Vadas József (szerk.): Ars Decorativa 13. (Budapest, 1993)
TOMPOS Lilla: A korcovány az inventáriumok tükrében
the trousers (see pict.l). The details of the drawing, as it is apparent from the other patterns, do not show the exact proportions, the garments can be reconstructed by the measurements written inside. On 16th century man portraits we can often see breeches with a loose hip-line, worn with matching sleeveless, decorative top with shoulder wings. For example, the 1560 portrait presented here probably shows the "slashed koreovány" 6 type that we have already mentioned (see pict.2). 16th century Spanish fashion was modelled and followed all over Europe; in Hungary, its influence could be detected even in the 17th century. For guild masters, however, it was compulsory to be familiar with these lines and patterns as late as the 18th century (at least this is what pattern books state). Ladies' wear were just as varied. Dresses were called "long-sleeved skirts" in the 16th century; the top was sewn together with the loose, raffled skirt. During the 17th century bodices of different colours were also fairly popular. Beside the closed bornez (a type of bodice), from the seventeenth century we can also meet the term koreovány in the inventories of ladies' clothing. 7 For example, an exceptionally beautiful garment, woven with gold thread, is listed among the treasures of István Pálffy in 1621 s . In the list of the garderobc of Katherine of Brandenburg, the widow of Gábor Bethlen, which was compiled in the castle of Munkács 9 , the following koreoványs are mentioned: a marine and a green piece of silk atlas 10 , a blue one embroidered in gold thread and three others of white atlas - one without any decorations, one embroidered with gold butterflies and another with double taffota lining. Her clothing contained two dresses of gold thread; the material of one had been brought from Tatarland, and was even praised by the maker of the list. In 1635, the clothing of Krisztina Nyáry, the second wife of Count Miklós Esterházy, was listed in the castle of Varda 11 , among them an atlas dress of natural colour and three black, furred (i.e. decorated with trimming along the borders) 12 koreoványs. In 1656, among the moveables of György Bcrényi, kept in the castle of Bodok, a kamuka (damask) koreovány is mentioned, beside the ones made of atlas and velvet. 13 As listed in 1631, the dowry of Zsuzsanna Ujfalussy, the wife of László Balassa contained ...Egy szederjes virágos bársony kerek szoknya, ahoz korezovaty /sic!/ fekete virágos bársony aranyozott gombocskákkal...(A round skirt of purple-blue, flowery velvet, with matching koreovány of black, flowery velvet, enriched with gilt buttons...) 1 ' 1 . In the 1633 inventory of Katherine of Brandenburg a pair of pure silver koreovány sleeves were also mentioned, beside the finished garments. 15 Zsófia Palugyay, the wife of János Máriássy had two koreovány garments in her dowry. Their detailed description takes us closer to the exact definition of this piece of clothing: "Egy zöld bársony Korczovány veres ujjal arany prímmel primezett" (A green velvet koreovány with red sleeve, trimmed with gold trimming.) 16 This proves that the gold-trimmed top had long sleeves, which were usually combined of two textiles of different but corresponding colours - this combination of colours were often used during the seventeenth century. The wedding dress of Countess Katalin Illyésházy, the wife of Count Pál Batthyány was made around 1660: "...fehér vont arany, korezoványos lantuyu szoknya." (A bell-sleeved skirt with koreovány, of white fabric woven with gold wire.) 17 The inventory taken after the death of Count István Esterházy in 1641, among the clothes of his wife, Erzsébet Thurzó, gives
