove to create a Protestant kingdom. Both a Lutheran and a non-Lutheran Protestant bishop were present to demonstrate the union of both faiths under Friedrich’s authority. The Pope did not recognise this new kingdom at the time.


A photograph of the Schlosshof with the Schlosskirche in Königsberg, around 1890. Bpk

Plate no. 4


The first choir



The royal servants and pages were followed by the first choir which accompanied the procession with music. Next, there came the army drummer and then the twelve royal trumpeters. Each trumpet was adorned with a small flag, which bore the royal coat of arms.

Plate no. 5


The Hofmarschall (Lord Chamberlain),
the cupbearer and the royal councils



The Hofmarschall and the cupbearer, who are high-ranking court officials concerned with the administration of the royal court, can be recognised by their Marschall staffs. They are at the head, leading the long line of members of the royal councils. The Amtskammer, which was responsible for the territorial domains and goods, the Kanzlei (chancellery), and the Kriegskammer (War Department) belonged to the highest Prussian administrative authorities.

Plate no. 6


The members of the Hofhalsgericht



Hofhalsgericht was one of the law courts in Königsberg, which served as a tribunal for criminal offences.

Plate no. 7


Church officials and delegates from the university



Next in the procession were the members of the consistory council, an administrative department for church affairs in Prussia. They were accompanied by delegates from the University of Königsberg.

Plate no. 8


The Hofgerichtsräte and members of the tribunal in Königsberg



The justice departments were represented by two other groups in the procession: the Hofgerichtsräte from the high court and the civil servants from the tribunal, a court of appeal, which was employed to solve legal issues.   

Plate no. 9


The delegates from the Prussian estates



This plate, showing delegates from all estates, contains a richly ornamented text, possibly signalising a hierarchal transition in the procession. With the courtiers, who come next, the Prussian and foreign ministers and advisors, the procession is now getting closer to the king’s inner circle.

Plate no. 10


The delegates from the city, the knights, and the higher nobility



The Prussian estates were represented by delegates from the cities, knights, and higher nobility.

Plate no. 11


The courtiers, ministers,
and real privy councillors



Paul von Fuchs and Wolfgang von Schmettau are named amongst the ministers and privy councillors. Both were advisors to the king, who had supported Friedrich during his negotiations to acquire the crown and had represented him in foreign affairs. The fact that they are explicitly named is to be seen as an honour.



The portrayal

On the plate however, the two privy councillors cannot be clearly identified. Reproducing a true likeness was apparently not a priority.

Nor does the background really reflect the actual location. The wall, which has been covered in cloth, is merely a tool to position the figures and give their names and ranks. The portrayal concentrates on the ceremony and the important people and actions; the location and onlookers at the side of the procession have not been depicted. The simple background decoration will have saved a great deal of effort and cost in the production of the copperplate engravings.

Plate no. 12


The privy councillors



The members of the privy council were the highest-ranking advisors to Friedrich. They took orders directly from the king and gave advice on important state affairs.

Plate no. 13


The second choir



Two heralds wearing tabards marched in front of the royal couple and the royal regalia, followed by the second choir consisting of a drummer and twelve trumpeters. The first and second choirs took turns in performing. As a result, it created a hierarchical distinction in the inner circle of the royal couple and the high-ranking court officials.

Plate no. 14


The Obermarschälle and the Hundertschweizer (Swiss Guard)



The Obermarschall of Prussia (Senior Marshal), Christoph von Wallenrodt, and the Oberhofmarschall (Senior Lord Chamberlain), responsible for the royal household, walked ahead of the royal regalia. The household division of the Hundertschweizer accompanied the king’s entourage.

Plate no. 15


The Prussian Oberräte (Prussian cabinet)
with the royal regalia and
the crown prince

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The royal seal

The royal seal was carried by Kanzler Georg Friedrich von Creytzen, who was head of official communications, the Kanzlei, and the judiciary.

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The orb and cross

The orb and cross was carried by Otto Wilhelm von Perbandt, who was Landhofmeister and in charge of the Kammerämter.

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Royal sword

The royal sword was carried by Oberburggraf Christoph Alexander von Rauschke, who was a senior member of the Prussian cabinet and responsible for state finances and trade.

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Kronprinz Friedrich Wilhelm
(1688–1740)

Der Kronprinz Friedrich Wilhelm wurde von seinem Oberhofmeister und Erzieher Graf Alexander von Dohna-Schlobitten begleitet. Als einziger Sohn des Königs stellte Friedrich Wilhelm die Kontinuität des neuen Königtums sicher. Im Gegensatz zu seinem Vater bevorzugte er eine militärische und sparsame Lebensweise ohne höfisches Zeremoniell und barocke Pracht. Später verzichtete er auf Krönungs- und Salbungszeremonie.


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Das Reichssiegel

Das Reichssiegel trug der Kanzler Georg Friedrich von Creytzen als Leiter des amtlichen Schriftverkehrs, der Kanzlei und der Justiz.

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Reichsapfel

Den Reichsapfel trug Otto Wilhelm von Perbandt, der als Landhofmeister die Aufsicht über die Kammerämter hatte.

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Reichsschwert

Das Reichsschwert trug der Oberburggraf Christoph Alexander von Rauschke, der in seiner Funktion als Oberrat die Handels- und Finanzangelegenheiten überwachte.

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Kronprinz Friedrich Wilhelm
(1688–1740)

Der Kronprinz Friedrich Wilhelm wurde von seinem Oberhofmeister und Erzieher Graf Alexander von Dohna-Schlobitten begleitet. Als einziger Sohn des Königs stellte Friedrich Wilhelm die Kontinuität des neuen Königtums sicher. Im Gegensatz zu seinem Vater bevorzugte er eine militärische und sparsame Lebensweise ohne höfisches Zeremoniell und barocke Pracht. Später verzichtete er auf Krönungs- und Salbungszeremonie.



The crown prince and the Prussian Oberräte, who were carrying the royal regalia on red velvet cushions, the symbols of royal power and sovereignty, walked just in front of the king. The artists of this engraving seem to have made a mistake and falsely depicted Graf von Dohna as bearer of the royal sword. It is known that Christoph von Dohna-Schlodien was permitted to walk on the right side of the king, but he is not depicted in these copperplate engravings.

Plate no. 16


His Majesty the King

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The crown

By the order of Friedrich, the crown, made of gold and inlaid with a row of diamonds, was specially made for the coronation by a goldsmith in Berlin, whose name is not known. The jewels could be removed and therefore used for other purposes. Some of the jewels were later reworked into the crown for Wilhelm II.

This Prussian crown was commissioned by Wilhelm II in 1889. The court jeweller Hugo Schaper took inspiration from the crown of Friedrich I as well as a design by Emil Doepler. Photo: bpk

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The sceptre

The sceptre of the Elector of Brandenburg had been specially altered for the coronation. The new sceptre was made of gold and adorned with diamonds and rubies. On the top perched an eagle with two large rubies underneath. One of the rubies was a gift from the Russian Tsar, Peter the Great, on his visit to Königsberg in 1697. The ruby came from his own sceptre, which was seen as a good omen for the Kingdom of Prussia.

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Johann Casimir Kolbe von Wartenberg
 (1643–1712)

The Oberkämmerer Johann Casimir Kolbe von Wartenberg was one of Friedrich’s most successful favourites. When it came to acquiring the crown, he had proven to be an indispensable advisor. The coronation ceremony is a momentary record of his rising influence. The king bestowed on him the honour of carrying the train of his coronation robe. The close relationship between the king and Wartenberg is made clear to all.

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An honour for the Dohna family

The royal banner bearing the eagle of Prussia, a symbol of the King’s sovereignty, was carried by Christoph Friedrich zu Dohna-Reichertswalde. The choice of Dohna-Reichertswalde is remarkable: even though he was heir to the House of Dohna, he never held any office. In the engravings of the procession three members of the Prussian Dohna family were near the king, suggesting that a close bond existed between the Dohnas and the Electors of Brandenburg.


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Die Krone

Die Krone aus Gold und aneinandergereihten Diamanten ließ Friedrich für die Königskrönung von einem uns unbekannten Berliner Goldschmied anfertigen. Die Juwelen konnten herausgelöst und so auch für andere Zwecke verwendet werden. Teile der Juwelen wurden später in die Krone von Wilhelm II. eingearbeitet.

Diese preußische Königskrone wurde 1889 im Auftrag von Wilhelm II. angefertigt. Der Hofjuwelier Hugo Schaper arbeitete sie nach dem Vorbild der Krone Friedrichs I. und einem Entwurf von Emil Doepler. bpk

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Das Zepter

Für die Krönung wurde ein kurfürstliches Zepter umgestaltet. Das neue Zepter aus Gold war mit Diamanten und Rubinen besetzt. Auf der Spitze thronte ein Adler, in und unterhalb des Adlers waren zwei große Rubine eingesetzt. Einer der Rubine war ein Geschenk des russischen Zaren Peter der Große bei seinem Besuch in Königsberg im Jahr 1697. Der Rubin stammte aus dessen eigenem Zepter, was als Vorsehung auf das preußische Königreich gedeutet wurde.

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Johann Casimir Kolbe von Wartenberg
 (1643–1712)

Der Oberkämmerer Johann Casimir Kolbe von Wartenberg war einer der erfolgreichsten Günstlinge Friedrichs. Beim Erwerb der Krone hatte er sich zu einem unentbehrlichen Ratgeber gemacht. Das Krönungszeremoniell ist eine Momentaufnahme seines Aufstiegs. Der König übertrug ihm symbolträchtige Aufgaben wie das Tragen der Schleppe des Krönungsmantels. Die Nähe zum König wird allen sichtbar gemacht.

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Eine Auszeichnung der Familie Dohna

Das Reichsbanner mit dem Adler Preußens als Zeichen der Souveränität des Königs wurde von Christoph Friedrich zu Dohna-Reichertswalde getragen. Dass die Wahl auf ihn fiel, ist außergewöhnlich: Er war zwar Erbe des Hauses Dohna, hatte aber kein Amt inne. Im Krönungszug sind damit in der Nähe des Königs gleich drei Mitglieder aus der preußischen Familie von Dohna vertreten, was auf ihre enge Verbindung zu den Kurfürsten von Brandenburg hinwies.



At the tail of the procession those of highest rank made a grand entrance into the Schlosskirche. The King strode to his anointment under a baldachin, carried by ten courtiers, including counts, lieutenant generals, major generals, and chamberlains. Clad in purple, he already wore the crown and held the sceptre in his hand, which was not the usual practice. The Swiss Guard escorted his entourage. On the right-hand side of the king was the Commander of the Household Guard and on the left-hand side the Captain of the Swiss Guard.

Plate no. 17


Her Majesty the Queen

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Queen Sophie Charlotte
(1668–1705)

Sophie Charlotte, Welf Princess of the House of Braunschweig-Lüneburg and daughter of the first Elector of Hannover, was now crowned queen after her marriage plans to France’s heir to the throne fell through in 1679/80. She was not involved in the diplomatic negotiations to establish the Prussian crown but fulfilled her duty as a representative figure. In precious garments and wearing rich jewellery she symbolised the wealth and splendour of the new kingdom.

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The king’s brothers

The Princes Albrecht Friedrich and Christian Ludwig were from the second marriage of the Great Elector to Dorothea von Schleswig-Holstein-Glücksburg and are commonly known as ‘Margraves of Brandenburg’. With their seat in Schwedt, they were endowed with a generous apanage by Friedrich but had no sovereign rights. Yet, they profited from the Prussian kingship as they had now become princes of royal blood.

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The train

Positions in the procession closest to the royal couple were greatly sought after and prior to the coronation there had been disputes on who would receive the honour of carrying the train of the queen’s coronation robe during the procession. Apparently, the wife of Johann Casimir Kolbe von Wartenberg (the King’s favourite) had claimed this honour for herself and could only with difficulty be dissuaded.

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Luise Charlotte, Herzogin von Holstein-Beck
 (1658–1740)

Luise Charlotte was the niece of Friedrich’s stepmother Dorothea. In 1687, after the sudden death of Friedrich’s brother Ludwig, she was suspected of having poisoned him so she and her husband were subsequently sent away to East Prussia. Any concerns about such court gossip are not visible here. Quite the opposite: the duke and duchess both hold important positions in the entourage of the queen.


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Königin Sophie Charlotte
(1668–1705)

Die Welfenprinzessin Sophie Charlotte aus dem Haus Braunschweig-Lüneburg, Tochter des ersten Kurfürsten von Hannover, wurde nun doch noch Königin, nachdem eine Eheanbahnung mit dem französischen Thronfolger 1679/80 gescheitert war. An den diplomatischen Anstrengungen zur Erlangung der preußischen Krone hatte sie keinen Anteil genommen, erfüllte aber ihre Repräsentationspflicht. In kostbarer Kleidung und mit reichlich Schmuck stellte sie den Reichtum und Prunk des neuen Königtums zur Schau.

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Die Brüder des Königs

Die Prinzen Albrecht Friedrich und Christian Ludwig aus der zweiten Ehe des Großen Kurfürsten mit Dorothea von Schleswig-Holstein-Glücksburg werden gemeinhin als ‚Markgrafen zu Brandenburg‘ bezeichnet. Ihr Stammsitz war in Schwedt. Sie waren von Friedrich mit einer hohen Apanage ausgestattet, besaßen aber keine Souveränitätsrechte. Sie profitierten von der preußischen Rangerhöhung und waren nun Prinzen von königlichem Geblüt.

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Die Schleppe

Wie begehrt die Nähe zum Herrscherpaar im Krönungszug war, zeigt ein Streit im Vorfeld der Krönung. Es ging um die Gunst, bei der Prozession die Schleppe des Krönungsmantels der Königin zu tragen. Offenbar hatte auch die Ehefrau des Favoriten Johann Casimir Kolbe von Wartenberg diese Ehre für sich beansprucht und war nur mit Mühe davon abgebracht worden.

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Luise Charlotte, Herzogin von Holstein-Beck
 (1658–1740)

Luise Charlotte war die Nichte von Friedrichs Stiefmutter Dorothea. 1687 war sie nach dem plötzlichen Tod von Friedrichs Bruder Ludwig eines Giftkomplotts verdächtigt und angeblich zusammen mit ihrem Ehemann nach Ostpreußen entfernt worden. Vorbehalte angesichts dieses Hofklatschs sind hier nicht zu bemerken. Im Gegenteil: Herzog und Herzogin nehmen bedeutende Positionen im Gefolge der Königin ein.



The entourage of the queen is led by the Governor in Prussia, Herzog Friedrich Ludwig von Holstein-Beck. The queen is flanked by the king’s two younger stepbrothers, the so-called Margraves. The two Oberhofmeisterinnen carry the train of her coronation robe and behind the queen is the Herzogin von Holstein. She is followed by Prinzessin von Holstein, the Queen’s ladies-in-waiting, and the city’s female nobility.



The absent Margrave

Also noticeable are those who are not present. For example, the oldest of the King’s stepbrothers, who is also second in line to the throne, is missing. Prince Philipp Wilhelm was excused as his wife was due to give birth. The only reason why Friedrich accepted his absence was because a new prince would be born into the royal house.

Otherwise, Friedrich demanded the attendance of the other princes at court. This is connected to his modern understanding of the monarchy, which is modelled on the monarchy in France: Instead of creating a rival line, he made sure that the descendants from his father’s second marriage were also potentially rightful heirs.



The late arrival of the Herzogin von Kurland

The absence of Friedrich’s stepsister, Elisabeth Sophie Herzogin von Kurland, did not go unnoticed either. The duchess arrived late so she and her son missed the procession but were at least able to witness the anointment in the church. After the death of her husband in 1698, Friedrich’s stepsister was involved in a custody case concerning her underage son at the court in Kurland. When the Northern War broke out in Kurland and Poland, she fled with her children to her brother.

Plate no. 18


The Anointment

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King by God’s grace

After the sermon, the king made his way to the altar to be anointed. While he put his crown and sceptre aside, he instructed his Oberkämmerer to pass the anointing oil to the bishop. After the anointment, he took up the crown and sceptre again. By doing so he demonstrated that he owed these symbols of power and his royal dignity solely to God’s grace and himself.

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“Your royal majesty, receive and see this anointment as a holy sign with which in the past God has borne witness through his priests and prophets to the kings of his chosen people: that the highest God himself has made, appointed, and decreed you king, and may the Lord our God anoint you, our royal majesty, with the holy spirit…”

Benjamin Ursinus, Bishop

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Another way of honouring the Oberkämmerer

The Oberkämmerer and favourite Johann Casimir Kolbe von Wartenberg was also given a prestigious role at the anointment, another sign of honour bestowed on him by Friedrich. Wartenberg handed the anointing oil to the bishop, exposed the king’s forehead by pushing his wig upwards, and wiped off the oil after the anointing had finished.


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König von Gottes Gnaden

Nach der Predigt begab sich der König zur Salbung zum Altar. Er wies seinen Oberkämmerer an, dem Bischof das Salböl zu reichen, und legte selbst Krone und Zepter neben sich ab und nahm diese nach der Salbung wieder auf. Damit zeigte er: Diese Insignien der Macht und damit die königliche Würde verdankte er nur Gottes Gnade und sich selbst.

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„Eure Königliche Majestät empfahen [= empfangen] und nehmen auf diese Salbung als ein göttliches Wahrzeichen dadurch Gott ehemals durch Seine Priester und Propheten denen Königen Seines Volks bezeugen lassen: dass Er selbst der höchste Gott Sie zu Königen gemacht, eingesetzet und verordnet hat; Und der Herr unser Gott salbe hierbey auch selbsten mit dem Heiligen Geiste Eure Königliche Majestät!…“

Benjamin Ursinus, Bischof

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Ein weiterer Gunstbeweis für den Oberkämmerer

Dem Oberkämmerer und Favoriten Johann Casimir Kolbe von Wartenberg kam auch bei der Salbung eine herausragende Rolle zu, womit Friedrich ihm wiederum seine Gunst bewies. Er überreichte dem Bischof das Salböl, legte die Stirn des Königs zur Salbung frei, indem er die Perücke nach oben verschob, und wischte nach der Salbung das Öl ab.



The anointment took place in the Schlosskirche. The church was decorated and transformed for the ceremony to make room for the large number of people. The altar was placed in the middle of the church so the ceremony could be observed from all sides. In the plate the altar has also been moved into the centre. The symmetrical design and layout are remarkable, and the number of spectators is overwhelming, highlighting the importance of this event.


When Friedrich and his advisors were discussing which ceremonial elements to include in the coronation, they decided to have an anointment. Not without reason. The anointment was a historical and traditional symbol of royal dignity. It made the new kingdom appear final and absolute, and discouraged any objections. Furthermore, only anointed kings were allowed to bear the title Sacra Majestas and took precedence over the ‘common’ unanointed kings.


Photographs taken of the Schlosskirche in Königsberg in 1903. Bpk

Plate no. 19


The public enthronement

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Allegorical message

The top of the two thrones was decorated with allegorical sculptures, which represented the respective qualities of the king and queen. The king’s throne was adorned with wisdom and strength, who carry a golden crown over his head while the queen’s throne was adorned with piety and justice.

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Tickets to the big event

The city’s inhabitants, who were not part of the royal household , were given places in the gallery. The tickets had been handed out a few days before the event.


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Allegorische Botschaft

Auf den Lehnen der Thronstühle befanden sich allegorische Figuren, die den Eigenschaften von König und Königin entsprechen sollten. Auf Seiten des Königs hielten die Weisheit und Stärke eine goldene Krone über sein Haupt, während bei der Königin die Gottesfurcht und Gerechtigkeit dargestellt waren.

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Mit Eintrittskarten zum großen Ereignis

Für Bürger aus der Stadt, die nicht zum Hofstaat gehörten, waren Plätze auf der obersten Empore vorgesehen. Die Eintrittskarten waren einige Tage zuvor ausgegeben worden.



The importance of the anointment

This plate shows the interior of the Schlosskirche, but this time from the perspective of the altar looking at the king and queen after the anointment has taken place. Two plates have been dedicated to the anointment ceremony whereas the act of crowning was shown in a collage of four illustrations (see plate no. 2). Moreover, the spectators at the anointment considerably outnumbered those at the smaller crowning ceremony. Even though the anointment was put chronologically after the crowning and the act of self-crowning had a high symbolic value, the plates clearly focus more on the anointment ceremony. In later reports on the Prussian coronation the anointment was also aroused the most interest.

The spectators

Representatives of the Imperial, English, Danish, Polish, Hanoverian, and Kassel courts were at the anointment. Their presence was of great importance because swift recognition of the Prussian kingship could be gained from the other European rulers. However, ambassadors from both the French royal family and the Elector of Bavaria were absent and it was not until 1713 and 1714 that they accepted this rise in rank. In addition, neither the Pope nor the Grandmaster of the Teutonic Order acknowledged the newly gained Prussian status at first. It is evident, despite the presence of emissaries from foreign courts, that the coronation is mainly a Prussian event and included only a few foreign high-ranking guests.

Plate no. 20


Scattering coronation coins
and relinquishing the red carpet

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The cost of the coronation celebrations

In order to finance the coronation celebrations, a one-time crown tax was imposed, which yielded 500,000 Reichstaler. However, this could not cover the entire cost of the coronation. It seems that the total expense must have been around 6 million Reichstaler, which is double the yearly income of the House of Hohenzollern. Three-fifths of the sum was spent solely on the queen’s crown.


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Die Kosten der Krönungsfeierlichkeiten:

Um die Ausgaben für die Krönungsfeierlichkeiten zu decken, wurde eine einmalige Kronsteuer erhoben, die 500.000 Taler einbrachte. Das konnte die Gesamtkosten der Krönung jedoch nicht decken. Sie beliefen sich Schätzungen zufolge auf etwa 6 Millionen Taler – das Doppelte der jährlichen Einnahmen der Hohenzollern. Drei Fünftel dieser Summe wurden allein für die Krone der Königin ausgegeben.



After leaving the Schlosskirche, the procession made its way back to the castle. The red carpet, which the king had walked over, was left behind for the crowd. By order of Friedrich, Hofrat (court official) Wilhelm Stosch distributed gold and silver coins worth more than 6,000 Reichstaler to the people of Königsberg in the castle courtyard.

This was a traditional part of the coronation ceremony in Prussia. The coins with Friedrich’s portrait were minted solely for this purpose.

The excited gestures and facial expressions of the people here stand in stark contrast to the noble and reserved composure of the other plates and highlights the difference between the common people and the nobility.

Plate no. 21


The roast ox
and the two wine fountains

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The feast

For the first course of the royal feast, two Hofmarschälle (Lord Chamberlains) cut off a piece of meat and presented it to the king. The roasted ox was stuffed with small animals.


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Das Festmahl

Für den ersten Gang an der königlichen Tafel schneiden zwei Hofmarschälle ein Stück Fleisch, um es dem König zu bringen. Der gebratene Ochse war mit kleinen Tieren gefüllt.



While the king and queen and their guests made their way to the coronation feast, the crowd in the castle courtyard was presented with two large wine fountains and an ox. This was to demonstrate the king’s benevolence towards his subjects. Like the previous illustration, this scene is lively. It is interesting that the focus is on the offering of the ox, which is happening at the same time as the king’s feast and not simply afterwards.

Departure

The following days were also filled with festivities. The king stayed in Königsberg until March when he went back to Brandenburg. Meanwhile in Berlin, preparations for the king’s grand return on 6 May 1701 were being made.