Festivities, Places and Visual Culture in Stockholm During the Gustavian Era

The dissertation is a study of festivities, masquerades and divertissements in Stockholm between 1772 to 1808 of the Gustavian era. The study focuses on the locations of these events, their conditions, use, and transformation. The purpose of the survey is divided into three main questions, the first being why certain specific locations were chosen for particular arrangements. This question responds to the need of examining both the specific location and the surrounding area in a context based on its history and changes, as well as the current function at the time of the event’s implementation. The second question focuses on how the places were used, transformed, and eventually changed due to the arrangements. In order to answer this question, an understanding of the architectural conditions which made the festivities possible is required. The third question investigates the purpose of the arrangements. Here, the aim is to understand the differences in levels of hidden motives and official reasons, as well as the possible connections between them. In summary, the study focuses on the visual culture of the festivities and how both permanent and ephemeral art and architecture were used in a meaningful way to reinforce themes and narratives. The investigation consists of three case studies: the divertissement Asclepius’ temple in 1777, the illuminated masquerade in the King’s Garden in 1791 and the collected festivities given in connection with the unveiling of the Gustav III statue on Skeppsbron in 1808. In addition to representing different typologies, there are also variations in organizers and participants. The studied locations are concentrated in the former central parts of Stockholm, where the Royal Palace, the Stockholm Stock Exchange Building and the King’s Garden constituted the most frequently used buildings or environments for festive events. The court, as the main organizer, possessed premises and adequate buildings for the arrangements. The Burghers of Stockholm challenged this monopoly after the establishment of the Stockholm Stock Exchange Building. Construction and art projects in the city along with the reconstruction of existing places were in part intertwined with the public festivities of the time; one example being the changing character of the King’s Garden from a closed baroque-garden to a more open Vauxhall-like-garden suited for public celebrations. Throughout, the location choices were based on practical conditions in combination with the season and ordinary activities. Giving the same type of arrangement repeatedly, such as masquerades and assemblies, led to routine, professionalization and habit, making it easier for the participants to understand and absorb the narrative content. Ephemeral and permanent art, architecture, decorations and medals used during the events emphasised the connection between the Swedish monarchs and the Roman emperors, with motifs, symbols and narratives deriving from antiquity in general and the Roman empire in particular. Further, the visual festivity culture was essential in legitimizing past and future military campaigns, transforming the city and motivating significant political decisions, as well as to publicly display alliances and relationships, most significantly between the monarchy and the Burghers of Stockholm. The arrangements also served to imprint and portray Gustav III in a desired way, both during his reign but more importantly in his afterlife.