Vorschriften Fraktur Collection by Del Moyer

the last Schwenkfelder manuscript hymnal was copied in 1765. It contains some 369 pieces from several different publications of Sudermann’s works.

Susanna Heebner (1750–1818), the renowned Schwenkfelder Fraktur artist, occasionally chose mystical texts for her compositions. It is not surprising that she picked some of her texts from hymns by Sudermann. The Schwenkfelder Library & Heritage Center Fraktur Collection has four New Years’ greetings that Susanna prepared for her nieces and nephews. The earliest one was for Isaac, dated 1808, and has verses 7, 8, 9, and 11 of the hymn “Mein Geliebter ist schön.” In 1810, she made one for Debora with verses 16 to 19 from the hymn “von deinetwegen bin ich hier.” In the following year, she made one for Maria using verses 8 to 11 from “Fahr hin o Welt” and one for Susanna employing verses 12 to 15 from the hymn “von deinetwegen bin ich hier.”

FINAL THOUGHTS The Schwenkfelder Library & Heritage Center has an incomparable collection of materials focused on the history and culture of a small religious group. It is hard to imagine how many books and papers the immigrant Schwenkfelders brought with them on their voyages to Pennsylvania in the 1730s. All of these artifacts, in addition to their personal and household items, must have been considered essential—something they could not abandon or do without.

In the 1890s and the first decade of the 1900s, Schwenkfelder scholars were in Germany and Silesia investing a great deal of time, energy, and money in collecting every possible book, paper, and artifact related to the Schwenckfeld/Schwenkfelder story. These materials were extremely important for publishing all of the writing of Caspar Schwenckfeld. Indeed, it is thanks to these marvelous resources, now residing in the Schwenkfelder Library & Heritage Center, that so much can be learned about the history, culture, and especially personages of this movement. n This 1808 New Year’s greeting Fraktur was made for Isaac Heebner by Susanna Heebner. The four verses come from the 1762 hymnal version of Sudermann’s hymn “Mein Geliebter ist schön” and is taken from the Song of Solomon.

F C

VORSCHRI

raktur

Y

ou don’t need to know anything about Fraktur to appreciate the beauty of the finely rendered pen-

manship and the accompanying artwork found in each piece. It is totally magical. The flowers, birds,

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FRAKTUR 1 4-125 Vorschrift (Writing Sample): Hand-drawn, -lettered, and -colored on laid paper.

Dimensions: 8" high x 13" wide.

Made for Salome Kriebel (Sept. 12, 1787 – Nov. 4, 1869), in 1801 by JS. Location: Lower Salford Township, Montgomery County.

Text Source: Unknown.

TRANSCRIPTION: Hab Gott Vor Augen Und sein Wort so geht es dir Wohl Hier und dort.

Jesu liebstes Gottes Lamm meiner Seelen Bräutigam, Höre mein sehnlich Flehen laß mich nicht betrübet stehen, Herr erlöse deine Braut die sich hat mit dir vertraut. Dir alleine bleibe ich treu, und soll keine Heucheleÿ, Mich von dir mein Hertze treiben, Ich will mich dir einverleiben und ein gantzes mit dir seÿn Schönster Schatz Mein Jesulein droben ist mein Bräutigam der Mich ihm zu eigen nahm wo die Menge Cherubinen In der Goldnen Himmels zinnen Singen ohne Streit in Fried, meines Jesu Hochzeit Lied.

T R A N S L AT I O N :

FTEN

C

ollection

BY DEL-LOUISE MOYER

hearts, and calligraphic flourishes which decorate the page invite you into a world of make believe. Were you never to know all the whys and wherefores, you would still be immeasurably enriched by this picturesque and highly embellished form of Pennsylvania

Have God and his word ever before you, and it will be well with you here and there. Jesus, dearest lamb of God, the groom of my soul, listen to my most earnest plea: Do not let me standing here disconsolate. Savior, redeem your bride, who has joined herself to you. I shall always remain steadfast, and no manner of hypocrisy shall ever drive my heart from you. I want to be united and one with you most divine treasure. My precious Jesus, my groom, who took me for his own, dwells up above, where the host of cherubim sing my Jesus’ wedding song, without discord and in harmony, within the golden walls of heaven.

German art which was created, principally by common folk, between 1740 and 1860.

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To transform a piece of paper, generally 13" high and 16" wide, or halfand/or quarter-sized reductions from the standard paper size, into writing samples or precepts (Vorschriften), birth and baptismal certificates (Taufscheine), house blessings (Haussegen), rewards (Belohnungen) for school children, book plates (Bücherzeichen), book marks (Lesezeichen), cutwork (Scherenschnitt), etc., required a person with a joyful imagination who could read, write, and draw. This individual had to be wellread, and have a desire to communicate his learning experience to others. Where he came from, what he had learned, and who he was becoming all contributed to his Fraktur creations.

Of course, without the requisite materials, no amount of creative energy could ever have produced a piece of Fraktur. Paper, ink, an ink well, water colors, pencils, quill pens, knives, brushes, tempering agents for pigments such as gum arabic, compasses, rulers, and a color box to hold and organize everything, were the ingredients and tools needed to bring the work to life. The earlier pieces were all done by hand, while later works could be combinations of hand decoration and printed versions, or printed versions only.

One probably already knows that calligraphy is the art of writing. It is the ability to skillfully transform shapes into an expressive and harmonious visual communicative medium. A style of writing is referred to as a script, alphabet, or hand. Black letter, also named Gothic script or Gothic miniscule, for example, was widely used throughout Europe from circa 1150 into the 17th century. Germanic-speaking areas continued to use it until the 20th century.

Two scripts predominate in Pennsylvania-German Fraktur works: Fraktur and old German script. Fraktur refers to a particular sub-group of blackletter typefaces. The term comes from the past participle of the Latin verb frangere (to break), or fractus, which means broken. The blackletter lines contain many angles and are decidedly more broken than the smooth curves of another typeface used at the time called Antiqua, which was modeled after antique Roman elegant capitals.

Had Maximilian, Holy Roman Emperor, not sought to immortalize himself in a new series of publications, for which he wished a new typeface, there might never have been a Fraktur face. It was designed ca. 1500

by Hieronymus Andreae or Hieronymus Formschneider (i.e. woodblock cutter), a printer, publisher, typographer, and collaborator of Albrecht Dürer. Because it was the Emperor’s preferred typeface, it quickly overtook the earlier Schwabacher and Textualis typefaces. Many Fraktur font variants were carved.

In contrast, Kurrent is an old form of German handwriting based on late medieval cursive – flowing strokes with the letters joined together, also known as the alte Deutsche Schrift, or old German script, it developed in the 16th century, and replaced the Gothic handwriting at the same time that the Fraktur typeface developed.

The Schwenkfelder Library & Heritage Center has a stunning Fraktur collection representing Schwenkfelder, Mennonite, Reformed, Lutheran, Brethren, and other Fraktur artists and scriveners. You will even find an example of Moravian Christmas greetings. Texts, taken from the Bible, hymnals, religious poetry, and other pietistic sources, were used in part to demonstrate how to write Fraktur and old German script, as well as for the edification of and instruction to the young students, who most often received these pieces of Fraktur as gifts from their school masters.

In Vorschriften (writing samples), a combination of ornamented Fraktur and old German script is used for the quoted text. Beneath this, one usually finds an alphabet rendered either in Fraktur letters, both in capital and lowercase, and/or in majuscule and miniscule old German script letters, or both. Grammatical markings may be indicated, or the

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days of the week, months, and cardinal numbers. Sometimes, the artist/ scrivener will state that he made the work, sign his name, and the date he created the work. Other times, the names and dates indicate for whom and when the works were made. The Schwenkfelders are unique in that their Vorschriften can be either a writing specimen with the instructive alphabets and/or only a precept meant to guide the recipient on life’s journey. The following examples will give you an idea of the richness of the Schwenkfelder’s unique and memorable collection.

FRAKTUR 1 This Vorschrift (writing sample) was made for a Schwenkfelder child, Salome Kriebel, in 1801 when she was 14 years old. The format, dividing the space into smaller rectangular work areas, and the Fraktur decorative elements are typical Mennonite—reminiscent of school masters Andreas Kolb and Huppert Cassel. Nothing is known about the maker who signed it as JS. There are no records to confirm whether it was Salome’s school teacher or not. The source for the text, part Fraktur, part old German script, is unknown. It describes Jesus as the bride groom, the Christian as the bride, and uses comparisons to earthly marriage. This was popular and also very acceptable imagery of the time. In the lower left quadrant, is an upper-case and, in the lower right quadrant beneath the text, a lower-case old German script alphabet.

FRAKTUR 2 Men predominated in the field of Fraktur, but there were a few women who excelled both as artists and scriveners. One such lady was the Schwenkfelder Susanna Hübner (April 12, 1750 – March 1, 1818) who never married. She lived on her father’s (Hans Christoph Hübner) farm in Worcester Township, Montgomery County. Her neighbor and friend was the Mennonite teacher and Fraktur artist Huppert Cassel who taught her brother, Abraham, and spurred him on to become an accomplished Fraktur artist as well. In fact, it seems the whole Hübner family was gifted and, for several generations, continued to recycle the same motifs and texts to produce similar Fraktur works, most of which are now part of the Schwenkfelder Fraktur collection.

After their father died, Susanna lived with her brother and his wife, Christina Wagner, and often produced Fraktur for her eight nieces and nephews. In 1808, she made several customized Vorschriften (precepts) as gifts. This piece was for her nephew, Jacob, who was then almost 15 years old. It is very stylized and shares some of the same motifs and highly ornamented Fraktur used by David Kriebel [See Kriebel’s Fraktur Jerusalem Du Gottes Stadt from February 24, 1805]. The illuminated Fraktur is in multicolors of red, blue, yellow, and black gall ink and the old German Script is mostly in black ink interspersed with words in red ink. The text begins with a passage from Genesis 32:1-2, referencing the first name of Susanna’s nephew, Jacob. The angels, as servants of God and their continuous service to Him and mankind, are described along with mention of some of the biblical people who experienced their ministrations. Susanna Hübner used this Vorschrift (precept) perhaps to remind her nephew, Jacob Hübner, of God’s heavenly intervention in the lives of everyday people and provided him with a list of biblical figures who had been recipients of God’s angelic benevolence. Located in the lower left and right corners are two hearts sprouting tulips and other blooms.

The left warns of one’s impending end and gives the date of the Vorschrift (precept); the right admonishes us to reserve our hearts for Jesus alone.

FRAKTUR 3 Christian Strenge came to America in 1776, as a Hessian soldier, and

FRAKTUR 2

1958.02.09 Vorschrift (Precept): Hand-drawn, -lettered, and -colored on laid paper. Dimensions: 8-1/8" high x 13-5/16" wide.

Made for Jacob Hübner, Susanna Hübner’s nephew, Worcester Township, Montgomery County, by Susanna Hübner on April 15, 1808.

Text Source: Genesis 32:1–2.

TRANSCRIPTION:

T R A N S L AT I O N :

Jacob Aber Zog Seinen Weg und Es Begegneten Ihm die Engel Gottes. 2. Und da er sie sahe, sprach er: Es sind Gottes Heere und hieß Dieselbige Stätte Mahanaim: 1. Mos. 32: 1-2 Ein Grosse anzahl ist der Lieben Engel, Tausendmal Tausend, Singen fröhlich mit Schall. vor Gott sie stehen, stets sein Antliz sehen thun sein Gefallen. dise Heerschaaren, Rühmten Christ den Herren, da er gebohren, sungen ihm zu Ehren, da er gestritten, Todes Angst gelidten, sie ihm auch dienten. Als er gesieget, gen Himmel gefahren, die Feind bekrieget, bald die Engel Schaaren, Sein Sieg ausbreiten: Sein Zu kunfft bedeuten, in letzten Zeiten. Wän denn, was solches betrifft, wir in der Heiligen Schrifft, viel schöne Exempel sehn, was durch ihren Dienst geschehn. Als wie Abraham und Lot Hagar auch in ihrer Noth, Isaac, Jacob Israel, Ilias und Daniel. Joseph u. Cornelius, Petrus, Paulus, Lazarus, und viel andre mehr vor jahrn, han der Engel Dienst erfahrn.

O Edel Hertz, Bedenck dein End April den 15 1808 Das Hertze mein soll dir allein ergeben seÿn

Jacob then went his way, and God’s angels met him. 2. And when he saw them, he spoke: “These are the army of God, and called the place where he met them Mahanaim.” Genesis 32: 1-2. The host of angels, thousands upon thousands, merrily sing resoundingly. They stand before God, forever view his countenance, and do his bidding.

This heavenly multitude praised Christ when he was born; sang in his honor when he was threatened; served him when he experienced the fear of death. When he ascended triumphantly towards Heaven, vanquished the enemy, the angels quickly announced his victory, and continue to prophesy the future and end times. We see many examples in the Holy Bible of the services they have rendered throughout the ages. For instance, Abraham and Lot, Hagar in her need, Isaac, Jacob, Israel, Elijah and Daniel, Joseph and Cornelius, Peter, Paul, Lazarus, and many others of other times have experienced the ministrations of the angels.

O noble heart, contemplate your end. April 15, 1808 My heart is devoted to you alone.

remained to become a teacher at a union school in Hempfield Township, Lancaster County. Here, he taught Mennonite, Lutheran, and Reformed children from 1793 to 1811. He always did his artwork first and added custom-oriented texts later. Flower and bird motifs, as well as the colors employed, are signature elements and make it very easy to recognize his work, even when unsigned.

In 1801, Strenge made this Vorschrift (writing sample) for Maria Ruth,

probably one of his students. Following the text from Psalms 95:1-5, are an old German script alphabet in uppercase and one in lowercase, plus numbers from 1 to 14. Strenge included several variants for almost every capital letter, the vowels with umlauts, as well as examples of letter combinations, all very helpful to someone learning to write in old German script. In the last line, he notes: “Written in Hempfield Township in the Year 1801 by Christian Strenge.”

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FRAKTUR 3 Vorschrift (Writing Sample): Hand-drawn, -lettered, and -colored on laid paper. Made for Maria Ruth in 1801, Hempfield Township, Lancaster County, by Christian Strenge (Oct. 24, 1757 – April 28, 1828). Text Source: Psalms 95:1-5.

TRANSCRIPTION:

T R A N S L AT I O N :

Maria Ruth. Kommt lasset uns dem Herrn frohlocken und jauchzen dem Hort unsers Heils. Lasset uns mit Danken vor sein angesicht kommen und mit Psalmen ihm jauchzen. Denn der Herr ist ein grosser Gott, und ein grosser König über alle Götter. Denn in seiner Hand ist was die Erde bringet, und die Höhen der berge sind auch sein. Denn sein ist das Meer, und er hats gemacht, und seine Hände haben das Trockene bereitete. Psalm 95 Verse 1.2.3. und 4.

[Alphabets, etc.]

Geschrieben in Hempfield Taunschip im Jahr 1801 von Christian Strenge.

Maria Ruth. Come, let us sing for joy to the Lord; let us shout aloud to the rock of our salvation. Let us come before him with thanksgiving and extol him with music and song. For the Lord is the great God, the great king above all gods. In his hand are the depths of the earth, and the mountain peaks belong to him. The sea is his, for he made it, and his hands formed the dry land. Psalm 95, verses 1.2.3.4. [also 5].

[Alphabets, etc.]

Written in Hempfield Township in the Year 1801 by Christian Strenge.

FRAKTUR 4

entitled David’s Psalm Book. The Tunker emigrants to America brought along several copies of this very heavy hymnbook, but decided to put together a smaller version for the expanding American Brethren congregations. Christoph Saur, the first German-language printer and publisher in America, as well as one of the founders of the Church of the Brethren in America, published the first edition in 1744. The Small Davidic Psalter of the Children of Zion was also used by other pietistic groups and was to the German-speaking people of that period what the Gospel hymns were to the American Christians of the second-half of the 19th century.

The text of this Vorschrift (writing sample), partially in Fraktur, partially in old German Script, plus round cursive script, contains some

Decorative motifs, such as trailing tulip vines and feathered elements, as utilized by the renowned Fraktur artist and Schwenkfelder minister David Kriebel (April 21, 1787 – April 23, 1848) suggest that this piece may be one of his very early works. If so, he was only 15 years old when he created this Vorschrift (writing sample), in 1802, using verses 1 to 3 from a hymn text found on page 57 of the 1760 second edition of The Small Davidic Psalter of the Children of Zion printed by Christoph Saur in Germantown, and sung to the melody “Rise up.” A collection of hymn texts, numbering 547 pages plus an additional 23 pages of indexes, this psalter was an abridged American version of the very popular, and much larger Euorpean Schwazenau Brethren’s, i.e. Tunkers’, first hymnbook

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FRAKTUR 4 Vorschrift (Writing Sample): Hand-drawn, -lettered, and -colored on laid paper. Unknown for whom it was made in 1802. Location unknown. Possibly by David Kriebel. Text Source: Das kleine Davidische Psalterspiel der Kinder Zions, von Alten und Neuen auserlesen Geistes=Gesängen. Germantown: Gedruckt bey Christoph Saur, Germantown, 1744, v. 1-3, pp. 57-59.

TRANSCRIPTION:

T R A N S L AT I O N :

Bleibe bey mir Liebster Freund, Jesu mein Verlangen Weil die Sonne wieder scheind und nun Aufgegangen drum so wollest du aufs neu mir auch helle scheinen und in reiner Liebes Treu dich mit mir vereinen Dann ich habe niemand sonst den ich mich Vertraue als nur dich und deine Gunst ists worauf ich baue, du bist meine Zuversicht und mein Held im Kriegen wann der Arge mich anficht, kan ich durch dich siegen Ach drum will ich dich mein Licht vestiglich umfaßen und dich nun und nimmer nicht von mir laßen dann es ist nicht guth allein hier die Zeit Vertreiben drum must du mein Jesulein stets beÿ mir Verbleiben.

ABCDEFGHJKLMNOPQRSTUVWXYZ Anno Domene [sic] 1802 ~

Never leave me dearest friend, Jesus my hope. Since the sun is shining once more, and has arisen, shine brightly anew for me, and in the bond of true love become one with me. For I have no one else to whom I can entrust myself except you, and it is your grace upon which I build. You are my joy and defender. In battle, when the evil one attacks me, I triumph in you. O light of mine, I thus want to grasp you firmly, and never let you go. Since it is not good to spend one’s time here alone, dear Jesus mine, please remain with me always.

ABCDEFGHJKLMNOPQRSTUVWXYZ In the Year of Our Lord 1802 ~

love and marriage imagery, as well as portrays Jesus as the sun and light of the world. The Christian begs Christ to never leave him, and to remain his defender and guiding light. Beneath the verses, is an uppercase old German script alphabet and Anno Domene [sic] 1802 in round cursive script. It’s interesting to note that the Schwenkfelder Library & Heritage Center has the copy of Isaac Jackson’s Round Hand Copies Alphabetically Written For the Use of young Writers, Dublin, 1735, which was owned, in 1771, by the Schwenkfelder George Drescher.

Upper Hanover Township, Montgomery County. Whoever made this Vorschrift (precept) was familiar with Gerhard Tersteegen’s Little Flower Garden for Fervent Souls, a collection of hymns, spiritual lyrics, and epigrams, first published in Europe in 1729. He chose Verse 383 from The First Little Book in which Jesus entreats the child’s soul to return his unconditional love, a very pleasing request to a little boy ten years old.

Gerhard Tersteegen was born in Moers, Germany, in 1697. He was first apprenticed to his brother-in-law to become a merchant, but gave this up to contemplate the inner man within him. As he codified his thoughts, he shared them with others and was able to counsel wisely.

His Little Flower Garden for Fervent Souls became so popular that the hymns were sung at weddings, social events, and even spoken as greet-

FRAKTUR 5 Jeremias Krauss (Oct. 28, 1758 – Aug. 17, 1821) was the son of Schwenkfelders Christopher Krauss and Susanna Schultz, who had a farm in

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FRAKTUR 6

FRAKTUR 5 39.177.1 Vorschrift (Precept): Hand-drawn, -lettered, and -colored on laid paper. Made for Jeremias Krauss (Oct. 28, 1758 – Aug. 17, 1821), Upper Hanover Township, Montgomery County, by an anonymous artist/scrivener in January, 1768. Text Source: Gerhard Tersteegen, Geistliches Blumengärtlein inniger Seelen.: oder, Kurze Schlussreimen, Betrachtungen und Lieder über allerhand Wahrheiten des inwendigen in dem verboregenen Leben met Christo in Gott nebst Der frommen Lotterie (Elberfeld: Hassel, 1826), Erstes Büchlein, v. 383, S. 102.

TRANSCRIPTION:

T R A N S L AT I O N :

Jeremias Kra[uss] Jesus zu der Seelen, Mein werthes Kind, ach ! liebe mich, Dann ich so hertzlich liebe Dich; Daß ich mich selbst Dir gantz will schenken, Wie kanst Du an was anders, Denken.

Blumen Gärtlein, 383 P Anno 1768 Januar the

Jeremias Kra[uss] Jesus to the soul: My valuable child, please love me, for I so profoundly love you that I want to give myself unconditionally to you. How can you consider anything else?

[From] The Little Garden of Flowers, 383, P. Anno 1768, January the

ings. He believed that God is naturally a part of every man, but that our focus on the external handicaps our spiritual growth. If we cultivate our inner being, we will find great joy and deepen our friendship with God, who is always present within us.

The decorative elements in this Vorschrift (precept) are pure Schwenkfelder, especially the floral vines and heart which contains Tersteegen’s verse. Unfortunately, a portion of the right side of the document is missing. The child’s name is in Fraktur and this is a perfect example of broken letters—the initial capitals ornamented with calligraphic flourishes. The heart is not only symbolic as a vessel for the soul, but is also, literally, a receptacle for a bouquet of decorative flowers, a very knowing touch by the artist/scrivener. The verse is written in the old German script. The bottom line, in cursive round-hand, is part Latin, German, and English!

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New Year’s Greeting (probably Schwenkfelder): Hand-drawn, -lettered, -colored, and scissors-cut on laid paper. Dimensions: 3-7/8" high x 2-9/16" wide. Made for George and Barbara Diehl Anders, Towamencin Township, Montgomery County, by an anonymous artist between 1757 and 1803. Text Source: Unknown.

TRANSCRIPTION: G A [George Anders] B A [Barbara Anders] Ich wünsch eüch ein glückseelich neues Jahr georg anders und seiner frah

T R A N S L AT I O N : G A [George Anders] B A [Barbara Anders] I wish you a joyous New Year. To George Anders and his wife.

FRAKTUR 6 This New Year Fraktur was made for the Schwenkfelders George Anders (June 16, 1733 – Aug. 28, 1803) and his wife Barbara Diehl (Dec. 25, 1730 – Jan. 25, 1812), who were married on February 13, 1757. It was given to them sometime between 1757 and 1803. Since there are very few examples of Fraktur-decorated holiday cards from this time period, this is a real treasure even though the artist is unknown. The holiday greetings are in Fraktur.

FRAKTUR 7 Another rare gem in the Schwenkfelder Fraktur Collection is this Christmas greeting from December 24, 1798. Based on characteristics similar to a few other known Moravian Christmas cards that are hand-drawn, hand-lettered, and hand-colored (see the Free Library Rare Book Room

FRAKTUR 7

FRAKTUR 8

Moravian Christmas Greeting: Hand-drawn, -lettered, and -colored on laid paper. Dimensions: 3-3/16" high x 3-7/8" wide. Made by an anonymous artist/scrivener from an unknown location on December 24, 1798. Text Source: Unknown.

1958.02.02 Vorschrift (Writing Sample): Hand-drawn, -lettered, and colored on laid paper. Dimensions: Approximately 6" high x 7 wide. By Christina Wagner (Feb. 17, 1769 – April 18, 1830), Worcester Township, Montgomery County.

Text Source: Sirach (Apocrypha) 10:17-21.

TRANSCRIPTION: Ey welch’ Lieb preißt der Herr an uns armen Sündern, Da Er, zu Seiner Ehre, Freud’ annimmt zu Kindern.

24ten Dec. 1798

T R A N S L AT I O N : O what love the Savior grants to us poor sinners.

For he, to his Honor, delights in becoming as the children.

24 Dec. 1798

TRANSCRIPTION:

T R A N S L AT I O N :

Manniger karget und sparet und wird dadurch reich, und dencket er habe etwas vor sich bracht, und spricht: Nun will ich gut leben haben, eßen und trincken von meinen Güthern, und er weiß nicht, daß sein Stündlein so nahe ist, und muß alles andern laßen und sterben. Bleibe in Gottes Wort und übe dich darinnen und beharre in deinem Beruff und laß dich nicht irren, wie die Gottlosen nach Guth trachten. Vertraue du Gott und bleibe in deinem Beruff pp.

[Alphabets] Christina Wagener at Worcester Township

Some are stingy, save, and consequently become rich. They are of the opinion that they have done well for themselves, and say: “Now I want to have a good life, eat, and drink, and live from my possessions. Little do they know that their hour is quickly approaching, and that they will have to die, and leave everything to others. Stick to the word of God, and follow its precepts. Persevere in your work, and do not be sidetracked, like the godless, who strive for worldly goods.

Trust God, and carry on with your calling. With my own hand.

[Alphabets] Christina Wagener at Worcester Township

Fraktur Collection), this example can be attributed to an anonymous Moravian artist/scrivener. The Moravians are not known to have produced Fraktur of any other kind other than the few Christmas greetings still extant.

A dove symbolizes peace, love, innocence, and portrays the Holy Spirit, particularly in annunciation scenes. Christian art also depicts the dove as hovering over the Virgin Mary’s head, symbolizing Mary’s submissive innocence. Two doves represent eternal love. The pair of doves in this Fraktur are carefully rendered and, perhaps, represent the everlasting love, i.e. Jesus Christ, who was born to bring peace to the world. The faded lavender colors of the text, as well as of the decorative oblong wreath were probably red when initially applied. The text, in old German script, expresses the Savior’s mercy to sinners, since he delights in becoming as the children.

FRAKTUR 8 Christina Wagner’s parents were the Schwenkfelders Christopher Wagener and Susanna Hübner. This Susanna Hübner was the daughter of David and Maria Heebner. She was born in Worcester Township, Montgomery County, and married Abraham Hübner on May 11, 1790.

Her sister-in-law, Susanna Hübner, as previously mentioned, was also inspired to do some of her finest Fraktur pieces for Abraham’s and Christina’s children.

Christina Wagner may well have been the scrivener of this unadorned Vorschrift (writing sample). The initial letter W is graced with several calligraphical flourishes and the opening line is in cursive Fraktur.

The rest is in old German script. At the end of the quoted text, one finds the letters pp, which is usually an abbreviation for per procurationem or on behalf of. Its placement seems out of context, as it usually is found THE SCHWENKFELDIAN

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in combination with a signature. The alphabet beneath is an example of round-hand and combines the upper and lowercase letters together under each letter. The signature Christina Wagener at Worcester Township, is in English and in cursive round-hand.

The text is from Sirach, an apocryphal book of the bible, which was very often quoted for Vorschrift texts —writing specimens as well as precepts—because of its didactic and common sense viewpoint. The reader of this writing specimen is encouraged to be diligent and to lay up treasures in heaven, for one never knows when one’s life will end.

M O T I VA T I O N The Schwenkfelder Library & Heritage Center owns Samuel Pennypacker’s personal copy, dated January 24, 1877 [VR43-19 6097], of Geistliches Magazien (Spiritual Periodical) Num 33, which Christoph Sauer published in 1764 in order to share a letter from Christopher Dock, the well-known Mennonite school teacher, to his still living students for their instruction and admonishment.

In his letter, Dock wrote: “My beloved children, who have come of age, and understanding: My love and concern for your spiritual well-being and joy has placed a duty upon me to plead with you before I take my leave from this earth. Search yourselves, and determine if you are God’s children, or are willing to belong to him. If you find like the prodigal son, that you have strayed from your Father, then, also like the prodigal son, resolve to return to him. Avoid the temptations of this world such as lusting with your eyes, sins of the flesh, and vain living. Free your hearts from this sort of false love, and consecrate and join yourself to Jesus, the groom of our souls, who because he loved us, sacrificed himself for us. As we have already learned from his words, he lovingly beseeches us to come to him.

In coming to him, we receive his light. Please do not forget that you can still come to him.”

Yours in love, Christoph Dock* During his long career as a schoolmaster, Dock made many types of Fraktur pieces for his pupils, which contained expressions of general truth and principles to motivate them to walk in the footsteps of Jesus and to be his friend for eternity. It is fitting to conclude with some of his thoughts, which mirror the raison d’etre for the Vorschriften, both the writing specimens and precepts as well as other types of Fraktur, produced by the Pennsylvania-Germans, ca. 1740 to 1860, and which are now part of the Schwenkfelder Fraktur Collection. n *Source: Christoph Dock: Eine Schrift an seine noch lebende Schüler zur Lehr und Vermahnung, Geistliches Magazien Num 33 (Christoph Sauer: Germantown, Pa. 1764), p. 269, column 2, paragraph 3.

14

WINTER 2011

Aram Basmadjian, of the Allen Organ Company, performed a one-hour concert demonstrating the versatility of the king of instruments. A resident of nearby Macungie, Aram is a young organ virtuoso who made his organ debut playing at Temple Square in Salt Lake City, Utah. His spirited playing and humor provided a fun introduction to Palm’s new digital organ.