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Updated: May 8, 2025
In short, there was no end to questions. Friedrich Wilhelm has an Envoy at Hanover, one Kannegiesser, laboring at Hanover, the second of such he has been obliged to send; who finds plenty of employment in that matter. Patience, your Majesty: he is not a covetous man, but a self-willed and a proud, always conscious to himself that he is the soul of honor, this poor Brother King!
"'And that now, as the Council were pleased to refuse to take it, I was obliged to leave the said Declaration on a table in an adjoining room, in the presence of Herr von Hartoff and other Secretaries of the Council, whom I desired to lay it before the Ministry. Whereupon Kannegiesser, without loss of a moment, returns to Berlin, 19th August; and reports progress.
That was all that the punctual Kannegiesser could get out of them. "But," continues he, "not thinking this reply sufficient, I added, 'That delays being dangerous, I would come again the next day for a more precise answer." Rather a high-mannered positive man, this Kannegiesser, of the Ahlden Heritages; not without sharpness of temper, if the Hanover Officials drive it too far. No. 2.
Then as to the Ahlden ALLODIA or FEUDA, Kannegiesser, blamably or not, never could make much of the business. A precise strict man, as we saw at the Hanover Council-room lately; whom the Hanover people did not like. So he made little of it. Upon which Friedrich Wilhelm selects another; "sends deal boxes along with him," to bring home what cash there is.
As has been said, the sister of that Hans Bär for whom Holbein painted the "St. Nobody" table had been the first wife, Magdalena Bär a widow with one daughter, when she married him of Jacob Meyer, "of the Hare" (zum Hasen). Magdalena died in 1511, and about 1512 Meyer zum Hasen married Dorothea Kannegiesser. And now in 1516, a memorable year to Holbein on account of this influential patron, the young stranger was commissioned to paint the portraits of Meyer (Plate 4) and his second wife, Dorothea (Plate 5). These oil paintings, and the drawings for them, are now in the Basel Museum. And no one can examine them, remembering that the painter was but nineteen, without echoing the exclamation of a brilliant French writer: "Holbein ira beaucoup plus loin dans son art, mais déj
The younger woman, whose chin-cloth is dropped in the painting though worn like the others in the drawing for her portrait, is Meyer's second wife, Dorothea Kannegiesser, whom he married about 1512, and with whom he was painted by Holbein in 1516. The sombre garments of both women are echoed by the black of Meyer's hair and coat, the latter lined with light-brown fur.
Post-haste; dove with olive-branch cannot go too quick; Kannegiesser applying for an interview, not with the Britannic Majesty, who is at Gohrde, hunting, but with the Hanover Council, is refused admittance. Here are Herr Kannegiesser's official Reports; which will themselves tell the rest of the story, thank Heaven: No. 1. "DONE AT HANOVER, 15th AUGUST, 1729.
To Kannegiesser, Herr Reichenbach, the special Envoy in this matter, being absent at the moment, gone to the Gohrde, I believe, where Britannic Majesty itself is: but Kannegiesser is there, upon the Ahlden Heritages; acquainted with the ground, a rather precise official man, who will serve for the hurry we are in.
Towards the middle of August, here again is a phenomenon, "he springs out of bed in the middle of night," has again an EUREKA as to this of Clamei: "Eureka, I see now what will bring a settlement!" and sends off post-haste to Kannegiesser at Hanover.
Knyphausen did not settle Mecklenburg, as we perceive! Neither did Kannegiesser and the unliquidated Heritages prosper, at Hanover, quite to perfection. One Heritage, that of Uncle Osnabruck, little George flatly refused to share: FEUDUM the whole of that, not ALLODIUM any part of it, so that a Sister cannot claim. Which, I think, was confirmed by the Arbitrators at Brunswick; thereby ending that.
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