DOI Page / Citation link:
https://doi.org/10.11588/diglit.6656#0053
XX.
Portrait Statuette in ivory. The Lacemaker.
Height 4Tr3 in. Breadth (i in.
This statuette is selected on account of the excellence of its workmanship, its lifelike expression,
and historical interest, from a collection of more than one hundred of such figures in ivory, all similarly enriched
and adorned with enamel, diamonds, and other precious stones. It represents Barbara I Umann, who introduced
the art of lacemaking into the Saxon Erzgebirge. She was the descendant of a rich patrician family of
Nuremberg, called von Elterlein, who, attracted by mining speculations, had emigrated to that mountainous
region, where they settled, and made a large fortune. She was born in 1514, and was married to a rich,
and much respected citizen of Annaberg, an extensive mine owner in that neighbourhood; according to the
legend, she had learnt the art of lacemaking from a Flemish Protestant refugee, who had been obliged
to fly from her native land to escape the persecutions of the cruel Alba, and who had found with Barbara
a secure asylum. The year 1561 is assigned as the date when the latter commenced giving instruction in
this art to her poorer neighbours. From Annaberg the practise of it spread over the whole Saxon Erzgebirge,
and this branch of industry has proved a fruitful source of revenue up to this day to the poor inhabitants
of that unproductive region: Saxon lace having been, and still being in much request as an article of
luxury. Barbara died a widow in 1575 at Annaberg, leaving numerous descendants.
This statuette was executed by the jeweller Koehler of Dresden, in the beginning of the eighteenth
century, whether with a commemorative object or not is unknown. At that period such expensive and
richly ornamented figures were favourite articles for birthday and saintsday gifts, for Christinas and new-years
presents, for mementos of family occurrences, and the like.
Portrait Statuette in ivory. The Lacemaker.
Height 4Tr3 in. Breadth (i in.
This statuette is selected on account of the excellence of its workmanship, its lifelike expression,
and historical interest, from a collection of more than one hundred of such figures in ivory, all similarly enriched
and adorned with enamel, diamonds, and other precious stones. It represents Barbara I Umann, who introduced
the art of lacemaking into the Saxon Erzgebirge. She was the descendant of a rich patrician family of
Nuremberg, called von Elterlein, who, attracted by mining speculations, had emigrated to that mountainous
region, where they settled, and made a large fortune. She was born in 1514, and was married to a rich,
and much respected citizen of Annaberg, an extensive mine owner in that neighbourhood; according to the
legend, she had learnt the art of lacemaking from a Flemish Protestant refugee, who had been obliged
to fly from her native land to escape the persecutions of the cruel Alba, and who had found with Barbara
a secure asylum. The year 1561 is assigned as the date when the latter commenced giving instruction in
this art to her poorer neighbours. From Annaberg the practise of it spread over the whole Saxon Erzgebirge,
and this branch of industry has proved a fruitful source of revenue up to this day to the poor inhabitants
of that unproductive region: Saxon lace having been, and still being in much request as an article of
luxury. Barbara died a widow in 1575 at Annaberg, leaving numerous descendants.
This statuette was executed by the jeweller Koehler of Dresden, in the beginning of the eighteenth
century, whether with a commemorative object or not is unknown. At that period such expensive and
richly ornamented figures were favourite articles for birthday and saintsday gifts, for Christinas and new-years
presents, for mementos of family occurrences, and the like.