The Wittelsbachs of the branch of dukes in Bavaria, of an independent and wild character, were too contemptuous of the conventions of the century. Among them, respect for their own freedom had the force of law and even bordered on insolence. My father [Albert I of the Belgians] often told me of his atonishment at seeing, during one of his stays in Possenhofen, the duke Karl-Theodor left for a horseback ride at the very moment his sister the empress Elisabeth of Austria, wife of Franz-Joseph, without even greeting her even though they hadn’t seen each other for months.
My mother [Queen Elisabeth, née Duchess in Bavaria] admired the empress, her aunt and godmother. A certain quality of emotion and aesthetic sensibility unite them. But when the empress said “When I move among people, I only use for them the part of myself that I have in common with them. They are surprised at our resemblance, but it is an old piece of clothing that from time to time I take out of the wardrobe to wear for a few hours”, my mother, for her part, could not have taken this attitude, because all her life, she shared the best of herself with others, and this with generosity and a total absence of condescension.
The pagan that was the empress, imbued with the beauties of ancient Greece, had passed on to her niece a certain number of hygienic advices: pluge no matter when into glacial water, walk indefinitely in all weathers, as well as number of other precepts that she cultivated until the end of her days. Let us add to this some principles of geriatrics kept jealously secret.
What my mother deplored about her aunt was her insubordination to the rigid etiquette of the Court of Vienna, insubordination which alienated the Austrian aristocracy. Besides, her prolonged absences from the capital and her costly wanderings earned her the reputation of being at least whimsical.
“…In our positions, we must avoid being given a label that we will never get rid of,” assured my mother. How many characters from history have had sad reputations, often undeserved, for this sole reason.
My father granted more indulgence to “this beautiful creature”, as he called her. Besides her beauty, he admired her deep intuitive sense of events and things. According to him, the Empress foresaw the imminent collapse of the heterogeneous amalgam that the Austro-Hungarian Empire had become. We have preserved some verses from her quite academic but very prophetic, written in 1893:
“How right you are, Habsburg, to cover
[your head
“How right you are to wring your hands
“Think then of your departed race
“Never again will your children reign over your
lands!”
Powerless, Elisabeth of Austria fled from her cruel destiny without seeking to dominate it. She was freed by the knife of a fanatic on the banks of peaceful Lake Geneva. “I would like to escape from my body, like a little bird from its cage,” she frequently said to her relatives. Let's listen to Barres who summarizes in a few lines the wandering existence of this nihilistic sovereign, thirsty for the absolute: "… Her movements did not have the beautiful and reasonable regularity of the migrations of a traveling bird, it was rather the whirling of a a lost spirit which beats the air, which no longer finds shelter and which no discipline regulates.” In similar circumstances, my mother would certainly have overcome the adversities of life because, in her, confidence and energy dominated events through an instinctive sense of the mysterious laws of life and through a concrete vision of the responsibilities to be assumed.
Marie-José of Belgium (1971). Albert et Elisabeth de Belgique, Mes Parents
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I once accompanied my parents [king Albert I and queen Elisabeth of the Belgians] to Saint-Germain-en-Laye where the peace treaty between the allied powers and Austria was being drawn up (September 10, 1919). I can still see, in the great room of the castle, the table with the green carpet, from which were born, alas! more thorns than roses.
The same day, we paid a visit to my maternal great-aunt Marie, widow of Francesco II of Bourbon-Sicily, last king of Naples. Aged eighty-years-old, she lived in exile in a modest apartment where horse engravings displaced family portraits. Some Neapolitan servants remained faithful to her. I can't forget this almost spectoral vision, a true resurgence of the past: great, straight, extremely thin, dressed all in black, her waist tightened by a leather belt: from it escaped a tight skirt that barely covered her button boots. But what struck me the most, was the haughty carriage of her little head crowned with a double graying braid and her periwinkle blue eyes, which literally devoured her face. When in the course of the conversation, this questioning and heartbreaking look fell on you, it made you wonder from what catastrophe the world was going to perish…
My frather spoke in German with the queen of Naples. She shook her head in sign of indignation while evoking, among other things, “the awful Treaty of Trianon which, through the stupid dismemberment of Hungary, dispossessed three million Magyars”. She spoke with a handkerchief over her mouth, no doubt out of coquetry, to hide her bad teeth… imitating her sister, the empress of Austria. The interview was interrupted by heavy silences, reminiscent of the distressing atmosphere of certain Russian novels. Finally, we took leave of this strange sovereign. At the moment of our parting, Marie asked if it was true that I was engaged to the heir to the Italian throne? Before the hesitation of my mother, she added that she would disapprove of her great-niece's union with a Savoy. It is very obvious that the one who was still called the “heroine of Gaeta” could only condemn such a union.
Let us remember the heroic gesture of the wife of the king of Naples, sharing the dangers of her soldiers to save the city, the final bastion of her kingdom besieged by the troops of Vittorio-Emanuele II. The first king of Italian unity represented, in the eyes of Marie-Sophie, nothing but a vulgar usurper.
Marie-José of Belgium (1971). Albert et Elisabeth de Belgique, Mes Parents
[Pictured, left: Princess Marie José of Belgium, circa 1910s. Right: Queen Marie Sophie of the Two Sicilies, circa 1870. Via Flickr and the Royal Collection Trust]
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Paintings from Buckingham Palace: part II
A retexture by La Comtesse Zouboff — Original Mesh by @thejim07
Spread among 13 occupied and historic royal residences in the United Kingdom, the collection is owned by King Charles III and overseen by the Royal Collection Trust. The British monarch owns some of the collection in right of the Crown and some as a private individual. It is made up of over one million objects, including 7,000 paintings, over 150,000 works on paper, this including 30,000 watercolours and drawings, and about 450,000 photographs, as well as around 700,000 works of art, including tapestries, furniture, ceramics, textiles, carriages, weapons, armour, jewellery, clocks, musical instruments, tableware, plants, manuscripts, books, and sculptures.
Some of the buildings which house the collection, such as Hampton Court Palace, are open to the public and not lived in by the Royal Family, whilst others, such as Windsor Castle, Kensington Palace and the most remarkable of them, Buckingham Palace are both residences and open to the public.
About 3,000 objects are on loan to museums throughout the world, and many others are lent on a temporary basis to exhibitions.
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The second part includes paintings displayed in the Ball Supper Room, the Ballroom, the Ballroom Annexe, the Bow Room, the East Gallery, the Grand Entrance and Marble Hall, the Minister's Landing & Staircase, the Vestibule, the Chinese Dining Room and the Balcony Room.
This set contains 57 paintings and tapestries with the original frame swatches, fully recolourable. They are:
Ball Supper Room (BSR):
Portrait of King George III of the United Kingdom (Benjamin West)
Ballroom (BR):
The Story of Jason: The Battle of the Soldiers born of The Serpent's Teeth (the Gobelins)
The Story of Jason: Medea Departs for Athens after Setting Fire to Corinth (the Gobelins)
Ballroom Annexe (BAX):
The Apotheosis of Prince Octavius (Benjamin West)
Bow Room (BWR):
Portrait of Princess Mary Adelaide of Cambridge (William Corden the Younger)
Portrait of Princess Augusta of Cambridge, Grand Duchess of Mecklenburg-Strelitz (Alexander Melville)
Portrait or George, Duke of Cambridge (William Corden the Younger)
Portrait of Frederick William, Grand Duke of Mecklenburg-Strelitz (Franz Xaver Winterhalter)
Portrait of Augusta of Saxe-Weimar, Princess of Prussia, later Queen of Prussia and German Empress (Franz Xaver Winterhalter)
Portrait of Prince Leopold, Later Duke of Albany (Franz Xaver Winterhalter)
Portrait of Ernest, Prince of Hohenlohe-Langeburg (Franz Xaver Winterhalter)
Portrait of Ferdinand of Savoy, Duke of Genoa (Eliseo Sala)
Portrait of Marie Alexandrina of Saxe-Altenburg, Queen Consort of Hanover (Carl Ferdinand Sohn)
Portrait of Leopold, Duke of Brabant, Later Leopold II, King of the Belgians (Nicaise de Keyser)
Portrait of Marie Henriette, Archduchess of Austria and Duchess of Brabant, Later Queen of the Belgians (Nicaise de Keyser)
East Gallery (EG):
Portrait of Leopold I, King of the Belgians (Franz Xaver Winterhalter)
Portrait of Victoria, Queen of England in Coronation Robes (Sir George Hayter)
Portrait of Louis-Philippe d'Orléans, King of the French (Franz Xaver Winterhalter)
Portrait of Charlotte of Mecklenburg-Strelitz, Consort Queen of England with her Children at Windsor Castle (Benjamin West)
Portrait of Prince Adolphus, later Duke of Cambridge, With Princess Mary and Princess Sophia at Kew (Benjamin West)
The Coronation of Queen Victoria in Westminster Abbey, 28 June, 1838. (Sir George Hayter)
The Christening of Edward, Prince of Wales 25 January, 1842 (Sir George Hayter)
The Marriage of Queen Victoria, 10 February, 1840 (Sir George Hayter)
Portrait of the Royal Family in 1846 (Franz Xaver Winterhalter)
Portrait of Queen Victoria and Prince Albert as King Edward III and Queen Philippa of Hainault at the Ball Costumé of 12 May, 1842 (Sir Edwin Landseer)
Grand Entrance and Marble Hall (GEMH):
Portrait of Edward, Duke of Kent (John Hoppner)
Portrait of Ernest I, Duke of Saxe-Coburg-Gotha (George Dawe)
Portrait of Victoria of Saxe-Coburg-Saafeld, Dowager Duchess of Kent (Franz Xaver Winterhalter)
Portrait of Albert, Prince Consort of the United Kingdom (Franz Xaver Winterhalter)
Portrait of Victoria, Queen Consort of the United Kingdom in State Robes (Franz Xaver Winterhalter)
Portrait of Louise d'Orléans, Consort Queen of the Belgians, with her Son Leopold, Duke of Brabant (Franz Xaver Winterhalter)
Portrait of Feodora of Leiningen, Princess of Hohenlohe-Langeburg, with her Daughter, Princess Adelheid (Sir George Hayter)
Portrait of George, Prince of Wales, Later King George IV (Mather Byles Brown)
Portrait of Victoire of Saxe-Coburg-Gotha, Duchess of Nemours (Franz Xaver Winterhalter)
Portrait of Augustus, Duke of Sussex (Domenico Pellegrini)
Portrait of Leopold I, King of the Belgians (William Corden the Younger)
Minister's Landing and Staircase (MLS):
Portrait of George, Prince of Wales in Garther Robes (John Hoppner)
The Loves of the Gods: The Rape of Europa (the Gobelins)
The Loves of the Gods: The Rape of Proserpine (The Gobelins)
Vestibule (VL):
Portrait of Prince Albert of Saxe-Coburg-Gotha, the Prince Consort (Unknown Artist from the German School)
Portrait of Princess Alice of the United Kingdom, Later Grand Duchess of Hesse (Franz Xaver Winterhalter)
Portrait of Princess Helena of the United Kingdom, Later Princess Christian of Schleswig-Holstein (Franz Xaver Winterhalter)
Portrait of Princess Louise of the United Kingdom, Later Duchess of Argyll (Franz Xaver Winterhalter)
Portrait of Princess Victoria of the United Kingdom, Later Empress Frederick of Germany (Franz Xaver Winterhalter)
Portrait of Victoria Mary of Teck, Duchess of York (Edward Hughes)
Chinese Dining Room or Pavilion Breakfast Room(CDR):
Set of Four Painted Chinoiserie Wall panels I (Robert Jones)
Set of Four Painted Chinoiserie Wall panels II (Robert Jones)
Set of Four Painted Chinoiserie Wall panels III (Robert Jones)
Set of Four Painted Chinoiserie Wall panels IV (Robert Jones)
Balcony Room or Centre Room (BR):
Chinoiserie Painted Panel I (Robert Jones)
Chinoiserie Painted Panel II (Robert Jones)
Chinoiserie Painted Panel III (Robert Jones)
Chinoiserie Painted Panel IV (Robert Jones)
EXTRAS! (E):
I decided to add the rest of the tapestries from the story of Jason (wich hangs in the Grand Reception Room at Windsor Castle) and (with Jim's permission) added the original mesh for paintings number 2,3,4 & 5 from the Vestibule (seen here and here) wich was never published. These items are:
The Story of Jason: Jason Pledges his Faith to Medea (the Gobelins)
The Story of Jason: Jason Marries Glauce, Daughter of Creon, King of Thebes (the Gobelins)
The Story of Jason: The Capture of the Golden Fleece (the Gobelins)
The Story of Jason: The Poisoning of Glauce and Creon by Medea's Magic Robe (the Gobelins)
Sea Melodies (Herbert James Draper) (made by TheJim07)
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Found under decor > paintings for:
500§ (BWR: 1,2,3,4,5,6, & 8 |VL: 1)
570§ (VL: 2,3,4 & 5 |E: 5)
1850§ (GEMH: 1 & 3)
2090§ (GEMH: 2,6,7, 9 & 11)
3560§ (GEMH: 4,5 & 10 |BSR: 1 |EG: 1,2,3,4 & 5 |MLS: 1 |BAX: 1)
3900§ (CDR: 1,2,3 & 4 |BR: 1,2,3 & 4 |EG: 10 |VL: 6 |GEMH: 8)
4470§ (MLS: 2 |E: 1)
6520§ (BR 1 & 2| MLS: 3 |EG: 6,7,8 & 9 |BR: 1 & 2 |E: 2,3 & 4)
Retextured from:
"Saint Mary Magdalene" (BWR: 1,2,3,4,5,6, & 8 |VL: 1) found here.
"Sea Melodies" (VL: 2,3,4 & 5 |E: 5)
"The virgin of the Rosary" (GEMH: 1 & 3) found here.
"Length Portrait of Mrs.D" (GEMH: 4,5 & 10 |BSR: 1 |EG: 1,2,3,4 & 5 |MLS: 1 |BAX: 1) found here
"Portrait of Maria Theresa of Austria and her Son, le Grand Dauphin" (CDR: 1,2,3 & 4 |BR: 1,2,3 & 4 |EG: 10 |VL: 6 |GEMH: 8) found here
"Sacrifice to Jupiter" (MLS: 2 |E: 1) found here
"Vulcan's Forge" (BR 1 & 2| MLS: 3 |EG: 6,7,8 & 9 |BR: 1 & 2 |E: 2,3 & 4) found here
(you can just search for "Buckingham Palace" using the catalog search mod to find the entire set much easier!)
Disclaimer!
Some paintings in the previews look blurry but in the game they're very high definition, it's just because I had to add multiple preview pictures in one picture to be able to upload them all! Also sizes shown in previews are not accurate to the objects' actual sizes in most cases.
Drive
(Sims3pack | Package)
(Useful tags below)
@joojconverts @ts3history @ts3historicalccfinds @deniisu-sims @katsujiiccfinds @gifappels-stuff
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