| Categories | |
| Object type | |
| Titles | - 'Part II: Fortgesetzter Kunst- und Fleiss-übender Nadel- auch Laden-Gewirck- Ergötzungen oder des neu-erfundenen Neh und Stick Buchs Anderer Theil'
(series title)
- 'Further Delights of the Art and Industry of practising Needle and Loom; or newly invented Sewing and Embroidery book Another part'
|
| Materials and techniques | Engraving and etching on laid paper. |
| Brief description | Design for title page of pattern book for embroidery, about 1742 by Margaretha Helm (1659-1742) |
| Physical description | Design for foreword incorporating a wreath of acanthus leaves surrounding the German inscription. Foreword and production instructions take up three pages (front and back) of the album . |
| Dimensions | - Size of plate. height: 19.3cm
- Size of plate. width: 29cm
|
| Production type | Design |
| Marks and inscriptions | - 'Vorrede
Wie die Sinnen der Menschen insgemein von grosser Ungleichheit; so sind auch die Ergetzungen des Frauenzimmers nich alle von einerlei Gefälligkeit: und geschicht es öffters das diese sonst herzliche Creaturen etwas lie = ben und erwehlen / das ihren hernach am wenigsten nutzet. Wissenschafft der Sprachen ist zwar eine solche Süssigkeit / die dem / der sie gekostet / weit mehr vernüget / als vergängliche und meistentheils von Unwürdigen besessene Schätze und Güter; daher auch die Türcken solche Gabe Gottes nicht höher zu rühmen wissen / als wenn sie sagen / ein Mensch / seye so vieler Menschen werth / als er Sprachen verstehe; aber wann die Wissen = schafft so mancher Zungen der Völcker nur zum prangen dienen soll / so gleich sie denen Augen in den prächtigen Pfauen= Federn / die nicht sind / was sie scheinen. In solcher Betrachtung haben etliche den Frauens-Personen / weil dieses zarte Geschlecht leicht in einer Sache zu viel thun könne / die Erlernung der Sprachen / oder die Gelehrsamkeit / gar abgesprochen ; und scheue = te sich der sonst gelehrte König Jacobus der Erste in England nicht zu sagen / dass Leute / die eine Weibs = Person in Literis unter =richteten / eben so viel thäten / als diejenigen / die einen fuchsen /zahm machten / welcher alsdann nichts anders gelernet hat / als desto hurtiger zu stehlen / und seine Schelmereyen desto artiger zu bedecken. Gar zu grob machte es der unbillig urtheilende Arabi=sche Poet Pharezdaki , welcher / da er ein schönes Carmen einer Araberin gelesen / in diese Worte ausbrach: Wann die Henne wie der Hahn singet / muss man ihr Hals abschneiden.
Ich bin ganz anderer Meinung / und sage / ein Kluger / mit Wissenchafften gezierter Geist / in einem solchen Leib / sei wie win hell= spielender Diamant in Gold zu achten. Nur dieses ist zu beklagen / wenn man über solchem Wissen vergisst / was man wis=sen soll / oder gar roll Einbildung zum Götzen auf dem Altar der Selbst= Liebe wird.
Die Music / ist einer recht edle Ergebung / und weiß ich nicht was dießes für garstife Gemüter sein / denen die Schönheit die=ser Kunst nicht gefällt: Gewis / diejenigen haben das Urtheil vernünftiger Menschen verloren / welche übel von der Music ur= theilen. Weibs= Personen / die hier zu Lust haben / find / wie die Erfahrung bezeuget / auch zu anderen löblichen Sachen auffe=muntert und tüchtig: und wann sie nur keine [?] feine [?] Sirenen agiren / die mit ihrer lieblichen und nette Triller schlagenden Stimme / o=der der mit ihren fertigen / auf anmutigen Instrumenten herum lauffenden / Fingern / Herzen der Verliebten fangen wollen; so kan man sie für warhaftige Musen halten / die nicht einen erdichteten helicon bewohnen/ sondern fest gegründet sind auf dem heili=
gen Berge Sion. Dieses einige ist dabei zu betauren / daß/ wann aus Jungfern Weiber werden / und die Kinder ein Lamento machen / oder sonst in dem Ehestand / da alles aus einem andern Ton gehet/ manchesmal ein Lied aus B Dur angestimmet wird/ die Sing= und Schlag= Bücher gar zu viel Feier= Tage haben/ oder wolgar nimmer angesehen warden.
Page 2
Eine vergängliche Ergebun haben die Eitel=gesinnten am Spiegel und Kleider= Behälter: Denn wann sie sich dieses lie=ben Glasses eine Zeitlang / al seines Ratgebers zur Verbesserung der Schönheit / oder in Übung der Geberden/ bedienet; so sagt es ihnen bald weider / daß das schöne Gesicht / auch sein Abnehmen habe / und das Alter da Runzeln aussäe / wo vorhin Li=lien und Rosen gepranget. Und welche Vergnügung kan der veränderlichen Kleider= Tracht seyn / welche / wann sie kaum worden / schon wieder alt / und nicht mehr geachtet wird. Petrus hält gar nichts von solcher Kleider= Lust / welche die See=le offt gar nacket macht / denn des Frauenzimmers Geschmuck / soll / wie Er sagt / nicht auswendig seyn mit Haarflechten / und Gold umhaengen / oder Kleider anlegen / sondern der verborgene Mensch des Herzens unverrückt / mit sanften und Stillen Gei=ste / das ist köstlich für GOTT. I. PET. 3. 3.
Mit einer verderblichen Ergebung [?] belustigen sich die Spiel= liebende / weilhiedurch Zeit / Freundschafft und Gelegenheit Gutes zu thun / nict selten verderbt und verspielt wird. Die Zeit / braucht keines Zeit= Vertreibs / sie laufft schon selbst ge=schwinder fort / als man es meinet / und lässt sich keine vergangene Stunde und grosses Geld wieder kauffen. Neben dem Spiel=Tisch [?] kan der Freundschaffts=Altar nicht allezeit ungekranck et stehen: Und es ist nichts neues / dass die Karten= Blätter das vorige Affections. Band auflösen / oder die Bretspiel= Steine die von Freunden erforderte Beständigkeit wegsteinigen. Wie mancher Gulden bleibt in dessen zurück / womit den dürfftigen Rechsten könte geholffen / und die Segens = Vergeltung erlanget werden. Die halberstädtischen Bauren im Dorff Stopke / verlören nur / wie man sagt / viel won ihren Privilegien / wann ei=ner unter ihnen / als berühmte Schach= Spieler / von einem Fremden überwunden würde: Aber das Frauenzimmer gewinnet allezeit / wann es die Spiel= Lust überwindet. In Opern Häusern und auf Tanz= Böden sich ergeben / ist ein Ergebung die mehr den Comödianten und Tanz=Meistern einträgt / als derjenigen / die ihnen das Geld gibt. Denn wann man Augen und Ohren an dem einen gesättiget / so hat man nichts mehr davon / als das Angedencken / daß man es gesehen und gehöret / und noch über dieses offtmals eine Aergernis im Herzen. Durch Tanzen wird wol der Leib geschickt und in Geberden angenehm gemacht: Aber die Gute Natur Gibt man= hem. artigen Kind schon von sich selbsten / was der Tanzmeister einer andem / welche die Gaben von der Natur nicht hat / auch nicht / ums Geld zu geben vermag. Und gesetzt / man habe alle Geheimnüsse dieser Kunst erlernet; so hat man doch nichts das durch gelernet / was in der Haushaltung nutzte. Daher auch der Römische Geschicht =Schreiber Salustus das allzukünstliche Tanzen an der Sempronia nicht loben woollen / sondem dieses Urtheil von ihr gefället / sie habe es besser gekönnt / als einer ehrlichen Yungfrau [wol?] anstehe.
Weit mehr Lob verdienen diejenigen Edelmütige welche mit Zeichnen und Reissen oder Nehen und Sticken / ihre Zeit zu=bringen / und sich mit dieser Kunst belustigen Denn weil der Müssiggang keinem Christen anstehet / und jederman mit.
Page 3
Mit Arbeiten sein Brod essen soll so ist es ja rühmlich / daß diese durch die Nadel den Müssiggang verjagen / und wie andere ehrliche Leute / mit Fleiß und Emsigkeit / ihren Bissen in Mund schieben / welchen die Erde / nicht ohne Mühe und Arbeit / herfür bringt. Das unvernünfftige = Vieh hat nichts ohne Bemühung / wie solte denn der vernünfftige Mensch mit Faullenzen die Gaben Gottes verzehren wollen? Der Haus=Scepter und dieses Kunst-Gewehr / die Nadel / stehen in einer Haushaltung wol beysammen: Und legt die Frau (wofern sie nicht sonst zur Nahrung helffen muss) entweder ihre Faulheit oder Unwissen=heit an Tag/ wann sie die Sorge der Nadel / Mägden oder andern Personen überlässt. Hingegen macht man sich durch sol=che Wissenschaft bey vielen beliebt / und erspahret manches Geld / das sonst für dieses / was man sich selbst machen kan / ausge= geben werden müste: Man dienet also hiemit sich und andern / und der Tabea Ruhm / welche ihre Nadel nicht feyren lassen / grünet noch in der Blätten heiliger Schrifft AEtor 9.13.) obgleich ihr Leib in der Erden längst vermodert.
Damit nun solche Kunst= Liebhaberinnen in ihrer Belustigung neue Belustigung haben / oder Lehr= begierige zu mehrerer Lust angefrischet werden mögten; ist die / durch ihre Künstliche Zeichnungen und Nadel / Ruhm= bekannte (Tit.) frau Marga=retha / des (Tit.) Herrn adam Rudolph Helms / wol= verordneten Cantoris bei St. Egidien / Ehe=Liebste / bewogen worden / ihr heraus gegebenes Neh= und Stick= Buch / (sonderlich da sie verspühret / daß solches geneigte Augen bey vielen gefunden/) durch diesen Andern Theil zu vermehren / und deren / die solches vonnöthen haben / noch weiter damit zu dienen / indem ihre Ge=dancken immer darauf gerichtet / wiesieder zarten Jugend in Künsten und Wissenschafften forthelffen / oder Erwachsenen zur Übung ihrer Geschicklichkeit weiter nützlich seyn möge.
Bedienet euch demnach / werth-geschätzte Liebhaberinnen / solcher schönen Arbeit / dieses Buchs nach eurem Gefallen: Da=mit aber weder Hoffart noch Rühmoucht sich zur Geschicklichkeit geselle und die Arbeit eitel mache: so vergesset nicht / daß ihr sterblich seyd / und im Guten zu verharren / spannet einer Herz / Gleich einem reinen Tuch / mit fäden der Liebe an dem Kreutz eurers Erlösers / als einer Rahme / auf/ daß Er / durch seinen Geist darinnen wircke / allerhand schöne Tupend =Bil=der / die man in eurem Leben sehen möge. (Translation of foreword.)
- Translation
- Page 1
Such as the senses of Man are of great difference on the whole/in general; so are neither all diversions of women of the same favour: and it happens occasionally that these otherwise sincere/affectionate creatures love and choose something that is the least useful to them afterwards.
The knowledge/science of language is indeed such a sweetie/candy that to the one, who tasted it, it is much more amusing than [the] fading/transient treasures and goods mostly possessed by the unworthy;
Hence the Turks too cannot appreciate (literally “don’t know to praise”) this gift of God higher than when they say a man is worth that many men as he understands languages;
but when this science of so many a tongues of folks/peoples serves only to boast, then it resembles the eyes of the splendid peacock’s feathers that are not what they seem to be.
In such a view, quite a few have denied/disputed women learning languages or even [their] eruditeness [to do so], because this soft sex could easily overdo things (literally: “do too much in a matter”):
and the otherwise erudite/learned King James the First in England was not afraid to say that people who teach a woman literis (i.e ~ sciences and literature), do as much as those who tame a fox, which then has learned nothing more than to steal the quicker and to conceal his villainous devilments/deeds the better.
Even too rude did it the unreasonably judging Arabic poet Pharezdaki who, because he had read a beautiful carmen (i.e. a poem) to an Arabic woman, burst out into these words: when the hen sings as the cock, her neck has to be cut off (literally: “one has to cut off her neck”).
I have a totally different opinion and say that an intelligent/clever, with sciences adorned mind in such a body, is to be held in such a high regard as a light-playing diamond [set] in gold.
Only this is to lament, [that] when one forgets about such knowledge what one has to know or, full of conceit, even becomes the idol on the altar of self-love.
The music is a fairly noble entertainment and I don’t know what this is to invidious minds, to which the beauty of this art does not appeal: Certainly those have lost the judgement of sensible people, who adjudicate badly on music. Women who fancy doing this are, as the experience attests, also enthusiastic and capable of other commendable matters:
and when they just don’t act as sirens , who with their lovely, nice voices warbling trills or with their accomplished fingers, running back and forth on graceful instruments, want to catch the hearts of [courting] lovers; one could thus take them for the very muses who do not live on a fabled helicon [Mount Helicon in Greece is the seat of the muses], but are founded firmly on the sacred mount Sion [hill Zion just outside of the Old city of Jerusalem].
Thereby, only this sole [thing] is to be lamented that when spinsters become women and the children produce/make a lamento [elegy] or else a song in B minor is intoned sometimes in the marriage, as everything results from another tone, the song books have even too many holidays and are most probably never being looked at again [“Schlagbuch” is… apparently a medieval book type bound in a piece of cloth that was hung on the belt of monks].
Page 2
A transient diversion/pleasure have the vain-minded at the mirror and the wardrobe: because when they use this dear glass for a while as a councillor for the improvement of beauty and or in the exercise of gestures; it then tells them soon again, that the beautiful face has its decline and age sows wrinkles where before lilies and roses abounded/dazzled. And which amusement can there be in the changing dress/costume, which when they are hardly young, have already become old again and are not esteemed anymore.
Peter thinks nothing at all of such dresses’ zest, which often makes the soul even naked, because the women’s adornments should, as he says, not be exterior with plaits and gold being hung or dresses being put on,
but [instead] the hidden person of the heart, unshakeable with soft and silent mind that is delightful to GOD. I.PET.3.3. [1 Peter, ch.3, verse 3 .'whose adorning let it not be that outward adorning of plaiting the hair, and of wearing of gold, or of putting on of apparel:' From: The Holy Bible conatining the Old and New Testament (printed by J. & C.F. Clay, at the University Press, cambridge).
With a pernicious diversion the game-loving amuse themselves, because hereby time, friendship and occasion to do good, are not seldom corrupted and gambled. The time does not need a pastime; it passes already by itself faster than one thinks, and no past hour and big money can be bought again. Besides the games table the altar of friendship cannot always stand without being offended:
And it is nothing new that cards dissolve the previous affectionate bonds (literally: affection-bonds) or the board game counters stone away the constancy required by friends. How many a florin stays behind however, which the most needing rightful could be helped with and the blessing redemption could be achieved. The half-urban peasants in the village Stopke would lose, as the say, many of their privileges, when one amongst them as a famous chess player would be defeated by a stranger: But a woman wins always when she overcomes gambling lust.
To indulge oneself in opera house and on dance floor is an indulgence that yields more to comedians and dancing masters than to those who give/pay them money. Because when one has satisfied eyes and ears with one [thing], one doesn’t get anything anymore from it than the memory that one has seen and heard it, and above this often a nuisance in the heart.
Through dancing the body is arguably made skilful and the gestures pleasing: but the good gives many a child already by itself what the dancing master cannot give another who does not posses the[se] gifts by nature, not even for money.
And given that one has learned all secrets of this art; one has learned nothing that could be useful to housekeeping from this. Therefore too, the Roman historiographer Salustius didn’t want to praise the overly artistic dancing of Sempronia, but pronounced this judgement on her, [that] she could do it better than it possibly suited a respectable damsel/virgin.
By far more praise deserve those magnanimous who pass their time drawing and sketching and sewing and embroidering and divert themselves with this art.
And because the idleness befits no Christian and everyone
Page 3
should eat his bread through work, it is therefore laudable that these [the Christians I suppose] chase away the idleness with the needle and as other honest people put their food, which the earth doesn’t produce without effort and work, with industry and eagerness into their mouth. Insensible cattle have nothing without effort, how then should conscious man consume the gifts of God with laziness? The house-sceptre and this art-weapon, the needle, go well together in a household: and the woman (inasmuch as she has not to administer to the food) shows either her idleness or ignorance when she leaves the care of the needle to the maids or to other people. By contrast, one makes one-self popular with such a skill (science) with many [people] and one saves a lot of money that otherwise would have to be spent on that which one can do oneself. Therefore one serves thereby oneself and others and Tabea’s glory, who doesn’t let praise her needle, greens still in the leaves of the holy Bible [AEtor. ?? 9.13; (this apparently refers to the Acts of the Apostles, the abbreviation is difficult to decipher) although her body decayed in the earth a long time ago.
So that such art-lovers find new amusement in their amusement or the ones who are eager to learn ["Lernbegiehrige”] are animated to more pleasure,
(Tit., title?) Mrs. Margaretha, wife of (Tit.) Mr. Adam Rudolph Helm, well-ordained Cantoris (choir master) of St. Egidien, [and] known for her artistic drawings and her needle’s fame, was induced
to extend her published Sewing and Embroidering Book (particularly because she senses that this has found many inclined eyes) by this other part and
to further serve those who need such a thing, in that her thoughts are always directed to how they can encourage tender youth in the arts and sciences or [how they can] be useful to adults in exercise of their skills.
Avail yourself therefore, dear-esteemed lovers of such nice work, of this book as you like: But so that neither pride nor thirst for glory joins the skilfulness and makes the work idle; do not forget that you are mortal and to remain in the good, spread your heart, like pure cloth with threads of love on the Cross of your Redeemer as a frame, so that He may knit all kinds of beautiful images of virtue that may be seen in your life.
Page 4
Literally: Preliminary report [Preamble]
To the inclined lovers of this other Part of the continued Sewing and Embroidery Book, how and in which way to use the illustrated figures in it.
Nos 1-16. Actually belong to the chest/drawer-knitting/weaving [frame-loom weaving] as to the Cross and French stitch in sewing: But it is not less useful to braid-trimmers, hand knitters, weavers and cloth-weavers or other people who handle similar work.
The following numbers 17-24 can also be used in all kinds of manners, but it will be especially useful to the satin, brocade and damask weavers.
No. 25 belongs to the binding off of a woman's skirt and no. 26. shows two stomachers; these can be made by frame-loom weaving [Laden-gewirk?] in Dress [?]-manner; [but] can also be sewn by the Cross and French stitch.
No. 27 contains a drawing/sketch for two slippers together with a shoe: These can be woven by the frame-loom or sewn in Cross and French stitch.
No. 28 presents two women's bags which one can either weave or sew with the Cross and French stitch. The two small flower jugs situated on no. 29 can be woven and sewn in the above manner.
No. 30 and 31 represent two sheets and a wreath together with a picture of the Virgin Mary;
Alike as the above no. 17 and 18 [that] belong together as two sheets; No. 22, 23, 24 [belong together], which consist of three sheets [of paper]. But for practical purposes one has not joined these because they can be used more easily in this way and might otherwise be torn apart if put together.
As for the rest, they fit quite accurately on each other, although the sheets do not always hit each other precisely, the paper being sometimes to blame for this and one sheet is not like the other; but by recounting/tallying as many small holes will result on one page as on the other.
No. 32, 33, 34, 35 are 4 half sheets and belong to the men's necklets, as also to cuff and neckerchiefs, also to stain cloths or apron cloths for a woman or whatever she wants to use it for.
Whomsoever wants more decoration for women's aprons [Flecken, presumably "Fleckentuch" is something like an apron], the two sketches/drawings No. 36 and 37 with their large bouquets will be useful to this end.
The four sketch sheets No. 38, 39, 30, 41 belong to a Saxon jacket for women; these can be sewn on satin, taffeta, linen (Leinwand is actually canvas) and other cloth by long and short stitch, shading stitch, satin stitch encroaching, needlepainting, or whitework: To add the sleeve was considered as unnecessary, because this can be taken from the front part ["Vordertheil" meaning the forepart or other part of the book]
On the same sheet is a pattern for a cuff to a sleeve of a man's nightgown which can be embroidered or sewn in gold.
Four sheets No. 42, 43, 44, 45 offer their two flower jars together with a fruit table/plate and a flower wreath for window and armchair sewing, by/with the satin stitch encroaching stitch, or needlepainting on taffeta or satin or for whatever one wants to use them.
The No. 46, 47 give two fans or Ventailles (Ventaeli) to the hand, which, as one likes, can be sewn with satin stitch encroaching, needlepainting, and long and short stitch onto satin, taffeta and linen (literally canvas?)
Eventually, two landscape panels bring it to a conclusion together with two flower jars which present themselves to the curious eyes of artists [in] No. 48, 49, 50, 51, which, sewn with the satin stitch encroaching or needlepainting on satin or taffeta, won't leave the industrious without amusement.
- 'Fortgesetzter Kunst- und Fleiss-übender Nadel- auch Laden-Gewirck- Ergötzungen oder des neu-erfundenen Neh und Stick Buchs Anderer Theil'
Worinnen nicht allein dem solche schön-und lötliche Wissenschafft liebenden Fraüen Zimmer sondem auch Manns-Personnen, als Posamenteis oder Bortenmachern, Webern und Seiden weberre, allerhand, zü vielen Sachen anständi[?], Müster ünd Risse. nach der neüesten [Facon]. Zü deren nützlichen Bedienüng vorsestellet weder/ von Fr. Margaretha.' (Translation of title page)
- Translation
- 'Further Delights of the art-and- Industry of the practising Needle- also frame-woven or the newly invented Sewing and Embroidery book Next part:
in which patterns and designs in the latest fashion for all kinds of respectable things to the useful service of passementerie, or manufacture of braid trimming, weavers and silk-weaving such beautiful and commendable knowledge loved by not only women but also men were presented by Frau Margaretha Helmin to be found in Nuremberg at Johann Christoph Weigel.'
- 'Vor =Bericht
'an die geneigte Liebhaberinen dieses Andern Theils des Fortgesetzter Neh= und Stick= Buchs / wie und auf was Weise man sich der darinnen vorgestellten Figuren bedienen möge / Vor + bericht
Num. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. gehöret eigent =lich zum laden Gewirck wie auch zum Creutz: und Französischen Stich / im Nehen: Doch ist es nicht weniger Harten [?] Wirckern / Webern und Zeug = wircken / oder andern Personen / die mit dergleichen Arbeit umgehen / sehr nutz und dienlich.
Die folgende Num. 17. 18. 19. 20. 21. 22. 23. 24. kan auch aller =hand Art gebrauchet werden/ insonderheit aber wird es denen Atlas / Broccat und Damast =Wirckern sehr dienlich seyn
Num. 25. gehört zum Abnehen eines Frauen= Zimmer= Rocks: Und Num. 26. zeiget zween Vorstecker; diese können von Laden =Gewirck / auf. Dreß: Art / gemachet werden; lassen sich auch vom Creutz = und Französi=schen Stich nehen.
Num. 27. hält in sich einen Riss zu 2. Pantöffeln / samt einen Schuh: Diese können auch von Laden= Gewirck / oder Creutz und Französischen Stich gewirckt und genehet werden.
Num. 28. Stellet von zween Frauenzimmer= Beuteln / welche man entweder = wircken / oder mit Creutz= und Französischem Stich nehen kan. Die auf Num. 29. sich befindliche. 2. Blumen= krüglein / können / auf obige Art / gewirckt und genehet werden.
Num. 30. und 31. machen zween Bögen / und einen Krantz / samt einem Marien=Bild / vorstellig: Gleichwie auch die obenstehende Num. 17. und 18 als zwey Bögen / zusamen gehören; ingleichen Num. 22. 23. 24. wel=che in drenen [?] Bögen bestehen. Man hat aber diese / aus bedencklichen Ursa= chen / nicht an einander gefüget / weil sie / auf solche Weise / viel besser zuge= brauchen / und sonst / im Zusamenlegen / leicht zerrissen werden könten: Im übrigen gehen sie ganz accurat auf einander / obgleich die Bögen nicht allezeit just [?] auf einander treffen / indem das Papier bißweilen [?] Schuld dar =an hat / und nicht ein Bogen wie der andere ist; doch werden in Nachzeh =len auf einer Seiten no viel Löchlein heraus kommen / als auf der andern.
Num. 32. 33. 34. 35. find 4. halbe Bögen / und gehören zu Manns =hals: Binden /wie auch zu Macheten und hals Tüchlein / auch Flecken o= der Schurtz : Tüchern für das Frauenzimer [sic] / oder zu was man sie sonst brauchen will. Wer mehrere Anszierung zu Frauenzimmer = Flecken verlan=get / dem werden die zweyen Risse Num. 36. und 37. mit ihren grossen Blu =men= Strauffen / dazu dienlich seyn
Die vier Bögen= Risse / Num. 38. 39. 40. 41. gehören zu einem Sächsischen Camisol für Frauenzimmer; diese können auf Atlas / Taffet / Lein=wand / oder sonst andere Tücher von Blumen / Bildern / oder weissen Blat = ten Stich genehet werden: Den Ermel mit benzufügen / hat man für un=nöthig erachtet / weil solcher von dem Vordertheil genommen werden kan.
Es ist auch dem einen Bogen eine Patten; imgleichen ein Aufschlag zu einem Ermel / auf einem Manns: Rock; dieses kan man von Gold stichen oder nehen.
Vier Bögen Num. 42. 43. 44. 45. offeriren ihre zween Blumen= Krüge / samt einer Frucht: Tafel undeinem Blumen= Kranz [?] zu Fenster = und Sef = fel Nehen / von Bilder = stitch auf Taffet oder Atlas / oder wozu man sie son= sten brauchen will.
Die Num. 46. 47. geben zween Fucherer / Fächer oder Ventailles (Ventagli) an die hand / welche man / wie es beliebig / mit Bilder = oder Blumen =Stich auf Atlas / Taffet oder Leinwand nehen kan.
Endlich machen den Beschluss zwei [?] zwen [?] Landschafft= Täfelein [?] / samt zweien [/] zweyen [?] Blumen= Krüglein / welche sich den Augen der curieusen Künstlerinnen presentiren Num. 48. 49. 50. 51. welche mit Bilder = Stich / auf Atlas oder Taffet genehet / den Fleiß nicht ohne Vergnügung lassen werden.' (Technical/ production information on page four entitled 'preface'.)
- Translation
- 'Page 4
Literally: Preliminary report [Preamble]
To the inclined lovers of this other Part of the continued Sewing and Embroidery Book, how and in which way to use the illustrated figures in it.
Nos 1-16. Actually belong to the chest/drawer-knitting/weaving [frame-loom weaving] as to the Cross and French stitch in sewing: But it is not less useful to braid-trimmers, hand knitters, weavers and cloth-weavers or other people who handle similar work.
The following numbers 17-24 can also be used in all kinds of manners, but it will be especially useful to the satin, brocade and damask weavers.
No. 25 belongs to the binding off of a woman's skirt and no. 26. shows two stomachers; these can be made by frame-loom weaving [Laden-gewirk?] in Dress [?]-manner; [but] can also be sewn by the Cross and French stitch.
No. 27 contains a drawing/sketch for two slippers together with a shoe: These can be woven by the frame-loom or sewn in Cross and French stitch.
No. 28 presents two women's bags which one can either weave or sew with the Cross and French stitch. The two small flower jugs situated on no. 29 can be woven and sewn in the above manner.
No. 30 and 31 represent two sheets and a wreath together with a picture of the Virgin Mary;
Alike as the above no. 17 and 18 [that] belong together as two sheets; No. 22, 23, 24 [belong together], which consist of three sheets [of paper]. But for practical purposes one has not joined these because they can be used more easily in this way and might otherwise be torn apart if put together.
As for the rest, they fit quite accurately on each other, although the sheets do not always hit each other precisely, the paper being sometimes to blame for this and one sheet is not like the other; but by recounting/tallying as many small holes will result on one page as on the other.
No. 32, 33, 34, 35 are 4 half sheets and belong to the men's necklets, as also to cuff and neckerchiefs, also to stain cloths or apron cloths for a woman or whatever she wants to use it for.
Whomsoever wants more decoration for women's aprons [Flecken, presumably "Fleckentuch" is something like an apron], the two sketches/drawings No. 36 and 37 with their large bouquets will be useful to this end.
The four sketch sheets No. 38, 39, 30, 41 belong to a Saxon jacket for women; these can be sewn on satin, taffeta, linen (Leinwand is actually canvas) and other cloth by long and short stitch, shading stitch, satin stitch encroaching, needlepainting, or whitework: To add the sleeve was considered as unnecessary, because this can be taken from the front part ["Vordertheil" meaning the forepart or other part of the book]
On the same sheet is a pattern for a cuff to a sleeve of a man's nightgown which can be embroidered or sewn in gold.
Four sheets No. 42, 43, 44, 45 offer their two flower jars together with a fruit table/plate and a flower wreath for window and armchair sewing, by/with the satin stitch encroaching stitch, or needlepainting on taffeta or satin or for whatever one wants to use them.
The No. 46, 47 give two fans or Ventailles (Ventaeli) to the hand, which, as one likes, can be sewn with satin stitch encroaching, needlepainting, and long and short stitch onto satin, taffeta and linen (literally canvas?)
Eventually, two landscape panels bring it to a conclusion together with two flower jars which present themselves to the curious eyes of artists [in] No. 48, 49, 50, 51, which, sewn with the satin stitch encroaching or needlepainting on satin or taffeta, won't leave the industrious without amusement.'
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| Object history | The material in the forewords continues the discourse on women that was a focus of study in Fürstenwald's and Jean M. Woods' dictionary: Fürstenwald, Maria and Woods, Jean M. Women of the German-speaking Lands in Learning, Literature, and the Arts during the 17th and Early 18th Centuries. A Lexicon. J. B. Metzlersche Verlagsbuchhandlung, Stuttgart, 1984, pp. ix and xii. These authors stated that their approach was that of chroniclers rather than judges with the emphasis on inclusiveness. The motto at the front of their dictionary sets the tone
'Are we not human beings just as much as men are?'
This question is from the speech of Dorilis from Sigmund von Birken's epitaph The sad Pegnesis for the writer Sophia von Birken, published in 1679. The character goes on to say
How are we to become complete human beings […]
When we are kept virtually imprisoned at home […]
When […] we must continually engage in mindless labor, with needle and spindle
[Sigmund von Birken, 'She must, she must only be', 'Es muß/ es muß nur seyn', Die betrübte Pegnesis, 1679, the speech of 'Dorilis' quoted in Fürstenwald and Woods, 1984, p. vii and p.xvi.]
It forms part of the discourse that lexicographers used in introductions to their dictionaries of notable women. In 1631, an anonymous author publishing under the name of 'Johann Frawenlob' asserted that a woman may possess an innate quality as subtle as or even superior to a man. The author advised Christian parents to allow their daughters to study. Frawenlob, Johann. Die Lobwürdige Gesellschaft der gelehrten Weiber, 1631. In 1670, there were Latin publications that debated female abilities, some listing distinguished women and their achievements, on the other hand, there were pamphlets that spread propaganda about women's inferiority. Through the late 1680s, authors continued to debate women's abilities. In 1688, it was Christoph Christian Haendel in his De eruditis Germaniae mulieribus who thought that noble women in particular, since they are free from the pressures of domestic toil, are most able to profit from intellectual pursuits. Haendel, Christoph Christian Haendel. Dissertatio de eruditis Germaniae mulieribus . Altdorf, 1688. Praeses: Magnus Daniel Omeis, quoted in Fürstenwald and Woods, p. xiv. Even noble women were not allowed to be educated in, for example, mathematics or poetry according to a first encyclopaedia for women published by Gottlieb Siegmund Corvinus in 1715. He resisted education for women arguing for housekeeping rather than study. Amaranthes, pseudonym for Corvinus, Gottlieb Siegmund. Nuntzbares Galantes und curiöses Frauenzimmer-Lexicon. Leipzig, 1715.
The arguments were about whether women should be allowed to study and become learned and cultivate their linguistic or musical talents, or whether it would be better if they concentrated on running an orderly home and taking care of the kitchen and pleasing their husbands in such matters. Over a century, authors continued to take different stances and some were ambivalent. Few argued from the standpoint that women are inferior creatures and not human like men. The 'mulier non homo' concept which originated in the Disputatio nova mulieres qua probatur eas homines non esse, published in Paris in 1596. The unfortunate non-human status of women was argued on the grounds of scriptural evidence. Fürstenwald and Woods, 1984, p.xii.
The forewords of Helm's pattern books continue this discourse, for example, in her Further Delights, she alludes to the Arabic poet Pharezdaki who is described as reading a beautiful poem to a woman, from his country, then he shouted: 'when the hen sings like the cock, cut off her head' to which the writer of Helm's foreword retorted
I have a totally different opinion and say that an intelligent, scientific mind in such a body, is to be esteemed as a sparkling diamond set in gold M. Helm, Foreword in V&A Further Delights of the Art and Industry of the practising Needle and Loom. p.1.
The writer of Helm's foreword, however, disagrees and values intelligent women thus Helm wants women to speak. It can be inferred that women who embroider can be seen to be intelligent. |
| Historical context | Margaretha Helm was a priest's daughter born in Deiningen in 1659 and died, aged 83, in Nuremberg, in 1742. At the age of 36, she married Adam Helm, in 1695. The Helms lived in a square called Bonersberg (Painersplatz 14) which Adam Helm bought in 1705. By 1758, Helm is described in Georg Andreas Will's dictionary of learned men and women from Nuremberg as publishing for Johann Christoph Weigel a sewing and needlework book in two parts and that she taught pupils who were good at embroidery. Recently, Helm was listed as an embroider, copperplate engraver, and painter in the Nürnberger Künstlerlexikon published in 2007, with information gleaned from archival records, her work in the Germanisches Nationalmuseum, and the Stadtbibliothek in Nuremberg. In her dictionary of natural history painters from Nuremberg in the seventeenth and eighteenth centuries, published in 1998, Heidrun Ludwig includes an entry on Helm because the forwards of her pattern books mentioned that she painted flowers. Ludwig lists her pattern books, although attributing Clear Presentations to her rather than to Margaretha Kraus.
Margarethe Kraus
Deutliche Vorstellung verschiedener Risse zur löblichen Frauen-Zimmer Arbeit
Clear Presentation of various Sketches for commendable Women's Work published by Johann Christoph Weigel's widow.
Lettered: 'Nürnberg, zufinden bey Johann Christoph Weigels Kunsthandlers, Seel, Wittib,' 1727.
In the register, Monath, P.C. Historische Nachricht von den Nürnbergischen Mathematics und Künstlerin, J.D. Udelbulnem, Nürnberg, 1730, of about 294 craftsmen and artists working in the decorative arts in Nuremberg, only 12, that is 4%, were women. Helm was not included perhaps because she was publishing later than the others the earliest artist mentioned being Margaretha Felicitas Walterin (1654-1698), a silk worker who wove brocaded flowers. The latest artist who was included was Amalia Pachelblin (1688-1723), an artist who drew and painted. The other possibility for the exclusion of Helm from the register was a lack of fame in comparison to the other women. The register, however, does provide the background for Helm's work in this city which was an historical centre particularly of printing and metalwork. Eight out of eleven women listed in the register of craftsmen and artists in Nuremberg were spinsters with only three married therefore working at this level was more usual if a woman were unmarried. Demographics show that a spinster was common at this period. Helm remained childless which would have given her more time for needlework-related activities than if she had been raising a family. |
| Production | These printed designs by Helm are catalogued as Helmin, the feminine form of Helm, in the Micromedia online catalogue. |
| Summary | Design for foreword to pattern book for embroidery (ca.1742) by Margaretha Helm (born in 1659 in Deiningen, Germany, died in 1742 in Nuremberg. The design incorporates a wreath of acanthus leaves surrounding the German inscription. Helm worked in Nuremberg as an embroiderer, a teacher of embroidery, and a copperplate engraver who had her designs published by Johann Christoph Weigel.
The V&A has a series of pattern books for embroidery in three parts by Margaretha Helm of which this volume is Part II. It is entitled Fortgesetzter Kunst- und Fleiss-übender Nadel- auch Laden-Gewirck- Ergötzungen oder des neu-erfundenen Neh und Stick Buchs Anderer Theil or Further Delights of the Art and Industry of the practising Needle and Loom; or the newly invented Sewing and Embroidery Book Another part. |
| Bibliographic references | - Will, G.A. Supplement zu dem Nürnbergischen Gelehrten Lexicon oder Beschreibung derienigen Personen welche in den Buchstaben A bis Z vischer gänzlich ausgelassen worden sind. Nürnberg, 4, p.421.
- Nürnberger Künstlerlexikon. München: Manfred H. Grieb, 2007.
- Ludwig, H. Nürnberger naturgeschichtliche Maleria im 17. und 18. Jahrhundert. Mahrburg an der Lahn: Basilisken-Presse, 1998. pp.255 and 333.
- Victoria and Albert Museum, Department of Engraving, Illustration and Design & Department of Paintings, Accessions 1933, London: Printed under the Authority of the Board of Education 1934
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