Körmöczi Katalin szerk.: Historical Exhibition of the Hungarian National Museum 3 - From the End of the Turkish Wars to the Millennium - The history of Hungary in the 18th and 19th centuries (Budapest, 2001)

ROOM 15. Education, Science and Culture at the End of the 19th Century (Katalin Körmöczi - Eszter Aczél - Annamária T. Németh - Edit Haider)

66. Biedermeier silver jug, J. Müller, Pest, 1824 ample the pair of candlesticks and on the tankard made by József Müller, only the gold work recalls the Biedermeier style (Fig. 66). As a contrast to the elegant lines and forms of the Empire style, the heavy, over-ornate Neobaroque style appeared. Typical masters of Neobaroque and NeoGothic were György Goszmann, Károly Laky and Adolf Laky. They drew up their designs for larger items of goldsmith's work ordered by the Churches or for special secular occasions in company with architects (Fig. 67). In 1852, József Lippert designed the Holy Dexter reliquary in Neo-Gothic style. The coronation chests were made for the 1867 coronation by Adolf Laky, using Baroque forms. In the second half of the century, ecclesiastical and secular goldsmith's work made for purposes of display was made in various styles in parallel. In 1867, a unified hallmarking law was introduced across the entire territory of the Monarchy. Eclectic and Secession objects made at the end of the century already bore the new marks. On Secession items of goldsmith's work, the softer French lines could be detected, as well as more geometric Austro-German forms. After the French Revolution, fashion in jewellery became more democratic in the sense that members of the middle class could now also wear the finest jewellery. During the century, jewellery fashion followed the great stylistic movements. During the time that Napoleon was emperor, the time of the Empire style, it imitated the forms of Antiquity (Fig. 68). On the territory of Austria-Hungary, extreme adherence to old forms occurred only on costume for special occasions. In women's jewellery, especially favoured were original classical cameos, and copies of them (materials used were lava-stone and shell) set in diadems, pendants and pins. Jewelled accessories for men's attire followed 17th century forms. While in Western Europe the Empire style gave way to Historicism and the various "Neo-" styles, in the German-speaking world the sober, bourgeois Biedermeier taste predominated. Sentimental items of jewellery - with naturalistic bouquets of flowers, hands clasped together, framed porcelain or enamel miniature portraits and jewellery made using locks of hair together with "mourning" jewellery made from black-coloured jet, glass and enamel fitted into this well (Fig. 69). Everyday Hungarian men's dress became simpler, drab or black in colour. Jewellery