#erzherzogin

[dreamconsumer]

Mary of Burgundy. Unknown artist.

[roehenstart]

Maria Theresa, daughter of Joseph II. By Anton Kröll.

[archduchessofnowhere]

Archduchess Sophie of Austria to her son Archduke Karl Ludwig, on her namesake granddaughter Sophie:

November 30, 1855, Hofburg ... Before I wrote to you, I was at the [portrait] session which the dear little girl [the 10-months-old Archduchess Sophie] is giving in Fr: von Welden [Sophie's Aya]'s room to Schrotzberg [paintor], who is painting her on behalf of E[mpress] Car[oline Auguste] as a Christmas Eve surprise for Sisi. I was also inside after the 10 o'clock mass, as the little one can only sit in bits and pieces between her Mama's visits and those she pays to her. This morning we were all startled by the sudden announcement that Sisi was coming. The picture is already strikingly similar; but the dear little one is also too sweet and friendly, especially when I sit opposite her, as she is very gracious to me; my tortoise shell glasses, which she likes to bite and loves passionately when teething, are the binding agent between us; she cheers, claps her fat little hands together, laughs and is happy that it refreshes the heart...

Praschl-Bichler (2008). Unsere liebe Sisi: Die Wahrheit über Erzherzogin Sophie und Kaiserin Elisabeth (Translation by DeepL, keep in mind that in a machine translation a lot of nuances may/did got lost)

Pictured: Archduchess Sophie of Austria, by Franz Schrotzberg, November 1855. Via Wikimedia Commons

[spiegelgestalt]

i have to congratulate you Mr. Father of the bride...

Would I watch an entire musical of Max and Sophie sniping at each other over more and more elaborate traditional dance music?

Yes, I'm manifesting this as we speak!!

[kitschy-gillyflowers]

Elisabeth das Musical Textposts pt. 2

Kaiser Franz Joseph: Viktor Gernot, Kaiserin Elisabeth: Pia Douwes, Der Tod: Uwe Kröger (1992)

Kronprinz Rudolf: Andreas Bieber, Der Tod: Uwe Kröger (1992)

Kaiserin Elisabeth: Pia Douwes, Der Tod: Uwe Kröger (2002)

Kaiser Franz Joseph: Viktor Gernot, Erzherzogin Sophie: Else Ludwig (1992)

Kaiserin Elisabeth: Pia Douwes (1992)

Kronprinz Rudolf: Jonathan Späth, Der Tod: Mark Seibert (2012)

[count-lero]

Thank you so much for your commentary, @josefavomjaaga! 🙏

I see… The waring parties at Austrian court strike again!

Klemens used the trump card he thought out at the moment but his actions couldn’t have passed unnoticed by others, as they tried to prevent his “cruel deeds” from coming to life. X)

Good time of day to you, ladies and gentlemen!

So, I made a promise in April that I never kept because of how insecure I felt about it for a long period of time. However, now I’m more than knowledgeable in terms of the subject and ready to full fill with immense pleasure that old pledge of mine. ✨

This post is dedicated to @microcosme11 and @usergreenpixel, since you’ve shown great interest in my proposition in the first place. :)

It all started with the discovery of a film “Hundert Tage” released in the year 1935. Its name speaks for itself as the movie covers Napoleon’s famous return from Elba in 1815 up to the battle of Waterloo. What’s fairly surprising is that Joseph Fouché, notorious ex-minister of police with many other regalia earned through the years of serving many masters, played a significant role in the plot (as he did in real life), despite usually having a somewhat ghostly presence in other pieces of Napoleonic media. In the “Hundert Tage” he is more than an active political player portrayed by Gustaf Gründgens, prominent German theater and film actor with his background being too controversial to ever make a non-biased sense of…

Anyhow, the thing is: the impersonation of Fouché wasn’t the first “Napoleonic” role Gründgens ever tried on during his artistic career. Exactly a year before that another film of Austrian (!) production was made where he starred in a role which suits his appearance and play style so well that I’m still blown away by such an impeccable choice.

The original title of the film is “So Endete eine Liebe” (1934) and it deals with the tragic story of erzherzogin Marie Louise, future wife of emperor Napoleon, being separated from her true love for the sake of an advantageous marriage and political alliance. The film cast is mainly Austro-German with two leading performers being Willi Forst, one of the most prominent Austrian actors in the 20th century, playing archduke Franz von Modena, and fore mentioned Gustaf Gründgens, an actor who was also born in the Westphalian region of Germany, playing… Klemens von Metternich in all his mischievous glory. 💅✨

The film itself is not friendly to people who aren’t ready to face the complexity of Habsburg’s incest-flavoured dramas at their finest (I myself wasn’t aware of the infatuation that Marie-Louise had for her uncle, if it ever took place at all [and I’m too lazy to check any decent biography about her to find out what did happen exactly]). BUT, but Gründgens’ Metternich is something else.

With due awareness and respect. 🧎‍♂️

This role was made for him, no doubt: even the film and its actors show appreciation for his grace at the first opportunity given. 😁

[josefavomjaaga]

Letter from Marie Louise to her father

Written shortly after the "handover" ceremony in Sankt Peter close to Braunau. For this ceremony, a wooden building, divided into three parts (French - neutral - Austrian), had been constructed, usually referred to as the "three pavillions" or "three barracks". The leaders of the two delegations, Berthier and Trautmannsdorf, both signed the contract before the bride was handed over to the buyer bridegroom's delegation.

Dearest Papa! Forgive me for not immediately writing to you yesterday, as I should have done, but the journey, which was a little tiring and long, prevented me from doing so. Through Prince Trautmansdorf I have found another opportunity to write to you once more sincerely, and I am happy to seize it to assure you that I am constantly thinking of you and always will.

"Sincerely" here probably means "without measuring my words because I'm being spied upon by my new entourage".

God has given me the strength to endure happily even the last painful blow, the separation from all my loved ones, in Him alone I have all my trust, He will help me and give me courage, and I will find my reassurance in the consolation of having done my duty to you by making this sacrifice. Yesterday I arrived in Ried very late, still preoccupied with the thought that I might be separated from you forever. Today I arrived at two o'clock in the French camp in the barracks at Braunau, after staying in the Austrian barrack for some time, I moved to a throne in the neutral barracks, after the papers had been read, all my people kissed my hand, at that moment I really didn't know what I was doing, a cold shiver overcame me and I became so upset that the Prince of Neufchatel began to cry.

Which must have been a sight to behold: Berthier crying tears of emotion while his new empress starts to panic and desperately looks around for the emergency exit.

Prince Trautmansdorf handed me over to him [...]

... and a kleenex, too ...

[...] and my entire court was presented to me, oh God, what a difference between the French and Viennese ladies! --- The Queen of Naples came to meet me in the other room, I embraced her, and showed myself remarkably friendly towards her, but I do not quite trust her, I believe that it was not zeal for service alone that was the cause of her journey.

That's a very interesting first assessment of Caroline Murat. Marie Louise may have been less naive than she made herself out to be.

She travelled with me to Braunau, and here I had to hold a two-hour toilette, I assure you that I am already as perfumed as all the other French women.

Apparently, the difference mentioned above was largely attributable to odour.

The Emperor Napoleon has sent me a splendid golden robe, but he has not yet written to me - if I had to leave you, I would much rather be with him than travelling with all those ladies.

That's one thing that will remain true for a large part, I believe. With the one exception of the duchess de Montebello, she did not really appreciate the ladies of the French court (and Louise Lannes she apparently appreciated to some extent because she was not much suited for life at court).

Oh God, how I regret not being able to still spend the happy days with you, only now am I learning to appreciate them. I assure you, dearest Papa, that I am very sad and cannot yet console myself. I hope your catarrh will be completely over; I include you in my prayers every day. Forgive my poor scribbling, but I have so few moments to myself, I will kiss your hands a thousand more times and have the honour of being Dearest Papa! Your most submissive and obedient daughter Louise Braunau 16th March 1810

(Source: Helfert "Maria Louise, Erzherzogin von Österreich, Kaiserin der Franzosen", Wien 1873)

[digitalfashionmuseum]

Oil Painting, 1778, French.

By Elisabeth Louise Vigée LeBrun.

Portraying Marie Antoinette in a cream court dress.

Kunst Historisches Museum Wien.

[gogmstuff]

Images of 1910 in Fashion -

According to Wikipedia, "Geneviève Lantelme (born Mathilde Hortense Claire Fossey, 20 May 1883 – 24/25 July 1911) was a French stage actress, socialite, fashion icon, and courtesan. Considered by her contemporaries to be one of the most beautiful women of the Belle Epoque..."

1910 (November) Geneviève Lantelme in Paquin dress photo by Auguste Bert Le Théatre no. 286. From Wikimedia; fixed spots w Pshop 2489X3663.

Left 1910 (Juin) Lantelme by Félix. From Wikimedia 1947X2868,

Right 1910 (june) Lantelme in Jeanne Lanvin dress photo by Félix Les Modes. From verbinina.wordpress.com/page/8/; fixed spots w Pshop 1864X2522.

1910 (November) Femina cover Geneviève Lantelme wearing fur. From Wikimedia 1654X2068.

According to Wikipedia, "Joaquín Sorolla y Bastida (Valencian: Joaquim Sorolla i Bastida, 27 February 1863 – 10 August 1923)[a] was a Spanish Valencian painter. Sorolla excelled in the painting of portraits, landscapes and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the bright sunlight of Spain and sunlit water." He painted several portraits of his wife Clotilde and at least one of daughter Elena. He portrayed people on the beach in white or dressed in traditional black.

Left 1910 Clotilde con perro y gato by Joaquín Sorolla y Bastida (Museo Sorolla). From joaquin-sorolla.blogspot.com/2009/06/clotilde-sentada_04.html 1000X1600.

Right 1910 Clotilde con sombrero negro by Joaquín Sorolla y Bastida (Museo Sorolla - Madrid, Spain) photo - Ramón Muñoz. From the photostream of Ramón Muñoz on flickr; fixed spots & wrinkles w Pshop 1122X1732.

Left 1910 Clotilde con traje de noche by Joaquín Soroola y Bastida (Museo Sorolla - Madrid, Spain). From joaquin-sorolla.blogspot.com/2014/10/clotilde-con-traje-de-noche_5.html?m=1 1112X1600.

Right 1910 Clotilde sentada en un sofá by Joaquín Sorolla y Bastida (Museo Sorolla - Madrid, Spain). From Wikimedia; fixed spots w Pshop 1168X1932.

1910 Elena (Sorolla) con sombrero negro by Joaquín Sorolla y Bastida (private collection). From joaquin-sorolla.blogspot.com/2015/08/elena-con-sombrero.html?m=1 1198X1594.

Left 1910 Comtesse de la de la Maitrie in equestrian dress by Charles Albert Walhain (private collection) From liveinternet.ru/journalshowcomments.php?jpostid=319050317&journalid=4507805&go=prev&categ=0 950X1679.

Right 1910 Erzherzogin Maria Therese by H. C. Kosel. From eBay; removed mono-color tint 675X1061.

Left 1910 Lady Elsie Duveen, née Salamon by François Flameng (Ferens Art Gallery - Kingston upon Hull, East Riding of Yorkshire, UK). From artrenewal.org/artists/francois-flameng/158 2016X2610 @144 4.9Mp.

Right 1910 Madame Von Bodenhausen avec son enfant Luli by Theo van Rysselberghe (private collection). From the discontinued Athenaeum Web site 721X889.

[ambrosethepoet]

« Der Tagesablauf · Teil 2 »

Kaiser Franz Joseph von Österreich

Um neun Uhr meldete sich sein Generaladjutant zur Audienz, dem der Chef der Militärkanzlei und der Obersthofmeister folgten. Danach kamen die Minister und zweimal wöchentlich fanden die allgemeinen Ministerratsitzungen statt, die im Konferenzzimmer abgehalten wurden. Sein Leibkammerdiener in den letzten zwölf Jahren, Eugen Ketterl, berichtete, dass Franz Joseph in seinen späten Jahren sehr wohl an der Wahrheit interessiert war und Aufrichtigkeit und Offenheit schätzte. Böse konnte er seinem Kammerdiener zufolge nur werden, wenn er entdeckte, dass man Dinge vor ihm verheimlichen oder vertuschen wollte. Ebenso war er an der Stimmung in der Bevölkerung interessiert: Ketterl berichtete, dass der Kaiser vor allem morgens beim Ankleiden immer über alles informiert werden wollte. Ob dies mit den Vorwürfen seines Sohnes und dessen tragischem Selbstmord in Zusammenhang steht, sei dahingestellt. Ketterl machte sich überhaupt bei der Hofkamarilla äußerst unbeliebt, da er sich bemühte, den Kaiser aus seiner eigentlich unfreiwilligen und vom Hof aufgezwungenen Isolation zu lösen. Erzherzogin Sophie hatte diese isolierte Stellung ihres Sohnes bis zuletzt forciert und Franz Joseph war nie der Gedanke gekommen, sich dagegen aufzulehnen. Erst in den späten Jahren brachte ihm Ketterl zum Beispiel Zeitungen und Artikel, die man dem Kaiser sonst streng vorenthielt, und übermittelte ihm vieles, was er normalerweise nie zu hören oder sehen bekommen hätte.

Punkt zwölf Uhr wurde das Mittagessen serviert. Es bestand aus einer Suppe, Rindfleisch mit Gemüse, Beefsteak oder Geflügel und dazu ein Glas „Spaten-Bier“. Franz Joseph nahm sein Mittagessen immer auf seinem Schreibtisch ein, um keine wertvolle Zeit zu vergeuden und danach gleich wieder weiterarbeiten zu können. Ketterl war oft erbost, dass Franz Joseph ausgerechnet in dieser kurzen Zeit des Mittagessens von Mitgliedern der Kabinettskanzlei mit „dringenden“ Berichten gestört wurde und verhalf dem Kaiser mit einer eher außergewöhnlichen Maßnahme zu einer kurzen Mittagspause: er versperrte kurzerhand die Tür des Arbeitszimmers.

[dumbbitchhour]

Giovanni Maria Morandi, Erzherzogin Claudia Felicitas als Diana, 1666 x

[dreamconsumer]

Archduchesses Maria Annunziata (1876-1961) and Elisabeth Amalie of Austria (1878-1960). By Josefine Swoboda.

They were the daughters of Archduke Karl Ludwig of Austria, brother of Emperor Franz Joseph. Maria Annunziata was Abbess of the Theresia Convent in the Hradschin, Prague; and Elisabeth Amalie Princess of Liechtenstein through her marriage to Prince Alois of Liechtenstein.

[roehenstart]

Archduchess Maria Elisabeth (1743-1808), daughter of Maria Theresa, as a child in a pink dress. By Pierre-Joseph Lion.

[archduchessofnowhere]

The only son of King Max I with his second wife Karoline, Max Joseph Karl Friedrich (1800-1803), did not survive infancy. Therefore, all hopes were placed in the further pregnancies of the wife. The twins in 1801 (Amalie and Elise) were still accepted with some joy. But the birth in 1805 - again female twins - caused consternation. King Max did not take it too tragically; he wrote to his brother-in-law after the birth: "After all, admit that it is praiseworthy to have a brother-in-law who produces twins twice in a row. It is the necessary consequence of having steadfastly led a well-behaved, regulated life."

But Auguste, a daughter from Max's first marriage, saw the situation quite differently: "Yesterday dear Mama came down with two girls. We are all saddened, although dear Mama is in as good a condition as one could wish for. We wanted two sons or one... I have just seen her. She looks well, but she is also sorry that she does not have a son".

Haslinger, Ingrid (2016). Erzherzogin Sophie: Eine Biografie nach den persönlichen Aufzeichnungen der Mutter Kaiser Franz Josephs (Translation done by DeepL. Please keep in mind that in a machine translation a lot of nuance may/will be lost)

ON THIS DAY, IN 1805, PRINCESSES SOPHIE AND MARIA ANNA OF BAVARIA, LATER ARCHDUCHESS OF AUSTRIA AND QUEEN OF SAXONY RESPECTIVELY, WERE BORN. The twin girls were the third and fourth daughter of King Maximilian I of Bavaria and his second wife Caroline of Baden. Sophie married Archduke Franz Karl of Austria in 1824, and they had six children, among them Emperor Franz Josef I of Austria and Emperor Maximilian I of Mexico. Maria Anna, known as Marie, married the Crown Prince of Saxony, later King Friedrich August II, in 1833; they had no children. Sophie and Marie remained close for the rest of their lives, writing and visiting each other often.

[spiegelgestalt]

"It's about the monarchy" - Sophie is right about some things and catastrophically wrong about others

so everyone in Elisabeth the musical despairs at one point or the other. After all it's a dying world which is awaiting it's destruction. One of the most valiant fighters in the musical for this dying world is Sophie the arch duchess. And I have complicated feelings about her.

so let me tell you a story:

I first listened to Elisabeth das musical when I was 13 and I completely fell in love with the "love story" between Tod/Elisabeth. I identified with Elisabeth struggle for freedom. The wish to be completely free of every responsibility is something I still have. I know now that this wish isn't good for my mental health because at the end of it I lie in bed for days and do nothing at all. Life is worth living for me because I have responsibilities, duties and am bound to the people/animals I love (for example because of my cat there are lot of things I just can't do anymore -I'm unfree but in exchange I have the best cat in the world).

So as my opinion of Elisabeth sowered I started to understand Sophie more.

If you have to have a monarchy/ dictatorship (which is a terrible idea don't do it) than Sophie is in many ways an ideal empress. She takes duty seriously, she gives her best for the good of the realm, she has a good head on her shoulders and she is honorable but willing to politic if there is a need for it. She is proud but not arrogant. She truly represents the values of the monarchy and why it can work for some time. This is a women who chases death away. I respect that. I respect her sense of duty.

But Sophie also is a good example for everything that is wrong with this world view. Because she is so hard to herself she isn't able to address her needs. And so they appear through other means. Her fear of being left behind/being unloved manifests in her wish to control every aspect of her son's life. She over identifies with the monarchy and doesn't understand the feelings of others (if any fate fans are reading this: she is a lot like saber/saber alter in a way) she can't allow anyone any freedoms because she sees freedom as chaos and ruin.

And duty without freedom, without love, without the decision that you want to do it it sucks - it really fucking sucks. Don't do it.

Sophie's criticism of Elisabeth is correct. Elisabeth truly is a terrible empress. A monarchy is only a good idea if the people at the top are duty-bound and work tirelessly for the good of the realm, even at the expense of their relationships/ families and personal happiness. And you have to ask the question if a system which requires such cruelty in it's values is worth preserving.

[visualpoett]

Johann Zoffany - Erzherzogin Maria Christine (1742-1798)