Szilágyi András (szerk.): Ars Decorativa 26. (Budapest, 2008)
Lilla ERDEI T.: Kerchiefs Adorned with Bobbin Lace Pendants from the Second Half of the 17* and First Half of the 18th Century
LILLA ERDEI T. KERCHIEFS ADORNED WITH BOBBIN LACE PENDANTS FROM THE SECOND HALF OF THE 17 th AND FIRST HALF OF THE 18 th CENTURY Introduction The fashion of lace-adorned kerchiefs held in hand evolved in Renaissance Italy. Over the 16 th century it spread wide in the courts of West Europe and survived until the mid-20 th century, adjusted to the rapidly changing demands of fashion. These linen kerchiefs were adorned with lace inlay, trimming or openwork embroidery. The lace patterns harmonized with the laces of the collars, sleeves, bonnets of the more liberal Italian and more closed Spanish female garments. Earlier the decoration was cutwork, point coupé, reticella, later point de Venice, while among bobbin laces braided, Genovese and tape lace types were frequent, 1 but filet ornaments were also often used. Just to mention a few representations of such handkerchiefs, let us refer to the paintings portraying Catherine of Austria, Queen of Portugal (1552), Anne of Austria, Queen of Spain (1571), Mary, Queen of Scots (1575), the sister of the Swedish king Gustav I, Elisabeth (1591) and Claudia de Medici, duchess of Tirol (1640). Handkerchiefs were also popular accessories of noblewomen's outfits in Hungary in the 16 th-17 th centuries. Several types were known, such as the kerchief to cover and to wipe the face, kerchiefs for hands, head, neck, for betrothal. Most are only known from archival sources. The largest number of surviving kerchiefs belongs to the handkerchief type. In the mentioned period, two costume types were prevalent among Hungarian women: the more rigid, closed Spanish style and the typical Hungarian costume developed from the Italian style wear. These apparels characteristically contained a bodice fastened with clasps or ribbons lead through hooks or rings, the amply puckered skirt with a round edge and the ornate apron. The fabrics used for the Hungarian-style garments and the accessories were adjusted to the West European fashions, e.g. expensive gold and silk fabrics, aprons adorned with Italian or Spanish lace, starched round or semicircular collars. 2 The western costume type was matched with white kerchiefs adorned with broad laces, while the Hungarian costume was paired with kerchiefs embellished with colourful aristocratic embroidery 3 and lace. Such handkerchiefs can be seen, e.g. in the portraits of Eva Forgách, the wife of István Csáky (1638) (ill. 1), Erzsébet Báthory, the wife of Ferenc Nádasdy (early 17 th c), and the catafalque portrait of Ilona Thurzó, the late wife of Gáspár Illésházy (1648). 4 Men also used - in smaller numbers - monochrome kerchiefs with simpler decoration, adorned with a thin trimming of lace or embroidery. They can rarely be found in portraits as e.g. in the full-length picture of count Pál Esterházy (1655) 5 or the catafalque portrait of Gábor Illésházy (1665). 6 Kerchiefs with pompons The highly embellished kerchiefs were characteristic of women's wear. In the second half of the 16"' and first half of the 17 ,h century,
