Vadas József (szerk.): Ars Decorativa 13. (Budapest, 1993)
TOMPOS Lilla: A korcovány az inventáriumok tükrében
a detailed description of a koreovány, following a velvet skirt embroidered in gold and a small coat decorated with pearls: "Egy fekete barsoni lant uyu korzouag, test szineő Terczenellel uyaual eggjett. Mas vörös Barsoni lant uyu arani premes korcouag megi szinieő, tarka atlacz uyaual eggjwtt. Egi megi szinieő arani ezwstel elegi viragos Terczenellel szoknia, azon szinieő korzouallal, veres tafotaual bellet, az uya fejér vont ezwst." (A bell-sleeved koreovány of black velvet, combined with natural-coloured textile, just like its sleeves. Another bell-sleeved koreovány of red velvet, morello coloured, with an atlas sleeve of polychrome colours. A morello coloured, flowery skirt with gold and silver, with a koreovány of the same colour, lined with red taffota; the sleeves are white fabric woven with silver wire.) 18 The detailed list described each characteristic of koreoványs: the top has long sleeves, which were usually made of two, differently coloured fabric and covered with a bell-shaped, curved sleeve that served the purpose of decoration; it provided a "frame" for the figure, like draperies. In the family book of the Haller counts, Sára Tarnoczy, the wife of Péter Haller is depicted in a similar dress (see pict.3). Her round, loose and raffled skirt is red, trimmed with gold in three rows. The identically coloured top is tight, stiffened with fishbones; the bottom is curved, reaching down in a V-shape at the front. It is decorated with picadill slashing all round. The neck is high, the face is framed by a standing lace collar. The long, cuffed sleeve has epolettes, covered with the bell-shaped, ornamental sleeve. The second woman standing on her right is Judit Barkóczy, the second wife of Pál Haller, the Lord Lieutenant of Küküllő county. 19 Her dress has a similar cut; the skirt is green, with an orange top. The only difference is the lace-trimmed collar that covers her shoulders. Each detail can be closely examined on the portrait of Coëllo. 20 The dress of the Spanish duchess is flowery, with matching sleeves of smaller and richer pattern (see pict.4). From the end of the 16th century, several aristocratic ladies were portrayed in similar garments. 21 The direct antecedent of this kind of representative gala dress was the winged or wing-sleeved top stiffened with fishbones, the broad cornet sleeve of which reached down to the bottom of the skirt. 22 The originally Spanish courtly wear was taken over by each court of Europe; the Habsburgs were insisting on it even at the end of the seventeenth and in the beginning of the eighteenth century, when other courts were already copying the etiquette and clothing of the French court. 23 This is proved by the special 1688 "decree on garments" of the Codex Austriacus II, which stated that only members of the royal court were entitled to wear "Flügel Ärmel", i.e. wing-sleeved garments. 24 The pattern books of two tailors from Lienz, Johannes Stöckhel and Johannes M. Wolfscggcr, the first made in 1713, the second in 1724 provides us with a detailed cut pattern for a Frauen Hoff Klaidt and a Spanisch Hoff Klaidt vor eine Dame. 25 Here the winged sleeve is only a narrow stripe, the skirt is tailed, the sleeves are puffed; altogether they are far descendants of their sixteenth and seventeenth century models, recalling them only by their names. Similarly to West-European examples, Spanish courtly clothing was worn by Hungarian aristocracy, as demonstrated by inventories and lists. Consequently, the koreovány for women was not a mere fishboncd bodice with long sleeves but also a symbol of elegance marking that its owner belongs to distinguished court circles.
