Part 3 — Index

Abraham on sampler, 58. Fig. 16 Acorn, 58, 68, 109. Plate III. Fig. 16 Adam and Eve on samplers, 21, 62, 109; on embroideries, 128 Africa, map of, 97. Fig 41 Age of sampler, how to estimate, 15 Age of sampler workers, 80 Agur’s prayer. Plate XI. Alphabets on samplers, 19, 22, 84; stitches, 164 America, samplers from, 24, 97 (Plate XIII., Figs. 42-51); map of, 92. Fig. 39 Anchors, Fig. 23 Animals on samplers, 65 Ascension Day samplers, 38 Background-stitches, 144 Back-stitches, 109, 163. Plates III. and VII. Fig. 75 Bead embroidery, 158 (Plate XXII.); sampler, Fig. 53 Belief, the, 28 Belgian samplers, 110 Biblical subjects in tapestry embroideries, 128 Bird’s-eye-stitch, 164 Borders to samplers, 75 Boston, U.S.A., samplers from, 89. Fig. 50 Boxers, 61. Plate III. Fig. 18 Boys, samplers by, 84. Fig 34 Brontës, samplers by, 28. Figs. 10, 11, 12 Brooklyn, U.S.A., sampler from, 89. Fig. 47 Buttonhole-stitch, 146 Calcutta, samplers from, 35. Fig. 3 Carnation, see “Pink” Caterpillar, 140 Charles I., Plates XVI. and XVIII. Charles II., Plate XXI. Children, samplers by, 80 Christening samplers, 109 Christmas samplers, 38 Colouring of samplers, 52 Commandments, the, 27. Fig. 9 Corn blue-bottle, 78 Coronet, see “Crowns” Costume on tapestry embroideries, 132 Crewel-stitch, 170 Cross-stitch, 109, 166 Crowns on samplers, 68. Figs. 20-22 Crucifixion on samplers, 108, 109 Cupids on samplers, Fig. 23 Cushion-stitch, 144. Fig. 62 Cut and drawn work stitches, 161. Figs. 4, 7, 16, 24, 42, 72, 73 Darned samplers, Fig. 76. Plate XXIV. Darning-stitches, 110, 165. Plate XXIV. Figs. 76, 77 David and Abigail, 128, 130; and Goliath, 130 Deer, see “Stags” Design on samplers, 51 Dogs on samplers, Fig. 17. Plate III. Drawn-work, 58, 135. Fig. 16 Dress, value of tapestry embroideries as patterns of, 132 Dutch samplers, 110 Earliest samplers, 10, 13, 16 Easter samplers, 36 Embroiderers’ Company, 127 Embroideries in the manner of tapestry pictures, 123; subjects of, 127; as mirrors of fashion, 132 England, maps of, 94. Fig. 40 Esther and Ahasuerus, 128, 130. Plate XVIII. Evolution of samplers, 12, 15 Eyelet-stitch, 146. Fig. 63 Fig on samplers, 68. Plate III. Fine Art Society’s Exhibition of samplers, 4, 28, 66, 89, 119; of embroideries, 123 Fleur de Lys on samplers, 21 Florentine-stitch, 145 Flowers on samplers, 65; on tapestry embroideries, 139 Foreign flavour in embroideries, 131 Foreign samplers, 104 Fountains on tapestry embroideries, 136 French knot-stitches, 151. Figs. 21 and 67 French samplers, 111 Gardening, illustrations of, on tapestry embroideries, 135 German samplers, 108 Glove, embroidered. Fig. 55 Gobelin-stitch, 145 Gold and silver passing, 154 Grubs on tapestry embroideries, 140 Hagar and Ishmael, 129. Plate XV. Hearts on samplers, 75. Figs. 21-23 Hollie point lace cap, Fig. 61; stitch, 157 Honeysuckle on samplers, 66, 79. Fig. 30 Horticulture, see “Gardening” House on samplers, 118 (Figs. 14, 46, 48); on tapestry embroidery, 135. Fig. 56 Human figure, 57 Hungary-stitch, 145 Implements used in stitchery, 159. Fig. 71 Indian samplers, 113. Figs. 3 and 52 Inscriptions on samplers, 23, 91 Italian samplers, 111 Judgment of Paris, 128. Fig. 56 Knot-stitches, 109, 151. Figs. 21 and 67 Lace-stitches, 154. Figs. 61, 68-70 Laid-stitch, 146 Last of the samplers, 117 Lettering on samplers, 22 Leviathan-stitch, 169 Life and death, inscriptions referring to, 41 Lion on sampler, 65. Fig. 44 Literature sampler, 115 Little Gidding, nuns, 131, 149 Long-and-short-stitch, 170 Looped-stitches, 152 Lord’s Prayer, the, 27 Maidstone Museum, tapestry picture. Plate I. Map samplers, 92. Figs. 39-41 Materials on which samplers were worked, 171 Mermaid on sampler, Fig. 16 Metal thread, 153 Milton, mention of sampler by, 14 Mitford, Miss, on samplers, 118 Mortlake tapestries, 100 Moses in the bullrushes, 129 Mustard or canary-coloured canvas, 55 National events, samplers as records of, 90 Need of samplers, 11 Needle’s excellency, the, 115, 116, 143 Numerals on samplers, 22 Oak, see “Acorn” Origin of samplers, place of, 88 Ornament, sampler, 51 Ornamentation, earliest date of various forms of, 21 Orpheus, 128 Parents and preceptors, duties to, 46 Passing, 154 Passion Week samplers, 38 Patternes of cut workes, 115 Peacocks’ feathers, use of, 154 Pearls, seed, on tapestry embroideries, 133—note Pears, 109 Pineapple on samplers, 68 Pink on samplers, 66, 78, 109. Plates III., IV., VI. Fig. 28 Place of origin of samplers, 88 Plush-stitch, 153. Plate XVIII. Portuguese samplers, 112 Poverty, inscriptions concerning, 48 Prayers on samplers, 39 Preceptors, duties to, 46 Purl, 153. Plate XXIII. Quaint inscriptions, 49 Religious festivals, verses commemorating, 36 Rhymes on samplers, see “Verses” Royal personages on tapestry embroideries, 133 Royal school of art needlework, 120 Rose on samplers, 58, 66, 109 (Figs. 7, 16, Plate VI.); on tapestry embroideries, 113 Ruskin, John, on needlework in museums, 2; on samplers, 3; sampler by grandmother of, 3, and Plate X. Samplers. Parts I. and III. (Sec. II.) Satin-stitch, 122, 141, 146 Scottish samplers, 71, 84, 89. Figs. 21, 34 Sex of sampler workers, 80 Shakespeare, mention of sampler by, 13 Sidney, Sir P., mention of sampler by, 14 Signatures on samplers, 23 Size of samplers, 84 Smoke (chimney) on embroideries, 135. Fig. 57 Spanish samplers, 112 Spectator on decay of needlework, 117 Spies to Canaan, 21 Split-stitch, 150. Figs. 65, 66 Stag on samplers, 21, 65, 80. Figs. 6, 17. Plates III., VIII. Star-stitch, 169. Figs. 35, 36 Stem-stitch, 150 Stitchery of tapestry pictures, 143; of samplers, 161 Stitches, background, 144; cushion, 144; tent, 144; Gobelin, 145; upright, 145; Florentine, 145; Hungary, 145; satin, 146; open, 146; buttonhole, 146; eyelet, 149 (Fig. 63); split, 152 (Figs. 65, 66); stem, 150; knot, 151; looped, 152; plush, 153; purl, 153; passing, 154; lace, sampler stitches, 154; hollie point, 157 (Fig. 61); cut and drawn-work, 161; back-stitch, 163 (Fig. 75); alphabet-stitch, 164; darning-stitch, 165 (Plate XXIV. and Figs. 8, 76); tent and cross-stitch, 166; various, 170 Strawberry on samplers, 66. Fig. 31. Plate XIII. Stump embroidery, 149 Susannah and the elders, 128, 130, 131. Plate XIV. Swiss samplers, 111 Talc, 154. Plate XIV. Tammy cloth, 171 Tapestry, history of, 125; stitch, 145 Tapestry pictures—see embroideries in the manner of Tent-stitch, 166 Thistle on sampler, 71. Fig. 21 Tracing, groundwork, 158. Fig. 70 Tree of knowledge on samplers, 18n, 62n, 109. Figs. 17, 18 Tulip on samplers, 78. Figs. 27, 59 Upright-stitch, 145 Verses on samplers, 27, 36-51 Vice, inscription concerning, 48 Victoria and Albert Museum, samplers in, 11, 21, 58. Fig. 7 Virtue, inscription concerning, 48 Wealth, inscription concerning, 48

Printed at The Darien Press, Edinburgh

Footnotes:

[1] The picture also shows that the principal decorations of the walls of the schoolroom were framed examples of attainments with the needle.

[2] In the original all the small pieces of work in the upper corner near the initials are varieties of gold thread design, and almost all the grey colour throughout, in the reproduction, is silver thread.

[3] It was claimed by its late owner, Mrs Egerton Baines, that almost every line of this sampler contains Royalist emblems. For instance, the angel in the upper part is supposed to be Margaret of Scotland wearing the Yorkist badge as a part of her chatelaine; beside her is the Tree of Life, on either side of which are Lancastrian S’s, the whole row being symbolical of the descent of the Stuarts from Margaret of Scotland, daughter of Henry VII. The next row of ornament is also the Tree of Life, represented by a vine springing from an acorn, by tradition a symbolical badge of Henrietta Maria, wife of Charles I. The next two rows are made up of roses, acorns, and Stuart S’s, which S’s again appear in the line beneath, linked with the Tree of Life. We refer elsewhere (p. 62) to the figures in the bottom row (the whole of the sampler is not shown here), and these are supposed to be Oliver Cromwell as a tailed devil. The sampler is neither signed nor dated, but it clearly belongs to the first half of the seventeenth century. The silks employed are almost exclusively pink, green, and blue, and the work is of the open character found in that illustrated in Plate III.

[4] In one by Hannah Lanting, dated 1691, the orthography is “with my nedel I rout the same,” and it adds, “and Juda Hayle is my Dame.”

[5] The lower portion of Fig. 18 opposite introduces us to an early and crude representation of Adam and Eve and the serpent, and to the bird and fountain, and flower in vase, forms of decoration which became at a later date so very common. The name of the maker has been obliterated owing to dirt getting through a broken glass, but the date is 1742.

[6] This sampler is interesting owing to its drawn-work figures, which are directly copied from two effigies of the reign of James I., and may stand for that Monarch and his Queen. This portion of the sampler might readily be mistaken for that date were it not that it bears on the bar which divides the figures the letters S.W., 1700. The border at the side of the figures is in red silk, that at the top and the alphabet are in the motley array of colours to which we are accustomed in specimens of this date.

[7] A map of Europe, formerly in the author’s possession, had the degrees marked as so many minutes or hours east or west of Clapton!

[8] “Samplers,” by Alice Morse Earle.

[9] It first appeared in the Lady’s Magazine, 1819, and in the first collected edition, 1824, Vol. I. pp. 67, 68; also in Bohn’s Classics, 1852, pp. 138, 139.

[10] These latter, with their figures standing out in relief, could never have been used for cushions, and can only have been employed as pictures.

[11] The difficulty of assigning a close date to tapestry embroideries is a considerable one, for dress is practically the only guide, and this is by no means a reliable one, for a design may well have been taken from a piece dated half a century previously, as, for instance, when the marriage of Charles I. is portrayed on an embroidery bearing date 1649, the year of his death. Those, therefore, which have a genuine date have this value, that they can only represent a phase of art or a subject coeval with, or precedent to, that date. Hence the importance of the pieces illustrated in Fig. 60 and in Fig. 68, dated six years later.

[12] Mr Davenport considers that this rounded, padded work is a caricature of the raised embroidery of the opus Anglicanum, and that the earliest specimens of it are to be found at Coire, Zurich, and Munich.

[13] The fondness for decking the dress with pearls is quaintly portrayed in these pictures, where they are imitated by seed pearls. As to these there is an interesting extract extant, from the inventory of St James’s House, nigh Westminster, in 1549, wherein among the items is one of “a table [or picture] whereon is a man holding a sword in one hand and a sceptre in the other, of needlework, prettily garnished with seed pearls.”

[14] A very good example of a sampler in drawn-work, in which the floral form of decoration is entirely absent, save in the sixth row (the pinks), which is in green silk, the rest being in white. That the sampler was intended as a pattern is evident from some of the rows being unfinished.