The Ancient Bohemia Gingerbread Craft
The craft history
The first note of the gingerbread production in the Czech countries comes from 1335 when the products were sold at a church fair in Turnov. Until late 17th century gingerbread - and especially marchpane - were luxurious products destinated to high society. Only in 18th century, along with the development of bee-keeping the gingerbread production started blooming and the products spread among common people. In 19th century the demand increased and the production used simpler technology. Late 19th and early 20th centuries the production was declining with the extinction of guild crafts and development of industriel production. Of course, these changes reflected themselves in the change of carving quality of the wooden gingerbread moulds.
Gingerbread mould carving
The perfect carved moulds from the second half of 17th century and partly early 19th century boast of high value witnessing of professinal carvers were probably used for forming marchpane. The perfect work of the negative relief of these baroque moulds show that they were made by carvers of baroque statues and knew all the details of baroque garments, flowers, weapons etc. and were able to express them in negative carving. Also the compositions and poses of the figures speak about the perfect work of the carvers. That period was the top of gingerbread mould carving which has never been surpassed. The present carver,s effort is to come as near as possible to the carvers, mastery. Carving of moulds for marchpane and gingerbread (the so called relief negative carving) had and has, like every other craft, its system of unevoidable basic steps and principles. It means mainly following the system of the so called plans, which also means the depth levels of carving. The first plan is the outline of the figure into a proper depth. On this level the main elements of the figure or motif are carved in a plastic way. This is the second plan. On the surface of the second plan there are carved the details and ornaments. The plan system was binding for the carver, however its realization varied and was dynamic. A special care had to be given so that there were not much difference in the depth between the parts of the mould. Not observing this principle would bring difficulties in baking because the different thickness of the gingerbread would be baked differently. Some parts would be burnt and some underbaked.Combining this priciple with the contrary requirement of a proper relief of the motif (plan system) makes mould carving a special part of carving craft.
Development of mould carving in 17th century and the used motifs
The moulds conserved from this period are peaces of the masterly baroque negative carving. At that time they were used for forming marchpane which - thanks to its modelling ability - made it possible to picture all the details. The carve motifs reflect their time. They are mostly of spiritual and religious character, figures of sovereigns, ladies and cavaliers, hunting and love scenes.
Development of mould carving in 18th century and the used motifs
Since the beginning of 18th century the carving character slowly changes. The craft skills stay but the mould character becomes less influenced by statue and relief carving. The delicateness and individuality of figure faces disappeare and the carver inclines more to stabilized figures. The plans differ strongly. Figures of gentle men and sovereigns diappear, the loving couples wear common or civic clothes. Also religious motifs become more folk-like. The iconography however becomes richer with motifs like fertility, protection, erotic. Newly smaller motifs appear with the purpose to be small souveniers from church fairs.
Development of mould carving in 19th century and the used motifs
With late 18 and early 19th centuries not only specialized carvers made the moulds. Also more or less skilled bakers try to make them. Especially in the late 19th century the carving sometimes is poor or even diletant. The motif range of figures becomes narrower, the performance cruder and the variety of carving tools poorer. As for topics, the iconographic declines. However, new up-to-date motifs appear, e.g. machine, train etc.