EASTER EGGS.
In many European countries the egg is a prominent feature in the observance of Easter.
Many things indicate, however, that the Easter egg is older than that great Christian feast. It seems probable that the egg was dedicated to the goddess of Spring and played an important part in the heathen spring festivals.
Even to-day all sorts of curious superstitions attach themselves to eggs laid on Maundy Thursday. They are supposed to protect those who eat them from all sorts of diseases, and it is firmly believed that if a shepherd buries the shells of one or more of these Maundy eggs in his pasture land, he will not lose a single sheep during the year following.
It is no doubt owing to the strong belief in their power of conferring benefits that we send eggs to our friends at Easter.
But long before the observance of Easter people wanted to improve upon the eggs as they came out of the nest, and proceeded to spend time and talent in colouring and beautifying their shells.
Originally Easter eggs were coloured red, which to our forefathers was a symbol of the rising sun.
Later, all possible colours were used for this purpose, and the eggs were adorned with coloured patterns, pictures and proverbs.
GIRL ENGRAVING EGGS.
Here and there, especially in Austria, this custom still obtains, and in many of the villages and districts may be found skilled “Egg Painters,” who supply artistically-ornamented eggs at Easter.
The number of these artists is rapidly decreasing, for in modern times people, specially in towns, prefer to present their friends with eggs of chocolate and sugar. In Moravia, among the German population in Iglau, the Easter egg still holds a very important place. Young and old present them one to the other, and young girls are allowed to give them to their sweethearts. A very interesting feature is that eggs are sent by those at home to their relatives in foreign lands. Great care is taken to have these beautifully painted or adorned with mottoes. There are skilful people in the surrounding district, who devote themselves to decorating and adorning with mottoes Easter eggs.
A PAINTED AND ENGRAVED GOOSE EGG.
Franz Paul Piger, who has lately written a very interesting paper on Easter eggs for the Austrian folk, says that “the art of decorating Easter eggs is not so simple as one might think.” The artist first colours the egg yellow with the bark of apple trees which he has cooked in water; the part which is to remain yellow he covers with fine layers of wax, and then proceeds to cook it in water, with onion skins, which turns it red. This being done, he rubs the wax off and he has a yellow and red egg. Now he takes a sharp-pointed instrument and scratches his drawing on the egg-shell, which shines on the yellow or red ground in pure white. In this way he represents human figures, creatures and flowers.
The most important things on Easter eggs are the mottoes which are usually specially given by the person who orders the eggs. These mottoes are often full of sentiment, of expressions of love, friendship and good wishes; sometimes they are jests.
Not only are hens’ eggs used for this purpose, but those of geese also, which look more stately, and being larger admit of longer mottoes.
Men, women and girls also are occupied in ornamenting Easter eggs.
Our [illustration] shows a Moravian woman at the work of scratching or engraving. Many of the Easter eggs are quite works of art in Moravia. There is a great variety of patterns, including geometrical figures, leaves, flowers, sprays, hearts, and stars.
The dark blue Easter eggs are especially beautiful covered with heart’s-ease.
In the illustration “[Moravian Eggs],” we see in No. 1 a red egg engraved with a sharp-pointed instrument; No. 2 is yellow-red; No. 3 is painted; No. 4 is blue, and engraved.
The decoration of Easter eggs is a custom with the Sclavonic National Races of Austro-Hungary, and our [illustration] shows us something of the Gallician skill. In Poland the women blow Easter eggs and cover them with coloured satin, after which they stick on them all sorts of threads and tinsel. No. 4 in the illustration is an example of such an one, while No. 2 is an engraved and coloured egg; the two remaining patterns are of Ruthenian origin.
In Bohemia light-red eggs prevail, while in Salzburg Easter eggs resemble marble. It is only on close inspection that one discovers that the hens’ eggs have received the veining by the most skilful and tender colouring.
The painting and other preparation of Easter eggs form quite an event in a country household, and here and there, especially in Hungary, the preparation is accompanied by national songs.
It is most amusing to note the care bestowed by the maidens on the eggs intended for the betrothed, the usual ornamentation being caressing doves and intertwined hands. If a Ruthenian youth receives from a girl an egg adorned with threads of wool he is thereby assured of her love and fidelity.
The same is the case in Carinthia and in the Rosenthal. Girls must present their lovers with at least two eggs adorned with inscriptions in order that there may be no doubt as to the firmness of their affection.
The artistic Easter egg, such as we have shown here, is gradually being set aside for eggs of chocolate and sweets, and the time will certainly come when, if we want to see artistic eggs, we must look for them in museums.
They will, we hope, for many years continue to appear in all their beauty at the sound of the Easter bells, be a proof of love and friendship, and awaken joy in many a heart, both abroad and at home.
MORAVIAN EGGS.
[ABOUT PEGGY SAVILLE.]
By JESSIE MANSERGH (Mrs. G. de Horne Vaizey), Author of “Sisters Three,” etc.