of the 17th century. In 1791, a new, anonymously edited selection of letters appeared under the title "Confessions of Princess Elisabeth Charlotte of Orléans". In this publication, she was portrayed as The good, honest, German woman–without all the pampered and creeping court sensibilities, without all the crookedness and ambiguity of the heart–, representative of the more honest times of earlier centuries, to which the German courts had to return in order to prevent revolution. The Duchess of Orléans thus became a figure of considerable cultural importance in Germany. Friedrich Karl Julius Schütz published a new selection of the letters in 1820, also emphasizing the "strong contrast between the old, truly German simplicity, loyalty, honesty and efficiency...to the glamour, opulence, etiquette and gallantry, such as the unlimited intriguing spirit and the whole, systematically developed frivolity and hypocrisy of this court, for a full half of a century." "In the further course of the 19th century, the letters lost their immediate political relevance, but because of their cultural and historical significance and their German usability, they found equally committed editors and a broad public." Wolfgang Menzel, who in 1843 edited a volume of letters addressed to her half-sister Raugräfin Luise, saw in the Duchess of Orléans the simple German woman and the most open soul in the world, who only had to watch too much moral corruption... understandable that she sometimes expresses herself about it in the crudest words. From then on, the letters were widely used as anti-French propaganda by a growing German nationalist movement. Liselotte was stylized as a martyr of the French court and elevated into a national cult figure, by figures such as Paul Heyse, Theodor Schott and Eduard Bodemann. Fashion The so-called palatine is named after Liselotte; it is a short cape or turned-down collar trimmed with fur, which women use to protect the cleavage and neck from the cold in winter. Originally, she was mocked by the French court because of her "old" furs that she wore when she arrived from Heidelberg, but since she was very popular with the king in the 1670s, the ladies began to imitate this trend during the unusually cold winter of 1676. The result was a womenswear item valued for centuries. When Liselotte wanted to put on her old fur again in November 1718 to see a performance of Voltaire's Oedipus, to which she was dedicated, she found that it