The period that is referred to as Historism was, most especially in architecture, a certain mixture of styles. These styles had been in existence before, in other words these were historical styles and hence the name Historism. Its emergence dates back to the first half of 19th century although it lasted to the beginning of Art Noveau. The primary inspiration was Classicism but other styles, such as Baroque, Renaissance and even Gothic were also copied. This nostalgic return to previous styles marked the end of compact styles. Biedermaier was prevalent, especially in interior decorations and fashion but it didn’t reflect itself in architecture and didn’t influence the overall atmosphere of the period and style. People had to adapt to many changes: the influence of the nobility was waning, townspeople were becoming richer and more self-confident. Engineering, industry and science were fast developing and continually introducing new gadgets, discoveries and inventions. All this demanded people to adopt a new “rational approach”, that means that the rational side prevailed over the emotional one. This was however in conflict with their emotions; 19th century people still felt a desire to be in harmony with nature rather than with an industrial city. They were also more in favour of romantic ideas and ideals. It was time of developments in occultism and spiritualism, psychoanalysis was also on rise. Apart from all that people felt a desire to return to an “idyllic” past. This desire is especially to be seen in buildings. Romantic literature was in fashion as was fine art describing nature as well as death, love, spiritual creatures and romantic ideals. All this proves that in spite of all that cast iron and steel, new machines and factories, human sentiment and soul remained important.
Architecture
The somewhat sombre period of Classicism gave way to the Romantic era which became prevalent in architecture, literature, fine art, sculpture and music. In fine art, landscapes became in vogue, as did English parks with artificial ruins, waterfalls and caves. In architecture English and French Gothic styles were copied. This is true most especially for religious architecture and castles. Their owners wanted to substitute their loss of influence and importance with the conversion of their castles into a historical style that would highlight their belonging to an ancient family. They chose the gothic style for their purpose. However, their lifestyles were different from the middle ages, which is why it was only the exteriors of buildings that were copied in the form of exterior ornaments and the shapes of towers. Interiors were furnished in the historical style as well but most preferred were items that provided better comfort and used modern devices. In other words, the person of nineteenth century wasn’t able to and didn’t want to live like a person of fifteenth century. Without a doubt this period gave rise to some very interesting buildings such as Sychrov, Hluboká or the successful completion of St Vitus Cathedral and tourists and many other people are in favour of the style. On the other hand, we shouldn’t forget that these buildings are after all just copies of previous styles that used to be original in their own time. The same can be said about buildings that were built in Neorenaissance, Neobaroque, Neorococo and Neoclasiccism styles. One example is National Theatre (Neorenaissance 1881, burned down and re-opened in 1883) or the building that is currently the seat of the Academy of Sciences of the Czech Republic, palace Lažanských with the Slavia coffee house (its interior is however from different period), Rudolfinum, Faculty of Philosophy of Charles University, UMPRUM, Industrial palace at the Exhibition ground in Holesovice, National Museum and other buildings that were crafted with lots of care and often contain beautiful artistic interior decoration.
We shouldn’t forget new parks and orchards such as Stromovka that were reconstructed. Stromovka became a little bit smaller because of the construction of the exhibition ground and opened to public since 1804. The orchards of Chotkovy were also opened; alterations were done to parks in Letna, Kinského gardens and Petřín, all in the style of English parks. The revival of historical styles culminated in an eclecticism that meant that everything became mixed together. So the Gothic elements were supplemented with Baroque, Renaissance and others, all of them might adorn one house façade …such buildings belonged to the new middle class that originated from increasingly prosperous city dwellers. Biedermaier prevailed in their interiors and influenced the design of items of daily use and fashion.
Art
The advent of the new age demanded new styles. Of course, the primary artistic energy dominating the capital city was full of Czech nationalism ideas. Regarding music, even though Prague was still resonating from the genius of Mozart; there opened the way for other musicians as well. Paganini, Liszt and Berlioz performed here and the play Fidlovačka was performed with a composition from Skroupa that became after 1918 a Czech national anthem. Prague’s music academy for young artists was opened. Czech books, journals and other printed material were published; some of them were promoting ideas of Enlightenment. On offer were also non fiction and fashion literature, novels and stories. Among others the magazine called Květy české (Czech Flowers) later just Květy was published, for a few years the famous Czech writer Josef Kajetán Tyl worked as its editor. Another famous writer František Čelakovský contributed to Pražske noviny (Prague Papers) and to its insert Česká včela (Czech Bee). His successor was Karel Havlíček Borovský.
In fine art there was an apparent increase in depictions of everyday life in Prague. Significant painters such as Antonín Mánes or the portrait painter Antonín Machek, Josef Navrátil was famous thanks to his wall paintings. However, there wasn’t a big interest in paintings so many painters had to earn their living as house decorators.
Sculpture was influenced mainly by Neoclassicism, some of the most significant artists were Ignác F. Platzer, later on Fr. X. Lederer and Václav Práchner who is a creator of Vltava Allegory (nick named as Terezka) at Marianske Square. Later on Josef Mánes, M. Aleš, J. Ženíšek, V. Brožík and V. Hynais became famous and after them came J. Schikaneder, sculptors J. V. Myslbek and B. Schnirch, architects J. Zítek (designer of Rudolfinum, National Theatre) or A. Wiehl. J. Fanta, J. Koula, J. Mocker etc.
Women in time of Biedermaier and Historism
Society was under the sway of the romantic spirit, it found its way also in flat and house decoration as well as in fashion. Lace, cloths, both artificial and live flowers, ribbons, scents (such as famous Royal Violets), caps and coffee… the life style of nobility gradually reached out to the middle classes. Ladies were competing for the best decorated households and outfits. Men’s outfits staid rather sober but women’s dresses were enriched with a blouse and a waist defining corset that re-entered the stage of fashion. Skirts became a bit shorter and sleeves bigger, with names such as ham, pagoda or gigot sleeves are the proof of their enormous size. Their puffy shape was even supported by whalebones. The neck became lower and revealed even the upper part of shoulders, much to the delight of many gentlemen. Revealing napes surely served as inspiration not only for poets. That was underlined by sophisticated and complicated hair styles of frizzy curls that were framed the face and plaits wrapped around the head or into a bun. They were decorated by ribbons, flowers, bows etc. Bonnet tended to mess up complicated hair styles and that’s why it was replaced by hats. Expensive jewellery came back in fashion and women wore it in abundance. If they couldn’t afford the real McCoy, they had to settle for imitations, jewellery was a must. In winter they wore pelerine. It didn’t take long for sleeves to become narrower, check patterns started to dominate dresses, bodice didn’t have low neck and skirts became longer again and decorated with frills. After a while checks patterns were replaced by flowers and hairstyles underwent a change as well. Sophisticated buns moved towards the back of the neck. In the second half of the 19th century fashion was influenced by the so called Second Rococo. It was the time of crinolines that were made mainly off silk, muslin, taffeta and brocade. While sitting, these skirts and dresses took up the space of three people. Below them ladies wore up to six hand made petticoats! Progress however influenced even what woman wore below their skirts and flexible steel hoops were replaced in 1856 by springs that held a construction made out of lighter material. Petticoats disappeared, skirts were given a new shape and movement and artificial crinoline started to be manufactured. According to a source: “Crinoline helped to keep noble posture, that was demanded by ceremony at both the court of Queen Victoria and Empress Eugenie…It built a certain pedestal for the bust and head leaving their wearers to choose how they want to lift and swing it into motion. It is a typical fashion of the second empire and it was considered to be a symbol of the role of women,” Skirts wide, sleeves narrow – it became almost a rule that something big was balanced by something small and vice versa. Big skirts looked best as part of an evening dress and that’s why the most beautiful dresses were shown at balls that were hugely flamboyant. Fiacre, carriages and stage coaches were the favoured means of transport. Those who could afford it used the train that at the time was considered to be a very grand conveyance. Crinoline hardly celebrated its tenth birthday when in 1867 it met its demise. The time was ripe for woman’s suits, raincoats and a slimmer figure to prevail. Frillings, ribbons and decorations were replaced by simplicity and elegance, the silhouette was narrow and slim. The only item that made a woman not look as a complete pole was “turnyra” (Czech Jack). It was a skirt wider at the back in the waist area and narrower in knee area, finished with a trail. Bodices clung so closely to the body that it was difficult to breath. An absolute must was a parasol as ladies had to have alabaster complexion.
Man in Biedermaier and Historism
Man’s attire didn’t go through such radical changes as female ones, however even their appearance was subject to change. Top-hat, tail coat and a distinctive necktie were resistant to changing times at first but the shape of overcoat was already shaped according to body and it became part of a man’s wardrobe. Long narrow trousers were in fashion. The front lower edge was cut out in a curve as not to cover trousers that were usually of light colours. Coats were usually brown, blue, green or grey. Checked patterns were in fashion in gentlemen’s outfit as well as women’s, most especially on waistcoats. Of the prevailing trends stands out the collar that was high and stiff, reaching to the cheek, cuffs were folded and sticking out of coat’s sleeves. It wasn’t until the end of the period that the collar became folded in half as we currently know it and below it was a tie. Facial hair was not in fashion; at the most men had a kind of beauty spot below their nose and later on a beard. Hair become frizzier, top hats were replaced by a soft felt hat. New kind of shoes, the so called perka, started entering the scene. They often made a squeaking sound, especially when new, they were smooth and without a lace. Bohemians and artists’ outfits were different from casual ones. They wore eccentric hats, colourful trousers and other items that draw attention. Black colour that was until then on the edge of interest and considered to be a colour of decay, was, by the poet Buadelaire, promoted to become an “outfit of a modern hero”. Another writer, Balzac, considered lots of colours to be a sign of bad taste.
In the age of ladies crinolines, the tail coat is transformed into a jacket without tails, collars and pockets were decorated with fur or satin ribbons. The top hat was still worn. By 1870 the tail coat was completely out and men’s suits became similar to those of today’s, jacket, waistcoat, trousers, all made from quality English fabrics. Sport and working suits were also gradually appearing.
Linda Nová
Literature: Encyclopaedia of clothing and fashion, http://www.zamek-sychrov.cz, History of Praguey II.