Miscellenia
comments 4

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

4 Comments

  1. nofixedstars says

    very interesting post! and it has launched me into my own rabbit hole, as i was not aware until now of the distinctive use of pearls in this context…
    they seem not to have kept many of the hungarian folk dress elements in the court styles, which is to be expected. the sleeves, perhaps the aprons, and to a certain extent the bodices, are the only things really reminiscent of folk clothing. but those pearls! so unusual! *disappears down internet rabbit hole*

    • Melinda says

      Hi, hungarian folclore dresses followed the styling of the aristocracy’s elaborate style. Until the peasant liberation during the 19th century peasants could only wear linens and other unadorned clothes. The apron was a must for every women, only when added to the fancy hungarian dress it was an unfunctional peace for show, made of transparent lace.

    • Folk costume as one knows it is, in general, a 19th century phenomenon – as in, the styles only settled into the forms we see today*), and often were only documented, in the 19th century (in some cases possibly even later – for example, in some places in Moravia, where I’m most familiar with it, it underwent further developments in the 20th century, usually a shortening of skirts). So, pretty obviously, earlier nationally distinct instances of dress could not have taken elements from it. 🙂 And as Melinda says, the taking was actually more often the other way round. It was, again, only in the atmosphere of national emancipation in the 19th century – and mostly in the nations *without* a degree of political autonomy, at that – that elements from folk costume began being lifted into the dress of elites. A matter of prestige and preserving the “natural order”. It would be alright to wear that sort of thing to a masked ball, with its playful upending of social conventions, but otherwise it would be quite unseemly, don’t you see! 😉
      *) I don’t know about Hungary, but lots of Czech folk costumes include 1790s-style stays or very 1820s-style spencers, or even very c.1870s-1890s-style jackets, so that’s several elements right there that could not have been happening in the 17th century.

      • Correction: I forgot about things like the fichu en marmotte than Leimomi did posts about some time ago… So I’m probably actually not entirely correct about elements of folk dress being lifted by the elites – but I believe previously it was more of a form of exoticism ( = folk dress from further away or even other countries) than national pride.

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.