On Tuesday, September 10, the Sophienburg Museum and Archives will open its exhibit about a literary form referred to as fairy tales. Eighteen Brothers Grimm fairy tales will be incorporated into the displays that are already present in the museum.

Keva Boardman, Director of Exhibits at the Sophienburg Museum, has used her imagination and expertise to show off the Sophienburg’s vast collections, seldom seen by the public.

There are some important facts to know before you come to the exhibit. First of all, the “Brothers Grimm”, Wilhelm and Jacob, did not write the fairy tales; they wrote them down. Drawing from a collection of writers such as Charles Perault, they utilized the stories that were passed on by word of mouth, mostly from Europe. Most stories date back to the Middle Ages. These tales are in modern times totally bazaar and full of the evils that man is capable of inflicting on mankind.

Life in the early European days were indeed harsh and fairy tales reflected what children were exposed to and feared the most. The Grimm brothers told the stories they heard from people but modified them to reflect the times. (1800s) Writers of fairy tales for children today do basically the same thing, that is, change the tales to reflect these modern times. Walt Disney did much to keep the fairy tales alive, but in a much more acceptable way to modern children.

Even today the themes of the fairy tales still reflect the underlying fears of children and adults. Think about the fairy tales you know. They play on the themes of evil (the evil stepmother), abandonment (Hansel and Gretel), and fear of becoming a victim. Most children are quick to pick up on these themes in literature and for that reason, they are often fearful of the story itself.

One Christmas when I was eight years old, I received a very large book that contained 100 fairy tales. Each story had an illustration of that particular story. I would turn the pages very slowly and look at the beautifully illustrated pictures. When I got close to the middle of the book, I would hurriedly go past the 50^th story and its illustration. This story was “Bluebeard”, a story about a king who warned his many wives to never enter a certain room in the castle. Of course, the female finally gave in to her curiosity and she opened the door only to find that all the other wives had been beheaded. Needless to say, that story is no longer in fairy tale books and hasn’t been for about 50 years.

The Grimm brothers cleaned up the earlier tales, and Disney cleaned up the Grimm tales. The Sophienburg exhibit is for adults and children. The Grimm brothers were professors of linguistics. Learning about the change in the sounds of words was best accomplished by them by requesting that everyday people tell them stories that they had heard as children. The brothers wrote down the stories which eventually led to their publication in 1814. Consisting of tales from Germany, they were not intended for children, as they were full of witches, wolves, and goblins in dark forests. The original tales make no attempt to be fright-free.

Eighteen fairy tales have been chosen to display and here is an example of what you could see in the exhibit: a “Snow White” dress on a mannequin originally worn by Mitzi Nuhn (Dreher), age six, as she played that part in the Enchanted Hour Kindergarten’s program of “Snow White and the Seven Dwarfs” in 1937 at the Seele Parish House. The teachers of this private Kindergarten were Bessie Baetge and Lucille Staats Jett. The silk and velvet dress was reworked by the Sophie Sewers who worked on several projects from the collection, including handkerchiefs from “The Goose Maiden”.

For the “Cinderella” exhibit, 39 right-footed shoes from the collection are shown, even a red leather Moroccan slipper. “Star Money” features a collection of German coins and “Brother and Sister” features things made of antlers, because in the story the brother turns into a deer.

A loaned display for “Brementown Musicians” shows eleven handmade German folk guitars dated 1870 to 1990 and loaned by Troy Tidwell. The musicians in the story are a donkey, a dog, a cat, and a rooster.

“Hansel and Gretel” features children dressed in German costumes and “Reponses” shows decorations made of human hair. There are about ten examples displayed in shadow boxes. This was a popular art at the time the emigrants came to New Braunfels.

Several fairy tales used the idea of a princess under glass. That even survived in the Snow White story by Disney. The exhibit is using their Scloss Braunfels Boyhood Home of Prince Carl of Solms/Braunfels under glass sculpture, created by Jonas Perkins. In the foyer of the museum is a permanent statue of “Little Redcap” or “Little Red Ridinghood”, donated by the Emmie Seele Faust family.

“The Seven Ravens” is about a baptism. The Sophienburg has been the recipient of many old church Baptism certificates. They are beautifully crafted, some using gold and exquisite colored flowers.

This exhibit is for those who want to know about the historic root of fairy tales. Museum hours are 10:00 to 4:00 Tuesday through Friday. The Bruder Grimm Kinder-Märchen Exhibit will be on display for a year.

The post Brothers Grimm to be at Sophienburg appeared first on Sophienburg Museum and Archives.

A Texas Historical Marker honoring Eiband & Fischer store is being cast at the foundry in San Antonio, soon to be installed at the site of the one-time famous mercantile store. You or your family may remember this store if you were in New Braunfels before 1959.

The big store on Main Plaza burned down in 1947 but limped along with what was left, trying to survive. When it was just a hole in the ground, Wurstfest inhabited it from 1963 to 1966. During that time it became a joyful place to be, with music and lights and fun. But it was an eyesore downtown the rest of the year. Finally the property was sold in 1969 to local investors and eventually to NBU.

At first a store owned by Gustavus Conrads was located on this spot on the Plaza and in 1864 he sold it to Ernst Sherff. Sherff enlarged the store, even adding a campground out back for those who came to town from the country. This store was bought by George Knoke and George Eiband and became Knoke & Eiband.

In 1907 the store was sold to Ernst Eiband (brother of George) and Emil Fischer. Eiband and Fischer opened a modern establishment in 1910. Their beautiful modern building sported a skylight in the middle of the roof and a grand staircase to the mezzanine. An interesting thing about the mezzanine is that gift items and fine clothing were located there. For some reason, the clientele would not go up the beautiful stairs for purchases. Soon after the opening, these gift items were moved to the basement. Apparently people would walk down but not up.

The fateful fire happened March 2, 1947. Beginning in the basement, the fire raged undetected during the night until the early morning hours when a salesman called on Naegelin’s Bakery next door and noticed smoke. But by this time the damage was done. The cause is still unknown but there was speculation of a defective small motor in the grocery department. The basement was also where hunting goods, guns, and ammunition were sold and when the fire reached this stash, there was quite a racket that could be heard for miles.

A small part of the store was spared because it was separated from the main building by an alley-way. This is the part of the store that became the “after fire store”. It managed to stay open until 1959.

For 16 years the hole gaped with only a wooden enclosure at ground level for safety reasons. In 1975 after the Wurstfest years (63-66), the city bought the remaining business building and the burned-out corner. San Antonio Public Service had their offices on the San Antonio St. corner since 1929. The basement was filled in and became a parking lot.

I remember the inside of the store before the fire. First, outside on the sidewalks were glass blocks embedded in concrete giving light to the basement. Enter the front door on Seguin St. to the main floor. There in the front of the store were women’s clothing and on the right side were men’s clothing and all shoes. In the back of this floor was the grocery store. On the mezzanine was the cashier’s office that controlled the “cash caddies” that carried cash up and down on wire cables. The basement held the china and crystal.

Behind this building was the annex housing a cotton exchange. Upstairs in the annex was a dance hall used for dance lessons and functions. The camp yard was in the back extending to Comal Street. Farm equipment and feed were sold there. There were outhouses, horse stalls, and places for farmers to park their wagons and spend the night. Way in the back of this area was a statue of J.I. Case eagle on top of the world, a logo of that tractor company. Some may remember this.

The Sophienburg has quite a few items from before the fire. One is a collection of books called the Eiband & Fischer Cookbooks. Written in German, recipes were thought to be by the Women’s Civic Improvement Club. The first edition was in 1915. Here’s a sample of some of the recipes: Roasted Flour Soup (good for the sick), Beer soup, Turtle Soup, Wine Soup with Snow Dumplings, Blood Sausage, Meat in Beer, and the old favorites, noodles, sweetbreads, Koch-Käse. Yum! Roll out the barrel.

Marijane Stafford has spent years researching Eiband & Fischer store. She is a direct descendant of the Fischer family. Her father was Carlo Fischer, the last family member to own the store. Placement of the historical marker will once again remind us of the mercantile store that it used to be.

The post Former Eiband & Fischer store to receive historical marker appeared first on Sophienburg Museum and Archives.

By Keva Hoffmann Boardman —

Christmas morning had finally come! Presents, wrapped in shiny red or green paper and topped with ribbon bows, were stacked beneath the Christmas tree. But first, I looked on the coffee table where the Mary and Joseph figures had been reverently kneeling, gazing with love at an empty manger for weeks. There He was, the tiny Baby Jesus, lying in the brown wood manger filled with moss. Our manger scene at home was never complete until Christmas day.

The 13th C. theologian St. Bonaventure credits St. Francis of Assisi with creating the Christmas tradition of a manger scene. In his biography, “Life of St. Francis,” Bonaventure tells us that Francis was inspired by the sight of the traditional place of Jesus’ birth when he visited the Holy Land. In 1223, St. Francis sought permission from Pope Honorius III to create something “for the kindling of devotion to the birth of Christ.” On that Christmas Eve in a rock niche near the town square of Grecio, Italy, St. Francis put together a scene of a live ox and donkey beside a hay-filled manger. “He preached to people around the Nativity of the poor King … the Babe of Bethlehem … a dear friend of this holy man affirmed that he beheld an Infant marvelously beautiful, sleeping in the manger, whom the blessed Father Francis embraced with both his arms, as if he would awake Him from sleep.” The vision wasn’t the only miracle that night. “The hay of that manger, being preserved by the people, was wondrously found to cure all diseases of cattle and many other pestilences.”

After such a beginning, the inclusion of a nativity scene quickly became part of Christian Christmas tradition. In 1291, Pope Nicholas IV decreed that a permanent nativity scene be erected at Santa Maria Maggiore in Rome. Attributed to the sculptor Arnolfo di Cambio, the marble figures are believed to be the oldest nativity in Italy. By the end of the 14th C., almost every church in Italy included either live or statue/figurine manger scenes in their Christmas services.

Living nativities fit well into the tradition of pantomimes and mystery plays which were popular in the Middle ages. Renaissance art was dominated with the subject of the Nativity, artists and sculptors telling and retelling the story in unique and beautiful ways. Wealthy patrons even had themselves inserted into the Nativity story. The manger scene was often expanded to include the little town of Bethlehem and the countryside.

Manger scenes are not really historically accurate. They usually incorporate the shepherds and the three Magi along with sheep, donkeys, oxen, and camels. Our manger scene at home has come to include exotic animals like antelope and swans, and a cheetah walks next to the camels. The story of Christ’s birth varies in its telling in the Gospels of the Bible. All are combined in our manger scenes, this adjustment to the timeline simply allowing us to have the whole dramatic and beautiful story gathered together in one place.

The tradition of the Nativity is uniquely kept all around the world in displays both live and static. In past years, Holy Family Catholic Church celebrated the festival of Los Posadas, a tradition in Spanish-speaking countries. This reenactment of Mary and Joseph’s search for a room took the Nativity to the streets of New Braunfels in a lovely candle-lit walking drama. Many other local churches have manger scenes set up on their front lawns. I remember being a shepherd for a night in the living Nativity at First Protestant Church when I was in Jr. High. And we cannot forget the many Christmas pageants, with school children acting the parts of both humans and beasts.

The seven Timmerman Sisters of Geronimo (just up Hwy. 123 towards Seguin) were well-known for their family’s nativity scene. In 1936, Mrs. William Timmermann found a description in Hermann Seele’s Die Cypress, of the 1849 Christmas celebration at her grandparents’ home, the Waissenhaus (the orphanage out near Gruene). Seele described seeing a manger scene set within a circle of honeycomb limestone rocks beneath a native cedar Christmas tree. Mrs. Timmermann, the seven sisters’ mother, then reestablished this tradition of her grandparents by setting up a manger scene surrounded by honeycomb rocks beneath the Timmermann Christmas tree. The scene grew to include a miniature Waissenhaus, a waterfall and other little vignettes which were nestled within an ever-growing ring of honeycomb limestone rocks.

Special figures for the orphanage were created in Germany after WWII. A copy of Seele’s story was sent to a West German friend. Disguising herself as an old woman gathering seeds, she made her way to a home in East Germany and placed a note under a rock which described the children and adult figures needed for the scene. The friend then arranged to return and pick up the finished pieces which she sent to the Timmermanns in Texas. The completed Waisenhaus scene appeared under the Timmermann tree in 1949 — on the hundredth anniversary of the Christmas described by Hermann Seele.

Many of us remember visiting the Timmermann Sisters at Christmas to marvel at their manger scene. Surrounded by honeycomb rocks, the Nativity and Texas Hill Country scenes spilled out from under the wide-spreading branches of the Texas cedar tree quite nearly filling the entire room. For many years, the scene was also created at the Heritage Exhibit which was put on at the NB Civic Center during Wurstfest.

Of course, depending on where you are from, a manger scene has a different name. In Spanish-speaking countries it is known as belén which is literally “Bethlehem.” Churches and cathedrals have elaborate scenes which include the manger, the city, and the countryside. German-speakers call the manger scene a Weihnachtskrippe or “Christmas crib.” While the French call it a crèche, the Italians call it a presepio, but both mean a “crib.”

All these names reflect the most important part of Christmas — the Baby Jesus in the manger on Christmas morning.

Sources: San Marcos Daily Record, Austin American Statesman, New Braunfels Herald-Zeitung, Texas Library Journal Vol 29 No. 4 – Sophienburg Museum & Archives; https://www.google.com/search?q=history+of+nativity+scenes; https://theconversation.com/how-st-francis-created-the-nativity-scene-with-a-miraculous-event-in-1223-124742; https://catholicstraightanswers.com/what-is-the-origin-of-the-nativity-scene-creche/

Photo: The Timmermann Christmas tree and nativity scene in 1948. The Waissenhaus is on the left. (S481-014_3)

The post Away in a manger appeared first on Sophienburg Museum and Archives.

I mentioned in an article that I needed to look into the history and creation of the grottos at our city’s lovely Catholic churches. A grotto is a small mountain – El Cerrito or Die Grotte – which is created from concrete or stone and includes openings or niches that are reminiscent of caves. In New Braunfels, parishioner-craftsman built them of locally-sourced stone. They are unique to each church family and are an extremely precious part of our city’s public art offerings.

The oldest grotto is found behind SSts. Peter & Paul Catholic Church. After 45 members of his church had died in the 1918 influenza epidemic, Father Wack led the congregation in a vow to build a replica of the grotto of Our Lady of Lourdes if there were no more deaths. No other parishioner died from the flu.

Father Wack went to France to get specifications for the grotto. J.J. Scholz from Nebraska was hired for $10 per day to do the work, but he was helped by many parishioners. Farmers hauled limestone rocks from the Wenzel, Friesenhahn and Schumann ranches. Flint stones were gathered from nearby yards. All the stone was carefully washed before taken to the construction site where work began in April 1921. The grotto was finished that June and the dedication, on the Feast day of SSts. Peter and Paul, was a grand and beautiful event.

The vine-covered honey-combed limestone grotto features an arched opening where a stone altar holds a cross and prayer candles. Up and to the right, a life-size statue of Our Lady of Lourdes stands at the top of a “waterfall” that empties into a small pool. At the edge of the pool kneels a likeness of St. Bernadette. Above the Virgin is a white rose bush and a flying dove. The grotto illustrates the story of a 14-year-old French peasant girl, Bernadette Soubirous, who saw visions of the Virgin at a natural grotto near Lourdes in 1858. On one of these occasions, Bernadette was to dig in the ground and drink from a spring. This spring formed a pool that became the site of pilgrimage and miraculous healing. SSts. Peter & Paul’s grotto includes the elements of water, faith and healing making it a perfect congregational offering of thanks and a stunning memorial to their faith during the flu epidemic.

Our Lady of Perpetual Help Catholic Church began their grotto in 1949 and dedicated it on Sept 15, 1951. The most naturalistic of the three, it truly looks like a little mountain. Parishioners were sent “up the hill” to find stones and rocks to create El Cerrito. The grotto rises up in a wonderful, jumbled pile of stone: honey-combed and cretaceous limestone rocks, fossils of shells and even broken bits of cave formations. The rocks, varying greatly in size, shape and color, form two arched openings. The top niche, painted like a bright blue, cloud-streaked sky, holds Our Lady of Guadalupe. To her right kneels Juan Diego with his apron, or tilma, full of roses. The bottom niche is much larger and the rock altar and walls within are painted a clean white. A crucifix is surrounded by statuettes of the Virgin, a bust of Christ, and St. Jude Thaddaeus. Thornless prickly pear, barrel and ocotillo are a few of the cacti that grow out of the rocks. Vivid pink and yellow artificial roses frame both niches with a riot of color.

Our Lady of Guadalupe is the story of the Virgin Mary’s appearance in the New World. It is viewed as an event of vast significance and a powerful reminder that God accepts all peoples. A poor Indian, Juan Diego, first saw the apparition of the Virgin on a hill near Mexico City. She was dressed like an Aztec princess and was surrounded by a radiant cloud. She spoke to him in his own language asking him to tell the bishop to build a chapel on the hillside. The bishop needed proof. When Juan next met the Virgin, she filled his tilma with roses to take to the unbelieving bishop. On December 12, 1531, Juan unrolled his tilma to show the roses to the bishop and a miracle occurred — as the roses fell to the ground an image of the Virgin was left on the robe.

Holy Family Catholic Church added the largest NB grotto to their grounds in 1982. Dedicated by Archbishop Flores, this native limestone rock structure is semicircular in plan with terraces and a central arched niche. In this niche, Our Lady of Guadalupe floats effortlessly amongst the clouds of a blue sky with an angel at her feet. She is surrounded by an aureola or radiant cloud of glory just as in Juan Diego’s vision. Juan appears kneeling to her right cradling his apron full of roses. Real and artificial plants and flowers adorn the terraces and the small wooden altar where fresh flowers are often left at the feet of a statuette of Our Lady of Guadalupe. A large stand of thornless prickly pear and another of agave blend the structure gently into its surroundings. Positioned in a bench-filled enclosure, the grotto is utilized by the congregation for feast days and special celebrations.

Each grotto was created as an act of faith by their parishioners and still plays an important role in festivals and events throughout the church year. Please check the church websites for their calendars and more information regarding opportunities to participate and enjoy the culture, traditions and pageantry of celebrations around these fantastic and marvelous works of art.

Sources:

• The History of Saints Peter and Paul Church and Parish; Furhmann, Monica
• NB Zeitung, NB Herald, NB Herald-Zeitung newspaper collections — Sophienburg Museum & Archives
• “Reflections” Oral History #1054 – Ayala, Adelio, and Acevedo, Rey
• Phone interviews with staff of the following:
  • Holy Family Catholic Church www.hfnb.org
  • Our Lady of Perpetual Help Catholic Church https://olphnb.org
  • SSts. Peter & Paul Catholic Church https://sppnb.org

The post The stories behind our grottos appeared first on Sophienburg Museum and Archives.