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"The Elimination of the German Butcher Dog and the Rise of the Modern Slaughterhouse." Animal History in the Modern City: Exploring Liminality

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Leiderer, Annette. "The Elimination of the German Butcher Dog and the Rise of the Modern Slaughterhouse." Animal History in the Modern City: Exploring Liminality. By Clemens Wischermann, Aline Steinbrecher and Philip Howell. London: Bloomsbury Academic, 2018. 105–126. Bloomsbury Collections. Web. 30 Sep. 2021. <http:// dx.doi.org/10.5040/9781350054066.0012>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 04:16 UTC. Copyright © Clemens Wischermann, Aline Steinbrecher, Philip Howell and Contributors, 2019 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. Animal History in the Modern City The Elimination of the German Butcher Dog 7 The Elimination of the German Butcher Dog and the Rise of the Modern Slaughterhouse1 Annette Leiderer Introduction This chapter focuses on the fate of butcher dogs in Germany from the late eighteenth to the early twentieth century. These remarkable dogs were draft and herding animals, but also animal companions to the butchers and an essential part of their public image.2 There was even a breed of dogs named after them, the Metzgerhund or Fleischerhund.3 This is worth mentioning since names of dog breeds rarely refer to the owner of the dog; the majority of dogs are named or categorized by geography, usage, prey or social function: Newfoundlands or Yorkshires, say, or shepherd and hunting dogs, foxhounds, staghounds, lapdogs and toy dogs.4 What is more, butcher dogs had a special status when it came to their freedom of movement. They were the only domesticated animals that were allowed to enter the slaughterhouse and leave it alive; and in contrast to the draft horses owned by butchers or cattle traders, butcher dogs could freely roam the slaughterhouse or abattoir environs.5 This was not to last, however: after the 1860s, with the modernization of animal killing, the distinctive and even definitive mobility of the butcher dog came quickly to an end, as most local authorities in Germany moved to ban the butcher dogs from the slaughterhouse sites.6 This chapter aims to understand the proscription of butcher dogs, looking at the historical context of this unique human– animal relationship and its framing of the liminality of animals and humans alike. The first section of this chapter attempts to characterize the bond between butchers and their dogs in the early nineteenth century. Historical research on butcher dogs is hardly abundant, so this first section presents and debates source material that can provide an insight into the historical relationships between butchers and their dogs in German towns. This rough sketch will show that the public image of butcher dogs was affected by the negative stereotypes of butchers themselves, something that had developed long before the nineteenth century.7 The occupation of killing made butchers the subject of suspicion and speculation, notably whether they were born cruel or made cruel by their profession.8 Nevertheless, the social status of butchers, and by extension their dogs, was not that of complete outsiders. Their ‘bloody’ craft separated them from the ordinary citizen and defined the butcher and his dogs as a liminal pair in a moral Animal History in the Modern City.indb 105 17-05-2018 17:20:24 106 Animal History in the Modern City sense. But butchers were organized in respected and established municipal associations such as guilds.9 Butchers and butcher dogs were liminal beings, repeatedly traversing rites de passage, and proceeding through the classic phases of separation, liminality and aggregation.10 Every act of killing an animal inside the slaughterhouse separated the butcher from his fellow citizens, but every act of slaughtering, transforming the dead animal body into meat, was a liminal act that led to acts of aggregation to society, such as through the sale of meat that resulted, or the cattle trade in general, or, most significantly, the performance of corporate identities during festivities.11 Having established the traditional liminal status of the butchers and their dogs, the second section of this chapter describes the transformation to a publicly monitored slaughterhouse culture in Germany after 1860. This change to the profession split and ultimately dissolved the liminal position originally inhabited by butchers and butcher dogs. Now the butchers would be observed and accompanied in public only by other butchers, and by public officials and veterinarians, while the butcher dogs were no longer actors even inside the slaughterhouse. Once the butchers’ social position became less liminal, in other words, the social role of the butcher dogs was eliminated. No ordinary dog: The butcher dog in late-eighteenth- and early-nineteenth-century Germany In popular images and visual art, pedagogical stories and encyclopaedias published between 1780 and 1820, butcher dogs formed an essential part of the public image of butchers. They did not appear as interchangeable or marginal figures, but as central actors of the butcher’s household.12 Figure 7.1 is a reprint of the master craftsman diploma handed to new master butchers by the masters of the guild of Heilbronn from 1802:13 the butcher dog appears in the upper part and the left part of the titular vignettes, and in both cases the dog walks behind the butcher. In the first instance the butcher holds a leash to control an ox or a bull, while the butcher dog trots freely after his owner. Since these ornaments usually bear reference to the content of the diploma, this image indicates that the butcher dog was part of the public image of master butchers at that time.14 Figure 7.2 shows a so-called popular scene by the Czech-Austrian artist and caricaturist Georg Emanuel Opiz.15 It depicts daily life in Vienna around the year 1812, and includes a butcher’s servant carrying a piece of meat over his right shoulder, accompanied by a dog. In terms of liminality and the process of crossing between the segregated slaughterhouse and the public space of the city, the position of this dog is significant. It is depicted at the threshold of the butcher’s house, at the very moment of leaving the home and entering the street. The dog’s appearance further demonstrates his status as a de facto participant in public life. Two other images can be offered in support to this proposition. Figure 7.3 is a reprint of an engraving after a genre painting by the Saxonian academy artist J. F. Constantin Schröter, part of a series of Leipzig street scenes manufactured in the 1820s.16 It resembles Opiz’s piece, but shows a ‘rural butcher-wife and rural butcher’ – to the fact that butcher dogs were not only an urban phenomenon. In Schröter’s picture Animal History in the Modern City.indb 106 17-05-2018 17:20:25 The Elimination of the German Butcher Dog 107 Figure 7.1 Master craftsman’s diploma, Heilbronn 1802. From Hans-Peter de Longueville, Kurt Nagel, Benno P. Schlipf, and Theo Wershoven, Kostbarkeiten des Fleischerhandwerks (Heidenheim: Rees, 1986), with permission of Professor Kurt Nagel. the butcher is standing in the centre of the composition and shouldering a tray of meat. He talks to his wife, who stands at his right side, while the dog stands to his left.17 Finally, the ceramic figurine in Figure 7.4 is a so-called Stubenzeichen. These were owned by guilds who, when gathering in taverns, put them on the table to demonstrate their affiliation.18 This example was manufactured in the 1820s by the Suebian ceramic artist Septimus Rommel.19 As in the master craftsman diploma of Figure 7.1, the butcher here holds an animal for slaughter on a leash, accompanied in this occupation by his dog, who once again walks off-leash. In these four depictions butcher dogs appear as part of the butchers’ public image. The street scenes they inhabit are portrayed somewhat neutrally, but the dogs are both the butchers’ companions and, as guard dogs and herding dogs, business partners.20 Unsurprisingly, the diploma and the ‘Stubenzeichen’ manufactured specifically for the butcher guilds portray a favourable image of the profession. In pedagogical literature, however, the butcher and his dog were viewed in a more dubious light. Johann Heinrich Pestalozzi and Johann Peter Hebel, two widely read authors of the late eighteenth and early nineteenth century, introduced butcher dogs as characters in stories with a clear educational bias, and their portraits of these animals and their relations with their masters, suggests a more problematic public life. Between 1781 and 1787 the Swiss pedagogue and romanticist Johann Heinrich Pestalozzi wrote and published Lienhard and Gertrud – A Tale for the People, in four parts.21 The central figure in this novel is the eponymous Gertrud, who lives in a village called Bonnal with her husband Lienhard. Pestalozzi paints Bonnal as a morally and legally corrupted place, and in this environment the local Juncker Arner, inspired by Gertrud’s fine teaching skills, wants Animal History in the Modern City.indb 107 17-05-2018 17:20:25 108 Animal History in the Modern City Figure 7.2 Georg Emanuel Opiz, ‘Female butcher with servant, lady and hawker’, c.1812. Reproduced from Bruno Brandl and Günter Creutzburg, Die Große Walz: Das Handwerk im Spiegel der Literatur des 19. und 20. Jahrhunderts (Berlin: Verlag der Nation, 1974), with the permission of the publishers. to bring about sweeping educational reforms, bringing the ideas of the Enlightenment to the benighted inhabitants.22 While the village has started on the path from chaos to perfect harmony, however, Pestalozzi introduces an ‘anti-Gertrud’, by the name of Sylvia.23 Sylvia arrives at the home of the Juncker in the fourth part of the novel, when he is confronted with rioting villagers who refuse his social and legal reforms.
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