Abstract

The purpose of this article is to show the Roman home theater of Queen Marie Casimire Louise de La Grange d’Arquien as a topic she addressed in her letters. The sources are based on her correspondence with her eldest son; these sources are one-sided, as only the queen’s letters are known, while the letters of Prince James have not survived or have not been found. In 1698, the widowed Marie Casimire left Poland and moved to Rome to spend the Jubilee year there. Eventually, she remained on the Tiber for almost fifteen years. Following in the footsteps of Queen Christina, she wished to be a patron of artists, and since she had already organized theatrical performances at her court in Poland, she decided to patronize musical, theatrical and operatic performances in Rome as well. She was assisted in this endeavor by Prince Alexander, who also resided in Rome. It soon became apparent that her son was not only an active patron, but also had artistic talents and an aptitude to take on the role of director, writer, and even a dancer in ballet scenes. The queen’s granddaughter and namesake, Marie Casimire, was also involved in preparing the performances. At her uncle’s side, she learned the art of preparing performances, but she also took part in ballet scenes. In her letters to her eldest son, James, the queen marveled at the versatile talents of both and assured him that she would spare no expense or effort to provide them with opportunities to entertain, and to bring splendor and widespread acceptance to herself and her theater. In her correspondence, the Queen never touched on the topic of the plays themselves, gave their titles, or wrote anything about the subjects they addressed. From the Queen’s correspondence, one cannot learn much about her home theater, but much about the pride that filled her at the thought of her son’s and granddaughter’s artistic achievements. The letters are a testimony to the queen’s feelings, not a report of the life of her Roman court.