In her new book, Helen Watanabe-O'Kelly crafts a global history of the “new” emperors (and one “new” empress) of the nineteenth century. It is the story of their symbolic capital, their coronations, ceremonials, dress, court cultures, how they shaped capitals, exhibited their empires to the world, and invented and remembered the history and tradition of their dynasties and territories. Under the category of “new” rulers are included the monarchs of the British Empire, such as Victoria and George V, those of the Habsburg monarchy, such as Francis II/I and Francis Joseph, as are Napoleon I and III from France, Pedro I and II from Brazil, and Maximilian of Austria as a ruler in Mexico. The inclusion of dynasties steeped in tradition may initially surprise some readers, but, in fact, the titles of the British ruling house in India as “Emperor or Empress of India” or the title of the Habsburgs as “Emperor of Austria” were newly introduced in the nineteenth century.

Watanabe-O'Kelly uses this introduction of new imperial titles as the focal point for her investigation and is thus able to convincingly present her history of the projection of imperial power as specific to the nineteenth century. Following Barbara Stollberg-Rilinger, she makes her point clear from the outset: the symbolic capital of rule, especially when it is “new,” is based on social constructs, collective imaginations, and successful narrations, and is therefore only partially dependent on real power (4–7). After all, the assertion of symbolic power could also fail: the title “Empress of India” was as frowned upon in British Parliament as the title “Emperor of Austria” was in the Kingdom of Hungary (231, 262). The Brazilian emperors both abdicated, the Mexican emperor Maximilian was executed, and the rise and fall of Napoleon and his “dynasty” followed an unprecedented trajectory.

The book begins with the story of the Corsican, who set new standards for the nineteenth century with his coronation as emperor. In colorful detail, the coronation in Paris and Milan is portrayed as an endeavor to trace Napoleon's rule back to Rome and to Charlemagne, and in return to impose new heraldry with eagles and bees. This new imperial emblem was accompanied by new court etiquette, new medals, honors, decorations, and a new dynasty. In contrast to this stands the inauguration of the Habsburg monarch Francis. When he proclaimed himself Emperor of Austria after his dissolution of the Holy Roman Empire, he also took care to give credence to the Roman rulers and Charlemagne as his predecessors, but during his reign, he did little to invent new traditions and customs, instead merely rededicating the symbolic power of the old empire (e.g., Francis had a new imperial costume designed only shortly before his death).

Between these two poles, Napoleon and Francis, the newcomer and the descendant of a long-established dynasty, are the other monarchs described. The new emperors Pedro in Brazil and Maximilian in Mexico drew on both models for their coronations, court cultures, and empires. In India, new ceremonies, heraldries, medals, honors, and decorations were also designed for the British monarch, although Victoria never set foot in the territory. Local traditions of the Maharaja were blended with European customs. Misunderstandings were programmed into the British invention of Indian tradition “from above” when, for example, noble uniforms were awarded to Indian princes whose religion barred them from wearing them.

Watanabe-O'Kelly examines imperial rule as a social construct with the help of symbolic artifacts and events like ceremonials, costumes, courts, and images of the emperors. In an enjoyable chapter on the imperial consorts, for example, she also includes the political role of the imperial spouses. Not only were they biological guarantors of the dynasties, but the emperor's symbolic capital could also increase through their patronage or charitable activities. Architecture and infrastructure are brought forward as essential elements of the imperial project in a chapter on the urban planning of the capitals Paris, Vienna, Berlin, Petrópolis, Mexico City, London, and New Delhi. Another chapter shows how International Expositions exhibited different empires side by side, making them comparable for both the rulers themselves and for the visitors. Patronage, urban planning, and world exhibitions are thus not only described as part of imperial symbolism but are also presented alongside the corresponding challenges posed by modernity: technological progress, the social question, and the national question of equality or hierarchy of the imperial subject peoples.

The narrative strength of the book lies in its presentation of the visual power of imperial ceremonies such as emperors’ coronations, their portraits, narratives, architectures, and acts of commemoration in Europe, South America, and India. It is a good read for a journey through the past of perished empires. With Charles III becoming king in Britain, Australia, New Zealand, or Gibraltar in the summer of 2022 the topic takes on a new relevance by underlining the performative character of monarchical rule in the modern age.