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Hungarian Dress in the 19th and early 20th centuries

Continuing on my image based research on Hungarian court dress inspired by the Rate the Dress post of Alexandra Pavlovna in Hungarian dress  let’s look at portraits of women in formal Hungarian dress in the 19th and early 20th century to see how a general use of specific style elements became codified as díszmagyar: the formal court dress of Hungary under the Austro-Hungarian Empire.

(please note, this is intended as a general introduction to people not familiar with Austro-Hungarian history and politics, not a masters thesis on the subject!  I’ve tried to be as accurate as possible without writing 17,000 words).

Hungarian Court Dress in the early 19th Century

Alexandra Pavlovna died in 1801, and the next portrait example I could find of a woman wearing Hungarian inspired clothes was actually on her successor: Princess Hermine of Anhalt-Bernburg-Schaumburg-Hoym.

Hermine (because I am not typing that lot again!) was only four years old when Alexandra Pavlovna dies, and only 18 when she married Archduke Joseph in 1815.  She died only two years later after giving birth to fraternal twins, both of whom survived.

One of her few portraits shows her in Hungarian dress adapted for the extremely high waisted fashions of 1815, with the tiniest lacing effect on her brief bodice, and short puffed sleeves topped with ruffles.  A double strand of pearls nods to their traditional use while keeping with the pared back classically inspired aesthetic.

Princess Hermine of Anhalt-Bernburg-Schaumburg-Hoym 1797-1817, second wife of Archduke Joseph Palatine of Hungary 1776-1847, ca 1814

Princess Hermine of Anhalt-Bernburg-Schaumburg-Hoym (1797-1817), second wife of Archduke Joseph Palatine of Hungary (1776-1847), ca 1815

Archduke Joseph married for the third and last time only two years after Hermine’s death, choosing her cousin Maria Dorothea.  Maria’s confirmed take on Hungarian dress takes advantage of the lowered waists of the 1820s for a more defined faux lacing made of pearls.  More pearls decorate the headpiece her veil falls from.

Interesingly both Hermine and Maria Dorothea have sleeves that match their bodice, rather than contrasting sleeves.

Maria Dorothea Prinzessin von Württemberg (1797-1855), Erzherzogin, Ehefrau von Erzherzog Joseph, Palatin von Ungarn, ca 1820

Maria Dorothea, Princess of Württemberg (1797-1855), third wife of Archduke Joseph, Palatine of Hungary, ca 1820

Another portrait which may also be Maria Dorothea shows a lacing effect dripping in precious stones, a headpiece and veil topped with a very sparkly tiara, and a return to chemise effect sleeves.

Portrait, possibly of Duchess Maria Dorothea of Württemberg (1797-1855), wife of Archduke Joseph, Palatine of Hungary (1776-1847)

Portrait, possibly of Duchess Maria Dorothea of Württemberg (1797-1855), third wife of Archduke Joseph, Palatine of Hungary (1776-1847)

Other portraits of the 1820s show the different ways in which traditional Hungarian elements were modified to fit the fashions of the time, to create something that was both a la mode and a la nation.

Note the apron tied at the high waist here:

Portrait of a woman in Hungarian court dress, 1825, Donát

Portrait of a woman in Hungarian court dress, 1825, János Donát (1744–1830), Hungarian National Gallery

And the pointed waist and longer sleeves here, with multi-strand pearl necklaces.

Countess Julianna Festetics de Tolna (1753–1824), wife of Count Ferenc Széchényi de Sárvár and Felsővidék in Hungarian court gown, 1820s

Countess Julianna Festetics de Tolna (1753–1824), wife of Count Ferenc Széchényi de Sárvár and Felsővidék in Hungarian court gown, 1820s

Note the veils worn in the portraits above and almost all the following portraits.  The earliest example I have found is in the two ca 1790 portraits of Walburga Csáky shown in the previous post.  They appear in almost all portraits of women in formal Hungarian dress in the 19th century.

While this dress is missing the accessories like the veil, it does show many of the iconic elements, how they could be adapted to fit the fashions of a particular era, and the importance and role of such dresses as heirlooms that might be re-used across generations:

Hungarian dressFirst half of the 19th century. Silk, metal fiber fabric. Katalin Jezerniczky wore this to the coronation of Ferdinand V in 1835-7. It may have been made earlier than that date, and was also altered later in the 1840s.

Hungarian dress First half of the 19th century. Silk, metal fiber fabric. Katalin Jezerniczky wore this to the coronation of Ferdinand V in 1835-7. It may have been made earlier than that date, and was also altered later in the 1840s.

After the death of the Archduke Josephine, the Emperor of Austria took over as King of Hungary.   His wife, Maria Anna of Savoy, thus had herself painted as Queen of Hungary at least twice.

Maria Anna of Savoy (1803-1884), empress of Austria, queen of Hungary and Bohemia, wife of Ferdinand I of Austria (i.e of King Ferdinand V of Hungary).1835

Maria Anna of Savoy (1803-1884), empress of Austria, queen of Hungary and Bohemia, wife of Ferdinand I of Austria (i.e of King Ferdinand V of Hungary).1835

Her outfits are iconically 1830s meets Hungarian style: the crown and headdress built up to support the vertical loops of hair fashionable in the 1830s, and the puffed sleeves made ever more elaborate.  There is a distinct note of historicism in her attire.

Maria Anna of Sardinia 1803-84 by Caspar Jele, 1836

Maria Anna of Sardinia 1803-84 by Caspar Jele, 1836

Hungarian Court Dress in the Mid 19th Century

In 1848 the new Austrian Emperor, Franz Joseph I revoked a set of laws which had guaranteed Hungarian’s more rights.  The result?  The failed Hungarian Revolution of 1848-9.  While the Revolution failed, it saw a rise in Hungarian (specifically Magyar) nationalism, and thus a rise of portraits celebrating Hungarian identity.

Soma Orlai Petrich, Portrait of Róza Laborfalvi, 1840s

Soma Orlai Petrich, Portrait of Róza Laborfalvi, 1840s

This one is particularly interesting, because it shows a Hungarian actress in the role of a 15th century Hungarian Queen.  Her costume blends elements of Hungarian national dress that would be recognisable to a modern audience, and theatrical historicism.

Mrs. Schodel in the Role of Elisabeth Szilágyi (1852), Miklós Barabás

Mrs. Schodel in the Role of Elisabeth Szilágyi (1852), Miklós Barabás

The subject of this one doesn’t just wear the dress: she’s also sporting the distinctive fur cloak of masculine Magyar dress.

Károly Telepy - E. Csorba Csilla- Jókai Mór és a háromlábú szörnyeteg 1858

Károly Telepy – E. Csorba Csilla- Jókai Mór és a háromlábú szörnyeteg 1858

There are even examples of wedding dresses in Hungarian style:

Mrs. György Bencsik, née Klaudia Ürményi de Ürmény (1833–1862), Hungarian noblewoman as a bride. Alajos Györgyi Giergl, 1859

Mrs. György Bencsik, née Klaudia Ürményi de Ürmény (1833–1862), Hungarian noblewoman as a bride. Alajos Györgyi Giergl, 1859

Along with many examples of court style meets 1860s style:

Portrait of Baroness Kata Radák, 1860s, Miklós Barabás

Portrait of Baroness Kata Radák, 1860s, Miklós Barabás

Portrait of a noble Lady, Miklós Barabás, ca 1860

Portrait of a noble Lady, Miklós Barabás, ca 1860

Hollósy Kornélia de Gertenyes (1827–1890), Hungarian opera singer, Mihály Kovács, 1860s

Hollósy Kornélia de Gertenyes (1827–1890), Hungarian opera singer, Mihály Kovács, ca 1860

Mihaily Munkácsy, Reök Irén, 1864

Mihaily Munkácsy, Portrait of Reök Irén, 1864

Portrait of Reök Lujza by Munkácsy Mihály 1864

Portrait of Reök Lujza by Munkácsy Mihály 1864

Empress Elizabeth’s Famous Hungarian Coronation Gown

After 18 years of Austrian absolute rule and military dictatorship in Hungary following the Revolution, a political compromise in 1867 created the Austro-Hungarian Empire, with two sovereign states (Austria and Hungary) ruled by one ruler – Franz Joseph.

Franz Joseph’s wife, is of course, the (in)famous Sisi, noted Hungariaphile (is that a word?  Can that be a word?), who championed both more independence for Hungary, and wore what is probably the most iconic example of a Hungarian court dress for her coronation as Queen of Hungary.

Queen Elisabeth of Hungary and Bohemia, Empress of Austria (1837–1898), née Duchess in Bavaria in Hungarian coronation robes. Alexander von Wagner 1867

Queen Elisabeth of Hungary and Bohemia, Empress of Austria (1837–1898), née Duchess in Bavaria in Hungarian coronation robes. Alexander von Wagner 1867

It’s got it all.  Puffed sleeves, pearls, perky bows, a trailing veil, faux lacing, a train…

Portrait of Empress Elisabeth of Austria (1837-1898) 1860s

Empress Elisabeth of Austria in Hungarian Coronation Dress

Empress Elisabeth of Austria in Hungarian Coronation Dress

It should be noted that while the fight for Hungarian recognition, and particularly Sisi’s part in it, is often romanticised as ‘brave little nation fighting for their rights against the big bad Austrian Empire’.  The reality, as it so often is in politics, is more complicated.  The real truth is more like ‘Elitist aristocracy of a brave little nation fighting for their own personal right to oppress their own people’.

Only 8% of the people in Hungary received suffrage with the 1867 Compromise.  Austria suggested the Compromise because the Empire was on the brink of economic and political collapse after the Austro-Prussian war, and needed all the support they could get.  The alliance was maintained only through gerrymandering, where pro-Austrian areas of Hungary were given a disproportionate amount of votes.  For many (possibly most) Hungarians the Compromise was seen as a few elites selling out Hungary for personal gain.

Other examples of Empress Elizabeth’s in Hungarian Dress

Although Sisi’s 1867 Coronation gown is the most famous, it’s not the only example of her in Hungarian Court dress.  Here’s are two portraits from shortly after marriage to Franz Joseph:

Franz Russ the Elder, Empress Elisabeth of Austria, 1850

Franz Russ the Elder, Empress Elisabeth of Austria, 1855-60

Porträt der jungen Kaiserin Elisabeth, Lithographie von F. Wolf 1855

Porträt der jungen Kaiserin Elisabeth, Lithographie von F. Wolf 1855

And then a posthumous portrait in mourning dress (for herself?).

Empress Elisabeth of Austria, Queen of Hungary and Bohemia in mourning, wearing traditional Hungarian court dress. The painting was made after the Queen's death by Philip Alexius de László 1899

Empress Elisabeth of Austria, Queen of Hungary and Bohemia in mourning, wearing traditional Hungarian court dress. The painting was made after the Queen’s death by Philip Alexius de László 1899

Hungarian Court Dress in the Late 19th & Early 20th Century

The Compromise of 1867 meant there were many opportunities for formal Hungarian inspired court attire in last quarter of the 19th century and first quarter of the 20th, before WWI ended the Empire.

Here’s a regal example where the Magyar jacket has become an ermine-trimmed court mantle:

Clotilde - Countess Palatine of Hungary (nee Princess of Saxe-Coburg Gotha Kohary) György Vastagh - Hungarian National Museum, Budapest 1880

Clotilde – Countess Palatine of Hungary (nee Princess of Saxe-Coburg Gotha Kohary) György Vastagh – Hungarian National Museum, Budapest 1880

And Sisi’s maid of honour in Hungarian court dress meets 1890s style, heavily influenced by Sisi’s coronation gown:

Ida Ferenczy de Vecseszék (1839–1928), maid of honour to Empress and Queen Elisabeth of Austria-Hungary in traditional Hungarian court gown 1896

Ida Ferenczy de Vecseszék (1839–1928), maid of honour to Empress and Queen Elisabeth of Austria-Hungary in traditional Hungarian court gown 1896

Ida Ferenczy de Vecseszék (1839–1928), maid of honour to Empress and Queen Elisabeth of Austria-Hungary in traditional Hungarian court gown 1896

Ida Ferenczy de Vecseszék (1839–1928), maid of honour to Empress and Queen Elisabeth of Austria-Hungary in traditional Hungarian court gown 1896

And here are a couple of examples of extant court dress, one more traditional, one showing a blend of eras, as it was worn and changed many times.

Hungarian Court dress at the National Museum

Hungarian Court dress at the National Museum

ourt dress worn by Rhédey family, inc 1916 coronation of Charles IV of Hungary silk & lampas silk, silver-lamella emb, gold-silver lampas ribbons and emb silk tulle. Oldest parts ca 1750. Court dress worn by Rhédey family, inc 1916 coronation of Charles IV of Hungary silk & lampas silk, silver-lamella emb, gold-silver lampas ribbons and emb silk tulle. Oldest parts ca 1750, owned by Dr. László Baján, shown at the Royal Palace of Gödöllő

Court dress worn by multiple generations of of the Rhédey family, including to the 1916 coronation of Charles IV of Hungary.   Silk & lampas silk, silver-lamella embroidery, gold-silver lampas ribbons and embroidered silk tulle. The dress has been altered and updated multiple times, the oldest parts of the dress are ca 1750. Owned by Dr. László Baján, shown at the Royal Palace of Gödöllő

Hungarian Folk Dress vs Hungarian Court Dress

Finally, let’s take a quick look at what ‘folk’ dress looked like, compared to formal court attire:

This one is very similar, just worn with a jacket, and here sleeves are not visible:

Vígan tántzoló Magyarok, J. Heinbucher, színezett rézmetszet, 1816

And these examples show the clear stylistic link between the two, and the way that folk costume became fossilized as a specific look, with only minor changes to reflect global fashions, while Court dress followed the trends much more closely:

Eger vidéki lakosok népviselete Hungarian Folk Costume 1830

Eger vidéki lakosok népviselete Hungarian Folk Costume 1830

Traditional clothes in Hont County , 1906

Traditional clothes in Hont County , 1906

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.