Расскажи вкратце (2000 символов) о рубиновой парюре Принцессы Сиси . Источник "Empress Sisi's famous ruby and diamond set.

Ruby and Diamond Parure of the Empress Elisabeth, Princess Sisi in Bavaria, the wonderful jewelry, was a wedding gift from her husband, Franz Joseph Emperor of Austria, in 1854. The earlier version are made by courtjeweller Biedermann, using the rubies of Queen Marie-Antoinette of France.
The picture shows in detail, a part of the guirlande and the bandeau - of diamonds and rubies, which was very nice in real and made by Köchert. Altered some times and at least made with an enwinded ribbon between the wildrose buds.
It's such a pitty that Winterhalter did not made another painting, of her. All paintings made of her with the ruby parure are not good enaugh to give an impression of that fine costly jewellery.

The bigger stones from that parure were obviously spinelles. All of them came from queen Marie Antoinette of France and had been inherited by her daughter Madame Royale, Duchess of Angoulême.
When she was fleed from the Temple prison, Marie Antoinette´s daughter went into exile. When she arrived in Vienna, her cousin the emperor, gave her the jewels her mother had sent to her family for safe keeping. King Charles bought the jewels from Madame Royal and from this time they where part of the Imperial Habsburg family jewels.

 

Some of the royal imperial jewelry and jewels of the Austrian Imperial House are known, but unfortunately a large part has disappeared. Like her stars, the Empress also had a jewel set of diamonds and rubies that changed over time.

In such a way that the Empress could wear the individual flowers as jewelry or as a bandeau with a looped ruby ??ribbon , or the ruby ??ribbon individually . It is always assumed that there was only one central flower as the center, but there are always groups of two, which are then separated by a band.

Its creation dates back to 1854, when Emperor Franz Joseph commissioned the then court jeweler Biedermann to create the set in order to give it to his bride Elisabeth on the occasion of the imperial wedding .

The main components of this jewelry come from Queen Marie Antoinette's trousseau and were taken out of the country during the French Revolution. Emperor Franz II then acquired the jewels from his niece, Madame Royale, and added them to the rest of the private jewelry of the Supreme Imperial House.

The original design drawing by Alexander Töpfert for the redesign of the diadem no longer exists, only a later drawing. There are photographs of the ruby ??set and individual pieces that are kept in the archives of the Kunsthistorisches Museum.

On a photograph of the diadem, you can see the differences - the parure to the later designs and drawings are clear, in the actual version more flower heads and buds appear. There is no really authentic and good portrait with it, but with these models you can see that there are pairs of flowers in the middle and only then does the ribbon come.

A recording from the 3rd version is known. It was made by AE Töpfert based on a design by Alexander Töpfert, 1890-1898 from the ruby ??jewelry set of Empress Elisabeth of Austria. Below in the picture is the earlier design of the so-called Guirlande, a design by Theophil Hansen for Töpfert.

In the course of repairing and redesigning numerous pieces of jewelry from the Vienna Treasury, in 1879, Töpfert was commissioned to change the diadem from the ruby ??jewelry set. In the later tracing, which is in the Töpfert archive, buds are only shown on the edges of the jewelry and individual diamonds emerge between the leaves .

The photo shows a rose petal bandeau around which a two-tone band made of rubies and diamonds winds. In the middle of the bandeau are two large flowers, some buds and leaves made of diamonds and rubies. The looped band on both sides separates the group from the remaining elements. The side parts of the tiara are also formed by these plant motifs and taper towards the end of the bandeau.
A naturalistic flower in the middle is centered around a large ruby, possibly cushion cut, with its leaves, a wreath of five larger petals on which rest smaller ones of the same number, all of which are formed using small diamonds in different cuts. The stamens of the pistil, like those found in wild roses, are also very naturalistic in detail.

This detail can also be seen in Hansen's diadem design from 1862. The buds were designed in a similar way; the closed flowers are represented by a ruby, around which the plump bud cover is stretched. The band is in the same colors white and red, made of rubies and diamonds. It impresses with its accurate reproduction of wild rose tendrils and its gentle movement evoked by the loop.
Symmetry gives the tiara structure and does not allow for restless movement, yet it does not appear frozen. Bandeau with floral motifs were popular throughout the 19th century. The idea of ??adding a band to the composition shows Töpfert's innovative talent. One also remembers the color red - white - red , the colors of Austria, already in the monarchy, were elegantly integrated. The color change from white-red-white...diamond-ruby-diamond as an original contrast to the round shapes of the flowers. It is no longer possible to reconstruct the shape of Biedermann's original diadem and exactly what changes Quichert made based on the surviving material.

Apparently this jewelry had no base, but simply formed a rose vine. The number of flowers was increased in the execution. The buds have been given a naturalistic design and no longer convey the image of a crown. The emphasis on the center is still there, but significantly weaker, since it was no longer formed by a large rose, which is raised by leaves and a bud, but by two flowers facing each other. The two ends of the diadem are no longer identical, but end with a bud and leaves on one side and a flower, a bud and a leaf on the other side. You can divide the jewelry into five separate pieces and wear it as a brooch or hair accessory.

The idea of ????division can be traced back to the wish of Empress Elisabeth. In 1864 she commissioned the jeweler Töpfert to change the garland. The external appearance of the diadem and the number of gemstones - 15 emeralds, 1,478 brilliant-cut diamonds and 2,456 rosettes - were to remain unchanged.
Only parts should be redesigned so that individual flowers and leaves can be removed so that they can be worn elsewhere, as already mentioned at the beginning. The cost was 300-400 guilders.

Large brilliant jewelry was very expensive; around 1850, 80,000 - 100,000 guilders were charged for such a piece in Austria. We also know of a later redesign of the emerald jewelry by Quichert after the emperor inherited. Empress Elisabeth then ordered numerous pieces of jewelry from the court jeweler.

For example, in 1888, when the young German Emperor Wilhelm II came to visit. The emerald tiara, which had just been reworked by Alexander Töpfert 10 years ago, no longer met the empress's requirements.

She wanted it reworked - with valuable and large stones, more magnificent and impressive. The whereabouts of the bandeau are unknown.

After the fall of the Austrian Empire in World War I, the Habsburg family jewels were brought to Switzerland on behalf of Empress Zita and Charles I of Austria. However, other items were sold directly by the imperial family in order to ensure the family's livelihood."