Portugal Antique Oil Painting Replica Earrings - Leopoldine, Archduchess of Austria , 1815- Palace of Queluz, Versailles Renaissance

$45.00

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These lovely earrings are replicas of an oil painting dated, 1815 of D. Leopoldine, Archduchess of Austria. The earrings are very lightweight and measure 3 1/2" long. They will come in a gift box.

According to Wikipedia:
Dona Maria Leopoldina of Austria (22 January 1797 – 11 December 1826) was an archduchess of Austria, Empress consort of Brazil and Queen consort of Portugal.
She was born in Vienna, Austria, as the daughter of Holy Roman Emperor Francis II, and his second wife, Maria Teresa of Naples and Sicily. Among her many siblings were Emperor Ferdinand I of Austria and Marie Louise, Duchess of Parma, the wife of Napoleon Bonaparte. She was also the great-niece, through her paternal Grandfather, of the ill-fated Queen Marie Antoinette of France.
Leopoldine was born on 22 January 1797 in Schönbrunn Palace, in Vienna, Archduchy of Austria. She was given the name Leopoldine Caroline Josepha.[1]
She was raised in accordance with the educational principles laid down by her grandfather, Emperor Leopold II. Among these was the habit of exercising her handwriting by writing the following text:[2]
“ Do not oppress the poor. Be charitable. Do not complain about what God has given you, but improve your habits. We must strive earnestly to be good. ”
In addition, she and her sisters were taught to speak French and Latin. They were also educated in drawing, piano, riding and hunting.[2] Her mother died when she was ten years old and her father went on to remarry Maria Ludovika of Austria-Este. Her late mother was a soprano and Leopoldina had the chance of meeting Johann Wolfgang von Goethe in 1810 and 1812, when she went to Carlsbad with her stepmother.[2] Her passions included natural sciences, especially botany and mineralogy.[2] She was formed according to the three Habsburg principles: discipline, piety and a sense of duty.[2]
Although Maria Theresa of Naples and Sicily was her birth mother, Leopoldina always considered Maria Ludovika d'Este, her stepmother, to be her mother and she grew up with Ludovika as her "spiritual mother".[2]
Marriage to Pedro[edit]

A coloured engraving representing Austria and Augusta, the two ships that took Leopoldina to Brazil, departing from Trieste
On 24 September 1816 it was announced by Leopoldina's father that Pedro of Braganza wished to take a Habsburg princess as his wife.[3] Klemens von Metternich suggested that it should be Leopoldina to go get married, as it was "her turn" to become a wife.[4] Two ships were prepared and in April 1817 scientists, painters, gardeners and a taxidermist, all with assistants, travelled to Rio de Janeiro ahead of Leopoldina. Leopoldina, in the meantime, studied the history and geography of her future home and learned Portuguese. During these weeks Leopoldina compiled and wrote a vade mecum, a unique document the like of which has never been produced by any other Habsburg princess.[5]
On 13 May 1817 Leopoldina was married to Dom Pedro per procuram (by proxy) in Vienna. At the ceremony the bridegroom was represented by Leopoldina’s uncle, Archduke Charles. Embarkation took place in Livorno on 13 August 1817 among much celebration, and after an adventure-filled voyage lasting 81 days, Leopoldina arrived in Rio de Janeiro on 5 November and finally met her husband.[6]

Arrival of Princess Leopoldina in Rio de Janeiro, 1817
From a distance Pedro initially appeared to Leopoldina to be a perfect, well-educated gentleman, but the reality was very different. Dom Pedro was a year younger than Leopoldina and sadly rarely measured up to the descriptions given by the matchmakers. His temperament was impulsive and choleric, and his education but modest. Even spoken communication between the young married couple proved difficult, as Pedro spoke very little French and his Portuguese could only be described as vulgar.[6]
In keeping with Portuguese tradition, at the age of eighteen Pedro of Braganza not only had a string of amorous adventures behind him and was principally interested in horse racing and love affairs, but in 1817 (the year of his marriage to Leopoldina) he was living as if in wedlock with French dancer Noemie Thierry, who was finally removed from the court by his father a month after Leopoldina's arrival in Rio de Janeiro.[6]
The young married couple took up residence in six relatively small rooms in the Palace of São Cristóvão. The inner courtyard and path to the stables were unpaved and the tropical rainfall quickly turned everything to mud. There were insects everywhere, including in their clothing, for the uniforms and court regalia made of velvet and plush rotted and turned mouldy in the heat and humidity.[6]
Empress of Brazil[edit]

Dona Leopoldina, then Princess Royal Regent of the Kingdom of Brazil, presides a meeting of the Council of Ministers on September 2, 1822.
Maria Leopoldina became Brazil's first empress consort. She also played an important role in the process of issuing a Declaration of Independence. On 2 September 1822, a new decree with demands from Lisbon arrived in Rio de Janeiro, while Prince Pedro was in São Paulo. Leopoldina, advised by José Bonifácio, and using her power as Princess Regent, met on 2 September 1822 with the Council of Ministers. She decided to send her husband the news along with a letter advising him to declare Brazil's independence and warned him, "The fruit is ready, it's time to harvest." Prince Pedro declared the country's independence upon receiving the letter on 7 September 1822.
When his father, João VI, died on 10 March 1826, Pedro inherited the Portuguese throne as King Pedro IV, while remaining Emperor Pedro I of Brazil. Maria Leopoldina thus became both Empress consort of Brazil and Queen consort of Portugal. However, two months later, Pedro was forced to give up the Portuguese throne to their seven-year-old daughter Maria.
At the end of November 1826, Pedro traveled to Cisplatina (now Uruguay) to join his soldiers. To mark the occasion there was a large farewell reception on 20 November 1826, and Pedro demanded that both women, Maria Leopoldina and his official mistress Domitila de Castro, Marchioness of Santos, appear together before the ecclesiastical and diplomatic dignitaries and receive his kiss on the hand. With the fulfillment of this demand, Maria Leopoldina would have officially recognized her husband's mistress, and for this she refused to appear at the reception. This caused a bitter argument with Pedro, who departed with no resolution to the situation.[7]
Shortly after, Maria Leopoldina became ill, had spells of fever, became delirious at times, and then suffered a miscarriage on 2 December 1826. She died eight days later, on 11 December, five weeks before her thirtieth birthday. She was buried on 14 December 1826 in Rio de Janeiro, in the church of the Ajuda Convent.
According to Wikipedia:
The Palace of Queluz (Portuguese: Palácio de Queluz, Portuguese pronunciation: [kɛˈɫuʃ]) is a Portuguese 18th-century palace located at Queluz, a freguesia of the modern-day Sintra Municipality, in the Lisbon District. One of the last great Rococo buildings to be designed in Europe,[1] the palace was conceived as a summer retreat for Dom Pedro of Braganza, later to become husband and then king consort to his own niece, Queen Maria I. It served as a discreet place of incarceration for Queen Maria as her descent into madness continued in the years following Dom Pedro's death in 1786. Following the destruction by fire of the Ajuda Palace in 1794, Queluz Palace became the official residence of the Portuguese prince regent, John VI, and his family and remained so until the Royal Family fled to the Portuguese colony of Brazil in 1807 following the French invasion of Portugal.[2]
Work on the palace began in 1747 under the architect Mateus Vicente de Oliveira. Despite being far smaller, the palace is often referred to as the Portuguese Versailles.[3] From 1826, the palace slowly fell from favour with the Portuguese sovereigns. In 1908, it became the property of the state. Following a serious fire in 1934, which gutted one-third of the interior, the palace was extensively restored, and today is open to the public as a major tourist attraction.
One wing of the palace, the Pavilion of Dona Maria, built between 1785 and 1792 by the architect Manuel Caetano de Sousa, is now a guest house allocated to foreign heads of state visiting Portugal.

Queluz's architecture is representative of the final extravagant period of Portuguese culture that followed the discovery of Brazilian gold in 1690.[4] From the beginning of the 18th century many foreign artists and architects were employed in Portugal to satisfy the needs of the newly enriched aristocracy; they brought with them classical ideas of architecture which derived from the Renaissance. In its design, Queluz is a revolt against the earlier, heavier, Italian-influenced Baroque which preceded the Rococo style throughout Europe.[4]
Comparisons with the far larger and more Baroque Versailles are unwarranted: Versailles is referred to as having "an aura of majesty" and it was built and dedicated to exhibit in stone "all the glories of France,"[5] whereas the far smaller palace at Queluz has been described as "exquisite rather than magnificent" and looking like "a very expensive birthday cake".[6] In its frivolity, the architecture of Queluz reflects the lifestyle led by the Portuguese royal family at the time of building: during the reign of Dom Pedro's brother, Joseph I, when Portugal was in practice governed by a valido or favourite, the Marquis of Pombal. Pombal encouraged the royal family to while away their days in the country and leave affairs of state to him.[4] Thus the extravagant, almost whimsical architecture of Queluz, set apart from the capital city, exactly represents the politics and social events of Portugal during this era, and the carefree and flamboyant lives led by its occupants.[4] Queluz's role as a haven for those without responsibility was, however, to be short-lived.
On the accession to the throne of Dom Pedro's wife Maria in 1777, Pombal was dismissed, and Dom Pedro and Maria ruled jointly in his place, using the partially completed Rococo palace at Queluz as a retreat from affairs of state in much the same way as Frederick the Great used Europe's other famed Rococo palace, Sanssouci.[7]
The site chosen for this summer retreat was in a secluded hollow.[8] It had originally been owned by the Marquess of Castelo Rodrigo. When the ruling Spanish were driven from Portugal in 1640, the property was confiscated, and Rodrigo was accused of having collaborated with the Spanish. The estate and its hunting lodge then became one of the many properties of the Portuguese king, João IV. He set it aside as one of the properties reserved for the second son of the reigning monarch.[9] Thus it came into the hands of Dom Pedro, the second son of João V.
The architect, Mateus Vicente de Oliveira, had trained under Ludovice of Ratisbon and Jean Baptiste Robillon[10] during the construction of the royal palace and convent of Mafra. The more sombre and massive classical palace at Mafra does not appear to have influenced the design for Queluz, which is in a lighter, more airy style.[1] Work began in 1747 and continued rapidly until 1755, when it was interrupted by the Great earthquake of 1755, after which the labourers were more urgently required for the reconstruction of the city. The earthquake proved to be a catalyst, because the urban rebuilding process stimulated the development of the arts in Portugal.[4] The subsequent architecture of Queluz was influenced by new ideas and concepts. When work recommenced in 1758, the design was adapted for fear of another earthquake. Thus the later works take the form of low, long buildings, more structurally stable than a single high block: as a result, viewed from a distance the palace resembles long enfilades linked by higher pavilions rather than one single construction

The oil painting is dated 1815 by Josef Kreutzinger.

Wear a Piece of History!

All my tiles are replicas made of polymer clay where the image actually becomes part of the clay through baking. No glue is used in the process. The pieces become waterproof and scratch resistant. Due to the handmade and hand shaped nature of each tile, slight variations will occur, as no two pieces are alike.



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Thank you,
Atrio

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