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Hungarian Dress from the 17th to the 19th century

You know when you go to post a single ca. 1800 portrait for a ‘Rate the Dress’ post, but it describes the sitter as ‘in Hungarian dress’, and then you have to figure out:

  • what ‘Hungarian dress’ means, and;
  • how Hungarian dress arrived at what it looked like in ca. 1800;
  • and how it changed after that,

And then you end up down a Wikimedia Commons and Hungarian-to-English translation rabbit hole 19 hours and 57 photos deep?

Well, now I do…

So much so that I ended up with two posts worth of content exploring Hungarian dress as a follow up from my previous post of Alexandra Pavlovna in Hungarian dress

Or, more specifically and accurately, what was Hungarian court dress for women ca, 1800 as shown in Alex’s portrait, and how did it evolve from a style of dress worn by specific noble groups in what we now call Hungary to become díszmagyar: the formal court dress of Hungary under the Austro-Hungarian Empire.

Hungarian Dress in Portraits, 1600-1699

Based on portraits, a specific Hungarian costume with a laced bodice and full shift sleeves on view was developing at least as early as the first decades of the 17th century.  It also usually featured an elaborate apron, and, on upper class women, multiple ropes of pearl beads draped across the bodice.

Krisztina Nyáry, second wife of palatine Miklós (Nikolaus) Esterházy, 1626

Krisztina Nyáry, second wife of palatine Miklós (Nikolaus) Esterházy, 1626

Unknown painter - Middle Class Woman of Lõcse - WGA23848 1641

Unknown painter – Middle Class Woman of Lõcse – WGA23848 1641

Éva Viczay, second wife of Pál Esterházy, the ancestor of the Zólyom branch 1650

Éva Viczay, second wife of Pál Esterházy, the ancestor of the Zólyom branch 1650

Portrait of Ferenc III. Nádasdy (1622-1671) and his wife Anna Juliana Nádasdy (1630-1669). Philipp Kilian 1650

Portrait of Ferenc III. Nádasdy (1622-1671) and his wife Anna Juliana Nádasdy (1630-1669). Philipp Kilian 1650

Portrait of Kata Szidónia Petrőczy 1650s

Portrait of Kata Szidónia Petrőczy 1650s

By the second half of the 17th century a version of the Hungarian formal dress that is clearly identifiable as the inspiration for outfits like Alexandra Pavlovna’s was firmly established, as shown in portraits like this:

Wife of Count Ferenc Esterházy, Ilona Illésházy 1650

Wife of Count Ferenc Esterházy, Ilona Illésházy 1650

Rumi (Rumy) Judit Eszterházy Dániel felesége. Rézmetszet (1654)

Rumi (Rumy) Judit Eszterházy Dániel felesége. Rézmetszet (1654)

Benjamin von Block - Portrait of Princess Anna Julianna Eszterházy, Wife of Count Ferenc Nádasdy - WGA02269 1656

Benjamin von Block – Portrait of Princess Anna Julianna Eszterházy, Wife of Count Ferenc Nádasdy – WGA02269 1656

(check those pearls!  And those sleeves!  And that incredibly sheer apron!)

Anna Mária Széchy of Rimaszécs, 1656

Anna Mária Széchy of Rimaszécs, 1656

Orsolya Esterházy, wife of Paul I, Prince Esterházy of Galántha 1668

Orsolya Esterházy, wife of Paul I, Prince Esterházy of Galántha 1668

Katalin Thököly (1655-1701), consort of Esterházy Ferenc

Katalin Thököly (1655-1701), consort of Esterházy Ferenc, fourth quarter of the 17th century

The laced bodice and full shift are usually shown paired with a heavily decorated skirt and an elaborate sheer and lace apron as long as the skirt itself, as well as layers and layers of pearl beads wrapped around the waist.

Mária Thököly, sister of Éva Thököly (1672)

Mária Thököly, sister of Éva (1672)

Given the price of pearls in the 17th century, these were certainly imitation pearls: perhaps glass beads with a pearlised finish.

Éva Thököly(1659–1716)- wife of Pál Esterházy (1635–1713) palatine of Hungary, ca 1690

Countess Éva Thököly de Késmárk (1659–1716)- wife of Pál Esterházy (1635–1713) palatine of Hungary, ca 1690

Hungarian Dress in Portraits, 1700-1750

Although the pearls were important, the most iconic element of Hungarian dress was the laced bodice.  A portrait could allude to the sitter being a Hungarian royal simply by showing a glimpse of a laced bodice worn with fashionable French or Austrian styles.

Princess Charlotte Amelie of Hesse-Wanfried (1679–1722), princess of Transylvania, daughter of Charles, Landgrave of Hesse-Wanfried David Richter the Elder 1704

Princess Charlotte Amelie of Hesse-Wanfried (1679–1722), princess of Transylvania, wife of Francis II Rákóczi, daughter of Charles, Landgrave of Hesse-Wanfried,  David Richter the Elder 1704

In the 18th century the numerous ropes of pearls around the waist disappear from most portraits, but pearls are still an important trim on caps and headdresses.  The characteristic laced bodice and full puffed sleeves, however, are very much in evidence:

Portrait of Baroness János Podmaniczky née Judit Osztroluczky (1690–1766). Ádám Mányoki, 1724

Portrait of Baroness János Podmaniczky née Judit Osztroluczky (1690–1766). Ádám Mányoki, 1724

Klára Kajali (1677-1733)by Ádám Mányoki 1724

Klára Kajali (1677-1733) by Ádám Mányoki 1724

Mányoki’s portraits of the Hungarian nobility primarily feature families who were extremely patriotic, and thus specifically trying to show themselves in Hungarian dress, rather than the less nationalistic fashionable 18th century attire worn at the French, English and Austraian courts.

Baron János II. and Baroness Judit (1716–1758) Podmaniczky de Podmanin et Aszód. Judit Podmaniczky was the wife of Baron Lőrinc Orczy de Orcz. Ádám Mányoki 1724

Korabeli portré Ráday Eszter (Losonc, 1716. április 24. – Gernyeszeg, 1764. június) Ádám Mányoki 1764

Korabeli portré Ráday Eszter (Losonc, 1716. április 24. – Gernyeszeg, 1764. június) Ádám Mányoki 1764

Most portraits show skirt decorations focused on the hem, but there are examples that show all over decorations:

Róza Rebeka Freiin von Schrattenbach 1673 - 18 May 1717

Róza Rebeka Freiin von Schrattenbach 1673 – 18 May 1717

Maria Theresa solidifies her claim to the Hungarian Throne through Hungarian Dress

While the formal Hungarian dress shown in most portraits from the first three decades of the 18th century leaves off the lavish waist pearls shown in 17th century portraits, they are in full florish in all portraits of Maria Theresa of Austria as Queen of Hungary.

Circle of Andreas Møller (1684–1762) Portrait of Maria Theresa Queen of Hungary

Circle of Andreas Møller (1684–1762) Portrait of Maria Theresa of Austria as Queen of Hungary

Maria Theresa’s portraits aim to solidify her claim as Queen of Hungary.  Although her father Charles VI had spent his entire reign attempting to ensure her right to inherit the Hapsburg titles, his former allies immediately attempted to overthrow her or seize Hapsburg lands as soon as she came to the throne.

Additionally, a serious attempt had been made to free Hungary from Hapsburg rule in the early 18th century with Rákóczi’s War of Independence (1703–1711).  The rebellion is named for its leader, Francis II Rákóczi, whose wife Charlotte Amelie’s 1704 portrait was shown earlier.

Although the Hapsburgs won the rebellion, the Hungarians were able to have some of their demands realised.  The signing of the peace treaty that ended the conflict was one of Maria Theresa’s father’s first acts as Emperor, and he signed it knowing Austria could not continue to fight Hungary.  Thus the Hapsburg’s were forced to make a number of concessions to the Hungarians in the treaty.

Portrait of Queen Maria Theresia of Hungary and Bohemia, Empress Consort of the Holy Roman Empire in Hungarian coronation robes. Daniel Schmidely 1743

Portrait of Queen Maria Theresia of Hungary and Bohemia, Empress Consort of the Holy Roman Empire in Hungarian coronation robes. Daniel Schmidely 1743

Among the concessions given to Hungary was the right to retain their legislative body, the Diet.  From 1713 to 1723 the Diet refused to agree to a female heir to the Kingdom of Hungary, leaving Maria Theresa in a particularly precarious position when she came to the throne in 1740.

Portrait of Empress Maria Theresa (1717-1780) in coranation robes as Queen of Hungary, Studio of Martin van Meytens

Portrait of Empress Maria Theresa (1717-1780) in coranation robes as Queen of Hungary, Studio of Martin van Meytens

Her portraits served of reminders of her claim to the throne.  They aim to showcase Maria Theresa’s status and inherent royalness, and reflect the importance of positioning her as Queen of Hungary, in full formal Hungarian dress.  They show as many attributes of power, status, and links to traditional emblems of Hungarian royalty as could be crammed into a portrait.

Maria Theresa as Queen of Hungary, from the workshop of Meytens

Maria Theresa as Queen of Hungary, from the workshop of Meytens

Hungarian Dress 1750-1800

Maria Theresa’s portraits as Queen of Hungary demonstrate the importance that Hungary held for the Hapsburg Empire, and the importance that a specifically Hungarian costume held for those with power in Hungary.  Hungarian dress became a symbol of Hungary’s place within the empire as a distinct land with rights of its own, rather than just a part of Austria. This ensured that the style survived, rather than being replaced by the increasingly homogenous fashionable European styles.

Mária Anna Cziráky (1724–1787) wife of Zsigmond Széchényi (1720–1769), mother of Ferenc Széchényi 1760

Mária Anna Cziráky (1724–1787) wife of Zsigmond Széchényi (1720–1769), mother of Ferenc Széchényi 1760

Thus Hungarian noblewomen continued to wear the dress at court in Hungary and when they visited Austria, and continued to have their portraits painted in it.

Sibrik Antalné felsőeőri Bertha Klára (1748-1772), 1770s

Sibrik Antalné felsőeőri Bertha Klára (1748-1772), 1770s

In their turn, Hapsburg royals, like Alexandra Pavlovna, wore Hungarian dress when in Hungary, and had their portraits painted in it

Archduchess Alexandra Pavlovna of Austria, Princess of Hungary and Bohemia (1783–1801), née Grand Duchess of Russia in traditional Hungarian costume. 1795-1801

Archduchess Alexandra Pavlovna of Austria, Princess of Hungary and Bohemia (1783–1801), née Grand Duchess of Russia in traditional Hungarian costume. 1795-1801

Style changes in Hungarian Dress in the 18th century:

In earlier portraits the lacing is usually very dense and often looks functional:

Painting identified as Julianna Géczy Korponayné (c. 1680 – 25 September 1714) "the white lady of Lőcse".

Painting identified as Julianna Géczy Korponayné (c. 1680 – 25 September 1714) “the white lady of Lőcse”.  Date unclear, although it appears to show 1780s styles.

Costumes of the Hungarian aristocracy, 18th century, Hungarian National Museum

Costumes of the Hungarian aristocracy, 18th century, Hungarian National Museum

Stephan Dorfmeister (1729–1797) Portrait (possibly posthumous) of Borbála Barkóczy (1699-1772). Second half of the 18th century.

Stephan Dorfmeister (1729–1797) Portrait (possibly posthumous) of Borbála Barkóczy (1699-1772). Second half of the 18th century.

But by the end of the 18th century there are portraits and extant examples where the lacing is clearly purely decorative.  Decorative lacing worked in jewels appears on all of the portraits of Maria Theresa as Queen of Hungary, and Alexandra Pavlovna appears to have diamond laces.

Walburga has pearl lacing, combining the laced bodices with the draped pearls of earlier portraits:

Portrait of Walburga Csáky (1762-1797), wife of József Andrássy (1762-1834), ca 1790

Portrait of Walburga Csáky (1762-1797), wife of József Andrássy (1762-1834), ca 1790

Portrait of Walburga Csáky (1762-1797) and her son Károly Andrássy (1792-1845), 1794

Portrait of Walburga Csáky (1762-1797) and her son Károly Andrássy (1792-1845), 1794

Next up:

Hungarian court dress in the 19th century, including that dress (iykyk)

All images from Wikimedia Commons

Archduchess Alexandra Pavlovna of Austria, Princess of Hungary and Bohemia (1783–1801), née Grand Duchess of Russia in traditional Hungarian costume. 1795-1801

Rate the Dress: Gothic Georgian Dream Queen?

I quite enjoyed posting something that wasn’t a full dress for Rate the Dress, so I’ve kept with the theme of slightly offbeat Rate-the-Dress picks this week.

Instead of rating one garment, we’ll be rating a portrait where you really can’t see a huge amount of the wearer’s outfit.  But you can definitely see her vibe.

So, let’s rate the vibe.

(every time I use that word I think of The Castle.)

Last time: A 1873 cape in aniline purple with bobbles

Very, very VERY mixed reviews for the knitted cape.   Everyone could admire the skill, but you definitely weren’t on the same page about the aesthetic.

The Total: 5.9 out of 10

Oof.  However, I’m going to give your thoughts in the comment section 10/10.  So many amazing comments!  I particularly like “fun and at least in the same room as practical.” (what a great descriptor for the kind of clothes I like), but there were so many good observations.  You must go read them!

This time: Alexandra Pavlovna gets her gothic on

Today’s we’re looking at a portrait, and boy is it a mood:

Archduchess Alexandra Pavlovna of Austria, Princess of Hungary and Bohemia (1783–1801), née Grand Duchess of Russia in traditional Hungarian costume. 1795-1801

Alexandra Pavlovna of Russia, Archduchess of Austria, Princess of Hungary and Bohemia (1783–1801)  in traditional Hungarian costume. 1795-1801

Is that not the epitome of late 18th century Gothic drama?  The powdered curls!  The trailing black veil!  The pallor and smokey eye!  The laced bodice and pseudo-religious jewellery! (admittedly this time it’s simply her husband’s house).  My early 2000s university friends could only dream of this level of gothy-ness!

So what’s the story behind this glamorously gloomy painting?

Alex was both very lucky for an 18th century princess, in that by all accounts she had a lovely, happy childhood with adoring, supportive parents (and an overbearing grandmother who definitely said some things to and about her that a modern therapist would have some fun unpicking), and very unlucky, in that her marriage wasn’t quite as lovely.

After a disastrous (Alex was literally left waiting in a wedding dress for four hours while her brethrothed-to-be locked himself in his room) failed engagement to Gustav IV Adolf of Sweden, (goodness, how different European history might have been had Sweden and Russia been allies in the late 18th and early 19th century…) the 15 year old Alex was finally (finally at least according to the standards of her grandmother, who, when Alex turned 11 declared “that summer a girl should be considered an adult.” and “It is time for the older one to get married.”  Eeesh), married to Archduke Joseph of Austria, younger brother of Francis II, Holy Roman Emperor.

Alex and Joseph actually got along fine, but Alex’s Russian Orthodox religion was unpopular at the Austrian court, and she did not get along with her sister in law.  Visitors to the court described her as always “serious and sad.”

Serious and sad is very much what we see in this portrait, foreshadowing Alex’s early death as a result of childbirth less than a year after the paintings completion.  There is one happy thing in the painting: Alex did love Hungary, and she’s shown here in Hungarian dress.

Come back the day after tomorrow for a post all about Hungarian dress from the 16th-19th centuries.

For now, here are two portraits from around the same era as Alex’s portrait that are a good example of what Alex’s whole dress might have looked like.

Portrait of Walburga Csáky (1762-1797), wife of József Andrássy (1762-1834), ca 1790

Portrait of Walburga Csáky (1762-1797), wife of József Andrássy (1762-1834), ca 1790

Portrait of Walburga Csáky (1762-1797) and her son Károly Andrássy (1792-1845), 1794

Portrait of Walburga Csáky (1762-1797) and her son Károly Andrássy (1792-1845), 1794

So, what do you think?  If you’d been going through a teenage goth phase at the end of the 18th century would this lewk have been everything you aspired to?

Rate the Dress on a Scale of 1 to 10

A reminder about rating — feel free to be critical if you don’t like a thing, but make sure that your comments aren’t actually insulting to those who do like a garment.  Phrase criticism as your opinion, rather than a flat fact. Our different tastes are what make Rate the Dress so interesting.  It’s no fun when a comment implies that anyone who doesn’t agree with it, or who would wear a garment, is totally lacking in taste.

As usual, nothing more complicated than a .5.  I also hugely appreciate it if you only do one rating, and set it on a line at the very end of your comment.

Apple Butter thedreamstress.com

Recipe: Apple Butter in an old-fashioned pressure cooker

By popular demand, here is the apple butter recipe from yesterday’s post.  There are MANY other ‘pressure cooker’ apple butter recipes on the internet, but I found that almost all of them use an Insta-pot or a Ninja or a ‘Fast-Cook-Please-Don’t-Explodalator’ (trying my best to imagine what Leonard of Quirm would have called a pressure cooker).

So here’s one for an old fashioned, no fancy electric settings, pressure cooker.  But you could definitely use an Insta-pot if you have one!

We started with this recipe, but kept adding tweaks until we achieved apple butter perfection.

Apple Butter thedreamstress.com

Apple butter is basically spiced apple sauce, but cooked until the sugar caramelises.

While we didn’t use that recipe, The Salted Pepper has a ton of fantastic info about making apple butter, how ingredient changes affect it, how thick it should be, how long it lasts, which I highly recommend reading.

Apple Butter thedreamstress.com

Ingredients:

  • 5 lbs apples peeled, cored, and sliced
  • 1-1.5 cup brown sugar (depending on how sweet the apples are and how sweet you want the apple butter to be – sugar can be added after the initial cooking, so start with a smaller amount)
  • 2 tsp cinnamon (or more.  Cinnamon is measured with the heart).
  • 0.5 tsp nutmeg
  • 0.25 tsp cloves
  • 0.25 tsp cardamon (optional)
  • 0.25 tsp salt
  • 0.5 cup water (may be apple variety and pressure cooker dependent.  We found the apple butter burnt and stuck to the bottom with the .25 cup water in the original recipe.  More water is always safer, because you can cook off too much, but there is no rescuing burnt)

Apple Butter thedreamstress.com

Cooking:

  1. Mix all ingredients in pressure cooker.
  2. Bring pressure cooker to a full steam, steam for 10 min
  3. Turn off the heat, let it sit and de-pressure for 10 min
  4. Open up the pressure cooker.  The apples should be very soft.
  5. Use an immersion blender to blend it smooooth.
  6. Put it back on the heat and bring to a simmer.  Cook on low, stirring frequently enough to keep it from sticking to the bottom of the pot, until it thickens.  (warning, this can be hours).
  7. Jar the deliciousness.

Apple Butter thedreamstress.com

Refrigerate for up to 4 weeks or freeze for up to 6 months.

Enjoy on toast, with yoghurt, on ice cream, on porridge, with crackers and cheese…