Seite - 68 - in Die Repräsentation der Habsburg-Lothringischen Dynastie in Musik, visuellen Medien und Architektur - 1618–1918

68 Sektion I: Themen und Medien der Repräsentation Adam’s prints of Franz and Marie Therese were circulating in 1794 in a Vienna acutely conscious of the events unfolding in Revolutionary France. A year earlier, Adam had published two prints of members of the French royal family, which were duly advertised in the Wiener Zeitung.30 The first was after Callet, and showed Louis XVI and the former Archduchess Marie-Antoinette with their eldest son, the Dau- phin Louis; the other showed Louis XVI’s brothers, the Counts of Provence and of Artois, and cousin, the Prince of Condé, who had fled France into exile.31 Although in each case the prints are groupings of three figures and depicted frontally or in three-quarter profile, the structuring details of these images – the portraits encircled in roundels and accompanied by Latin quotations from Seneca and Virgil rendered in fictive architectural cartouches – are not dissimilar to those Adam would go on to produce of Emperor Franz II and Empress Marie Therese. This consistency perhaps suggests a shrewd business move on Adam’s part, who might have envisaged his pub- lic collecting his portraits of the imperial family – and their extended family – as they were successively released. It also suggests an understanding of the French Revolu- tion in terms of the close dynastic connections between the houses of Habsburg and Bourbon. At the same time as Adam was advertising his prints of the French royal family32, Müller-Deym, for his part, was capitalizing on the execution of Louis XVI – which had been illustrated in prints throughout Europe in its aftermath – by advertising, as a “neue sehr interessante Ankündigung”, his tableau of the defunct French King and Queen that could be seen in his Kunstkabinett: “In Herrn Müllers […] Kunstkabinett ist eine lebensgroße sprechend ähnliche Abbildung Ihrer Majestät der Königin in Frankreich ausgestellet, welche um so interessanter wird, weil es dem Künstler gelungen ist, das Erhabene und Grosse in diese Abbildung hinein zu bringen, welches er vor 7 Jahren in Versail an dieser damals von ihrem Volke so angebeteten grossen Königin selbst zu bewundern das Glück hatte. Man wird in dieser majestätischen Abbildung die Größe der Seele lesen, welche diese erhabene Unglückliche, in ihren jetzigen unermeßlichen Leiden durch ihre bewunderungswerthe Standhaftigkeit zeiget. Neben ihr sitzt nachdenkend ihr von seinen undankbarem Volke so grausam gemordete Gemahl Ludwig XVI. König in Frankreich, ebenfalls sprechend ähn- lich, wie er vor 7 Jahren von Hrn. Müller in Versail gesehen war.”33 It seems from this description that not much about the make-up of the existing tab- leau had actually changed since Louis’ execution; all that was required to make it a news event worthy of inclusion in the Wiener Zeitung in April 1793 was to project