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Toy Making – 1525 German ball jointed doll.

The making of a doll for a sub-noble child in 1525 living in the Ducal State of Saxony.

Historic Basis:

Figure 1 is a ball jointed doll, where even the fingers and toes can be moved, made from

boxwood from 1525 in the southern region of Germany. The doll is 21.6 cm tall (23.5 cm with

the feet extended down) and 8.3 cm wide. The joints work by running a system in an opening at

the head of elastic gut through the doll limbs. The Museum comments that due to the intricacies

of this piece that this doll might have been used in an artists studio or as a testament to the

growing interest in the human body.1

A similar ball wooden ball jointed doll from 1525 is seen in Figures 1-3 through 1-6. It is part of

a male and female set, one of which is made from boxwood and the other pearwood.2 The

female figure is 23cm tall. 3 Figure 1-6 from the Freundeskreis Grassi museum shows through a

3D x-ray the animal intestine used as the elastic for the doll.4 This provides insight into the

interworkings of the 6 known wood ball jointed dolls in existence today from this time period,

which includes male as well as female dolls.5 No further insight is provided regarding the overall

purpose of these dolls.

Figure 2 is a Swedish doll from 1590, the body of which is constructed of steel wire wrapped in

silk and gold threads. The face made from taffeta with stitched nose, rose mouth and blue eyes

from silk threads. The hair is natural brown hair that has been braided and wrapped, studded

with gold and pearls. The dress is violet silk with gold thread and lace and the sleeves

embroidered in red silk and gold and silver threads. The doll also wears three petticoats, one of

cut and uncut silk velvet bordered in silver wire, one of pink taffeta with lace and gold wire, and

a bodice of yellow taffeta. The doll originally had a piece of paper indicating the doll was made

by “King Carl the Nijondes princess.” The doll is 16 cm tall and 16.5 cm wide (presumably

referring the gown with train).6

Figure 3 is Spanish mechanical doll made during the second half of the 16th century. An internal

mechanism enables it to play a tiny cittern and move in time with music. It is 44cm tall with the

face, feet and hands carved of wood and painted with iron movement. The doll is dressed in an

ochre-colored linen and silk brocade with patterned red border.7

Figure 4 is a German Doll from Thueringen from 1530 carved from limewood and painted,

measuring 21 cm tall.8 Another doll form can be seen in Figure 5, a 1600 stump doll, and in

1 Weibliche 2 Albert-Schweiter Schule 3 Kempner. 4 Bente 5 Id. 6 Pandora. 7 Automaton Doll. 8 Thueringen Doll

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Figure 6 showing various clay remnants of dolls, some very similar in shape to the Theringen

doll in Figure 4.9

16th century dolls were made of wood, wax, lead, or papier-mâché, the latter especially popular

in France.10

In addition to the extant dolls, wood carvings from the late 15th century and into the early 17th

century can be seen showing the making and selling of dolls in Germany. See Figures 7-9.

These dolls were much a part of children’s toy set as they might have been for fashion. Figures

10-15 show many examples of children portraitures including their dolls, figurative children

carrying dolls in allegories, and wood cuts of Saxon children playing with dolls through the 16th

century.

These dolls are all dressed in the adult fashion of the region, lending support to the idea that

these were not in fact dolls designed to show distant fashion, but made by local artisans for the

purpose of child’s play. Such ideas are supported by the description of gifts given to Francois I’s

children by the city of Paris in 1528:

To a doll-maker, for a carriage with four wheels golden in fine gold, with two

horses covered in hair, sporting velvet harnesses adorned with bits, knobs, and

golden studs with buckles; in said carriage, there was a lady seated on a chair,

dressed in a gown of gold cloth open in the front, lined with crimson purple

velvet, and in a coat of silver cloth and black velvet shell, the crimson satin

underside of which was embroidered with Cyprian gold, and the hems of the

silver cloth were embroidered with pearls. Item, there was also in said carriage

another lady of smaller size, equally seated on a chair, dressed in a gown of silver

cloth lined with crimson velvet, open in the front, and in a shell of gold cloth,

made in the Italian manner, lined with crimson velvet and slashed, and fastened

with laces made of silver thread, the edges, hems and underside of which were

made in the same manner as above.11

As early as 1413, Dochenmacher (doll makers) could be found in Nuremberg, the leading

manufacturer of dolls and toys from the 16th – 18th century.12 In reviewing these figures, it can

be seen that the dolls were highly detailed and wearing the same fashionable clothing as the

young girls’ playing with them. And where the Thueringen doll would be rigid with

unchangeable clothes, Figures 7, 13, and 14 show a highly detailed doll that is more flexible and

bendable like those in Figure 1 et al.

Wood was a popular choice for dolls, likely do to durability and the ability to add fine detail.

Regional availability played an important part of what would be used by Dochenmachers -

Southern Germany favored limewood; oak was widely used in Northern Germany, the

9 Clay Dolls 10 Croizat 11 Croizat 12 Doll

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Netherlands, northern France, and England; walnut in Burgundy and France; and pine and poplar

in Italy, Spain, and the Alpine regions.13

Wood was carved by rough cutting with an axe and then shaped with a narrow axe, flat-headed

chisels, gouges and skew-bladed firmers (a kind of chisel with a hooked end used for cutting

folds in drapery). After carving, the surface is normally smoothed with sandpaper or other

abrasives.14

Basic wood carving tools include a knife, chisels, the type and size based on the intricacy of the

work achieved. See Figure 16 for types of wood carving tools. Figure 17, as well as Figures 8

and 9 show tools used by woodworkers, as well as the knife common to dollmaking.

Wood carving tools include the following: a special carving knife used to cut and pare the wood;

a gouge with a curved cutting edge used for making hollows and curves; a specialist gouge called

a veiner, with a U-shaped edge; a straight-edge chisel used for lines; as well as various mallets

and hammers.

The sculptor starts by choosing a block of wood appropriate to the shape and scale of his

intended design. Employing gouges of various sizes, he then reduces the wood to an approximate

shape, which he refines with a variety of tools like veiners and v-tools. When the detailed work

is complete, the sculptor smoothes the surfaces with implements like rasps and rifflers, and with

different grains of sandpaper. Lastly, to enhance and preserve the sculpture, he stains it walnut or

linseed oil, and then coats it in varnish, resin or wax.15

Materials used:

Castello Boxwood: Origin South America; Species Calycophyllum multiflorum

o European Boxwood: Origin Europe; Species Buxus Sempervirens is very

expensive and hard to locate. In trying to source, it was going to cost roughly

$101.50 for a 2 3/16 x 2 3/16 x 6 3/8 inch block.

o I purchased a 9 x 9 x 2 ⅝ inch block meant for a turning bowl from NC Wood

on ebay for $34.00 – much more cost effective with plenty left over in case I

mess up.

o All lumber sites, including specialty wood shops and model ship building

sites, offer the Castello Boxwood as a cost effective substitute for the

European Boxwood for carving purposes.

Electric table saw and miter used to cut blocks

Electric drill press used to create holes in most blocks in the interest of time and since

my hand drill was rather small.

13 Sculpture Technique 14 Id. 15 Wood Carving.

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Hand drill used for small beads – these were not used as the drilling wasn’t straight and

the hand drill didn’t make a large enough hole.

Band saw – on some parts to move the process of cutting the excess away.

Small jewelry screw eye hooks used in hands and feet and neck.

Wax free paper

Mechanical pencil

1.5mm Elastic cord

o This is a modern substitution for animal intestine used in Figure 1 and 1-7

Carving knife

o Flexicut

o Fury Whittler blade

See Figure X – close in shape to extant blades used.

Sand paper – 100, 220, 400, 600, 800 grit

o Flat sandpaper

o Sandpaper sponge

o Sanding sticks

Gouges

o Flexicut micro gouges: 1.5mm v, 1.5mm round, 2mm round, 3mm round

o Craftsman round gouge 5mm

o Japan Art gouges 3mm and 1.5mm

“Tried & True” Original Wood finish – mix of linseed oil and beeswax.

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Construction:

I was inspired the most by Figure 1, since it was the safest for a child to play with and the most

intriguing doll. The idea of creating a ball jointed doll was more than a little daunting, but I

researched it quite a bit, and while I originally planned on substituting the wood for modern

hardened clay, I ultimately moved back to making the doll from wood.

First, I drafted out some sketches to scale of what the doll would look like and the view from

different angles. This helped in configuring the cutting process once the block of “boxwood”

was purchased. See Figure 19 and 20.

Once the wood was cut into the appropriate box shapes, see Figure 21, I marked the centers of all

but the hands, feet, head, and lower body for the holes to be drilled. For the small joints, I tried

using a hand drill for the holes, these were just not right, straight, or large enough. All pieces

were then drilled on a drill press using a 5/32 sized drill bit. A 10/32 drill bit was used on the

core ball and the upper body core to ensure a large enough hole for all the elastic to pass through.

Cross holes were drilled on the upper body at a slight angle for the arm holes. For the lower

body, holes were drilled at an angle through the center of the hip joint to roughly the center of

the lower body.

I started with carving the balls needed for the joints. I read a couple different techniques, and

quite honestly, didn’t understand any of them. So I decided to wing it. I used both the Fury and

the Flexicut carving tools. Ultimately the Flexicut was more comfortable because of the larger

grip area since my hands sometimes hurt. The small joints, at ½ inch were difficult to start with.

Once I found a process it wasn’t too bad. See Figure 22.

While working on the beads, it was important to ensure they were round, not just roundish. So I

sanded and adjusted until the bead would fit through my circle guide as seen in Figure 23. This

surprised me on the amount of time it took to get it just right. The corresponding task was then to

mark on the body where the joint went and start using a gouge to carve out the space the joint

would rest. See Figure 24.

I also marked out on the blocks the designs for the appropriate body part. See Figure 25. I

began by rough cutting out both legs, upper and lower, completely by hand. This took a bit of

time and with the time line of this due coming up and other requests piling, I decided to use a

modern band saw to rough cut out the remaining pieces and then shape by hand (this can be seen

in Figure 24.

The main body worked fairly well with the shaping process. The only part I was mildly

disappointed with was the face. The result being she seems rather long faced from the side and

flat from front. See Figure 26.

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As I wasn’t the happiest with the face, I researched some more and found You Tube. I found

many videos on carving faces, but found SharonMyArt, Three Crosses, and ScottCarvings to be

the most helpful in suggesting carving the face on a corner. After watching them, and several

others, I decided to try a second face/head as seen in Figure 27.

I also played around with my first face by carving an angle on it and then carving the face from

there. It was an improvement, but still not my favorite face.

Once I was satisfied with my carvings, I started sanding down the pieces. What was interesting

is in many spots not much sanding was needed as the knife burnished the surface while I carved.

But since I wanted it smooth, I sanded everything to be safe.

Using the hand drill, holes were drilled at the hands, feet and neck for the eye screws. They were

then super glued in place. I learned it was very important to drill down the full length of the

screw or else risk the screw breaking trying to put it in. See Figure 28.

Before adding the Original Wood Finish to my doll, I did a dry run in stringing the doll together.

See Figure 29. She stood!!! Now, other than some satisfaction in seeing my work come

together, I wanted to see if I should put any cuts in joints or how to best reshape any of the pieces

to allow for maximum movement from the doll.

I decided to add a few minimum cuts to the ball joints, keeping with them not being seen to

allow for a bit more movement. See Figure 30. You can also see the changes on the first head in

this Figure. Next, I put on the goopy premix of linseed oil and beeswax. See Figure 31. Then it

was time to let it soak in and apply more coats. See Figure 32. Once it was all dried I buffed it

some with a soft cloth and restrung it with the elastic cord. Now, I have a doll! A naked doll,

but a doll! See Figure 33

SOOOO, I noticed something once it was all strung,and not just that she was naked. Her head

seemed too small and her neck too short. To leave it or not…always a tough decision.

Ok, she’s naked, lets deal with this problem first. She can’t really go out in public like that. So

time for tiny doll clothes. Itty bitty, doll clothes. I made a hemd for her out of linen scrap. Then

a Rock from scraps of fuchsia wool and gold brocade in the German Saxon style, complete with

fake lacing and bustfleck, 12 tiny roll pleats, and hook and eye closures. See Figure 34.

Hmm, now it is very obvious the head seems out of proportion. Also, the construction of the

bodice for the gown using the normal techniques is too bulky. See Figure 35. Back to the

drawing board for something more functional clothes for the poor girl and to carve a slightly

bigger head.

I have carved a larger head with longer neck. It is better. I over estimated how much bigger I

needed so I was able to carve it down for the most part. Her face seems a bit longer than it

should through the nose and eye spacing, but only so much I can do. See Figure 36. I made

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small adjustments to the hemd by adding tucks so it would fit better. See Figure 37. Finally, she

is dressed in a less stiff bodice and slightly larger sleeves which sit better all around. Now, that I

have a fully clothed doll, she is ready for a special little girl to play with. See Figure 38.

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Works Cited

Albert-Schweiter Schule. “Besuch der Duer - Ausstellung in Frankfurt.” 28 Jan. 2014. Web.

Automaton Doll, second half of the sixteenth century of Spanish Origin. Inv. Nr. KK_10000.

Kunsthistorisches Museum, Vienna. Web. 4 Feb. 2016

Bente,K. Vortag von Prof. Dr. K Bente am 04.02.2011. Freundeskreis Grassi, Web. 23 March

2016.

Clay Dolls from 15th -16th Century. Inv. Nr. 109 331. Museum Goltzach. Web. 4 Feb. 2016

Croizat, Yassana C. “Living Dolls: Francois ler Dresses His Women.” Renaissance Quarterly,

Volume 60, Number 1. Spring 2007.

Doll. Encyclopaedia Britannica. Web. 4 Feb 2016.

Kempner, Andre. “Den Geheimnissen der Gliederpuppe im Leipziger Grassi-Museum auf der

Spur.” Leipziger Volkszeitung. 14 Oct. 2013. Web.

Pandora c. 1590. Inventory Number 77 (56:15) 260. Livruskammaren Och Skoklosters Slott

Med Stiftelsen Hallwyska Museet. Web. 4 Feb 2016.

Sculpture Techniques: Wood Carving. Victoria and Albert Museum. Web. 4 Feb 2016.

Thueringen Doll c.1530. Image No. GNM330141. Germanisches Nationalmuseum. Web. 4 Feb.

2016.

Weibliche Figur, Gliederpuppe. Ident. Nr. 2167. Sculpture Collection and Museum of Byzantine

Art at the National Museums in Berlin. Web. 4 Feb 2016.

Wood Carving. Encyclopedia of Sculpture. Web. 5 February 2016.

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Appendix 1

Figure 1. Weiblche Figur, Gliederpuppe

c.1525. Ident. Nr. 2167. Sculpture

Collection and Museum of Byzantine Art

at the National Museums in Berlin. Web.

4 Feb. 2016

Figure 1-1:

Other view

photos of

the doll

and similar

dolls.

Photo from

Atelier de

Poupee.

Figure 1-2: Image from Wikimedia.org

Figure 1-3:

Albert-

Schweiter

Schule

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Figure 1-4 : Source

– Kempner.

Figure 1-5: Source unknown.

Figure 1-6: Source – Bente

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Figure 1-7: Gliederpuppe c. 1525. Image

from Labor RDK (German online object

search database) Web. 23 March 2016

Figure 1-8: Gliederpuppe.

Photo by Barbara Herrenkind.

Department for Art and Visual

History at the Humboldt

University of Berlin. Web. 23

March 2016.

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Figure 2. Pandora c. 1590. Inventory Number

77 (56:15) 260. . Livruskammaren Och

Skoklosters Slott Med Stiftelsen Hallwyska

Museet. Web. 4 Feb 2016.

Figure 2-1. Details of Pandora. Photos from

Isis’s Wardrobe. 25 Sept 2013. Web. 4 Feb.

2016.

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Figure 3. Automaton Doll, second half of the sixteenth century of Spanish Origin. Inv. Nr.

KK_10000. Kunsthistorisches Museum, Vienna. Web. 4 Feb. 2016.

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Figure 4. Thueringen Doll c.1530. Image No. GNM330141.

Germanisches Nationalmuseum. Web. 4 Feb. 2016.

Figure 5. Stump doll c.

1600.

Figure 6. Clay Dolls from 15th -16th Century. Inv. Nr. 109 331. Museum Goltzach. Web. 4 Feb.

2016

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Figure 7. Anonymous artist after Adriaen van de Venne. Dolls’ stall, illustration

in Jacob Cats, Spiegel van den ouden ende nieuwen tijdt, The Hague, 1632.

Amsterdam, Rijksmuseum, Library Koninklijk Oudheidkundig Genootschap.

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Figure 8. Dollmakers c.

1491. Hortus Saniatis.

Figure 9. Dollmaker c.

1558.

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Figure 10. Arabella Stuart c.1577. Anonymous. Chesterfield, Hardwick Hall.Web. 4 Feb 2016.

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Figure 11. Charity c.1534. Lucas Cranach the Elder. Cranach Digital Archive. Web. 4 Feb. 2016.

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Figure 12 Charity c.1530. Lucas Cranach the Elder. Cranach Digital Archive. Web. 4 Feb. 2016.

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Figure 13. Archduchess Katharina Renea at age

of one with a doll c. 1577. Cornelis Vermeyen.

Inv. Nr. GG_6934. Kunsthistorisches Museum

Vienna. Web. 4 Feb 2016.

Figure 14. Wood cut c. 1578. Jobst Amman,

Kunstbuchlin. Web. 4 Feb 2016.

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Figure 15. Young Girl with Doll and

Doll Cradle. Woodcut by the artist

using the monogram I.R., About 1540.

From Dolls and Puppets, by Max Von

Boehn, translated by Josephine Nicoll,

page 8. Cooper Square Puhlishers, Inc.,

New York. 1966.

Figure 16. Ward, Gerald W.R. The Grove

Encyclopedia of Materials and Techniques in Art.

Published by Oxford University Press. P 769.

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Figure 17. Woodworking knives from

Novgorod: (a) and (b) 13th century, (c) 12th

century. (d) drawing of the blades with the

axis of the handle. Images from Wood use in

medieval Novgorod by M. Brisbane and J.

Hather.

Figure 18. The Four Social Conditions –

Work c. 1510. Jean Bourdichon.

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Figure 19: It starts as a block

of wood (these are the

remains) – 9x9x3 South

American “boxwood”,

covered in wax, originally

meant for a turned bowl.

Figure 20: Sketches of the doll

front and side view.

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Figure 21: Cubism! Blocked out parts for the ball

jointed doll.

Figure 22: First carved

piece – ½ ball.

Figure 23: Carved and sanded to as close to

circular as I could get.

Figure 23: Marking circles for gouging out where joints go.

Figure 24: Joints fitting!

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Figure 25: Marking of rough cut for band saw to speed up

process

Figure 26: Rough Carving, progression and final of head one.

Figure 27: Second head on corner.

Figure28: Eye screw in/broken in the other.

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Figure 29: Test run – She stands!!!

Figure 30: Cuts in ball joints for more movement.

Figure 31: The goop for finishing!

Figure 32: First coat of linseed oil and beeswax blend on.

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Figure 33: Doll all tied together.

Figure 34: Small doll clothes

Figure 35: Doll dressed – changes needed.

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Figure 36: New Head! Figure 37: Hemd

Figure 38: Done!