41st Bavarian riddle of the Munich Merkur together with the Bavarian Palace Administration: The second question is about a Bavarian ruler whose portrait can be discovered in the famous reliquary of Knight St. George.
After the marriage in the Viennese pleasure palace Favorita on October 5, 1722 and the first celebrations at the court of her imperial uncle Charles VI.
On Saturday, October 17th, the new electoral princess Maria Amalia made her official move into Munich and into the Residenz – her new home.
More than 60 six-horse carriages and several hundred richly dressed courtiers and officials on horseback gave the 20-year-old bride the ceremoniously meticulously timed honor escort.
From Berg am Laim, the procession led through triumphal arches made of wood and painted canvas over the Isar bridge right through the city.
One of the arches showed the wedding god Hymen presenting the united coats of arms of Bavaria and Austria.
On another, the bridal couple appeared in a triumphal chariot, surrounded by portraits of the Wittelsbach ancestors.
The famous reliquary with the jeweled knight St. George
The procession ended in the main courtyard of the residence, the "Kaiserhof", which was built at the beginning of the 17th century.
From here, the magnificent "Kaiserstiege" leads up to Maria Amalia's future living quarters in the east wing.
Today's "Trierzimmer" were luxuriously refurnished for the young hereditary prince couple.
However, there were no plans to relax and get used to the new environment, because the performances and wedding celebrations, which were intended to attract attention as “Fêtes magnifiques” throughout Europe, continued directly here in the residence.
Performances by the Bavarian court and the Munich magistrate at the Electoral Princess, followed by an evening feast in the magnificent, albeit somewhat old-fashioned "Kaisersaal" in front of the eyes of spectators strolling by.
Then you climbed back into the carriages to view the previously arranged festive lighting of the Munich city palaces and town houses.
After a short night's sleep and the solemn Sunday service in the court chapel, a lavishly staged opera performance lasting several hours formed the festive focus of the following day from five o'clock.
In the "Salvatortheater" near the residence, the intricate opera seria "Adelaide" with music by the court composer Pietro Torri was performed with all the baroque pomp, countless scene changes and grandiose stage effects.
In the prologue, singing gods glorified the marriage of Wittelsbach and Habsburg as a guarantee of a new age of peace.
However, it was not until the following October 19th that the Maria Amalia Residence in Munich presented itself in all its glory.
After a short night's sleep and the solemn Sunday service in the court chapel, a lavishly staged opera performance lasting several hours formed the festive focus of the following day from five o'clock.
In the "Salvatortheater" near the residence, the intricate opera seria "Adelaide" with music by the court composer Pietro Torri was performed with all the baroque pomp, countless scene changes and grandiose stage effects.
In the prologue, singing gods glorified the marriage of Wittelsbach and Habsburg as a guarantee of a new age of peace.
However, it was not until the following October 19th that the Maria Amalia Residence in Munich presented itself in all its glory.
After a short night's sleep and the solemn Sunday service in the court chapel, a lavishly staged opera performance lasting several hours formed the festive focus of the following day from five o'clock.
In the "Salvatortheater" near the residence, the intricate opera seria "Adelaide" with music by the court composer Pietro Torri was performed with all the baroque pomp, countless scene changes and grandiose stage effects.
In the prologue, singing gods glorified the marriage of Wittelsbach and Habsburg as a guarantee of a new age of peace.
However, it was not until the following October 19th that the Maria Amalia Residence in Munich presented itself in all its glory.
In the "Salvatortheater" near the residence, the intricate opera seria "Adelaide" with music by the court composer Pietro Torri was performed with all the baroque pomp, countless scene changes and grandiose stage effects.
In the prologue, singing gods glorified the marriage of Wittelsbach and Habsburg as a guarantee of a new age of peace.
However, it was not until the following October 19th that the Maria Amalia Residence in Munich presented itself in all its glory.
In the "Salvatortheater" near the residence, the intricate opera seria "Adelaide" with music by the court composer Pietro Torri was performed with all the baroque pomp, countless scene changes and grandiose stage effects.
In the prologue, singing gods glorified the marriage of Wittelsbach and Habsburg as a guarantee of a new age of peace.
However, it was not until the following October 19th that the Maria Amalia Residence in Munich presented itself in all its glory.
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Antiquarium of the Munich Residenz.
© Bavarian Palace Administration www.schloesser.bayern.de
After a musical service and another "open table", the Electoral Princess was entertained with "a look at the rarities in the electoral treasury and antiques chamber".
Similar to today's museum operations, as early as the 18th century the collections of the residence were presented to visitors in specially designed rooms and carefully presented.
The Wittelsbach household treasure, the core of today's treasure art collection, shone in three large “frames made of cedar wood”, classified according to jewellery, cut stone and crystal objects as well as ceremonial crockery made of precious metal.
The highlight of the presentation - then as now - was the famous reliquary with the jeweled knight St. George fighting a green enameled dragon with emerald scales.
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George's reliquary from the Munich treasury.
© Bavarian Palace Administration www.schloesser.bayern.de
In contrast, in the antiquarium set up in 1568/71 at the Brunnenhof, Maria Amalia was proudly presented with the collection of ancient Roman busts as well as small art works in valuable cabinets.
These were set up in the 18th century in the spacious Renaissance hall with its richly painted vault.
The first two days, with their strenuous mix of ceremonial performances, music and sightseeing programs, got the courtly festival audience in the mood for the next two weeks of Munich wedding celebrations.
Also read:
Double anniversary: 300 years of royal wedding and 325th birthday of Karl Albrecht
The second question:
In addition to his magnificent exterior, the "St. Georg" in the Munich treasury has an exciting inner life: its base contains a bone of the holy dragon slayer and behind the visor you can see the portrait-like features of a Bavarian ruler - who is it?
This was the correct
answer to the first question:
Question:
The furnishing of his apartment in the Munich Residenz in the modern Régence style is considered to be the last major furnishing project by Max Emanuel, who was as art-loving as he was luxury-loving.
However, shortly after his death, a fire destroyed the magnificent living quarters that are now the “rich rooms”.
In what year did this fire disaster take place?
Answer
: 1729
Note
: Schloesserland Bayern, p. 158
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