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Samplers Through the Ages
Part II
The Evolution of Samplers in England from the 16th to 19th Centuriesby Rita Vainius
The Renaissance period in Europe provided the impetus for a revival of interest in all types of decorative art during the late 15th and early 16th centuries. As printed patterns for designs did not exist, designs passed from hand to hand. Samplers evolved as a means of recording stitches and motifs, which were then eagerly collected and exchanged between friends. Few samplers from the 16th century have survived; the quality of work on those which have, strongly suggest that they were executed by experienced adult needleworkers.
Sarah Wilson 1837 England (Collection of Mrs. Jack Dunn) During the reign of Elizabeth I trade increased, bringing new materials, ideas and influences from afar which led to the golden age of sampler making. English Samplers from the 17th century are among the most stunning and imaginative to be found. The patterns, combination of colors and materials used were of the highest quality as was the execution of stitchery. In the first part of the 17th century, samplers were still being made by adult stitchers similar to those of the previous century, but became more colorful and innovative, reflecting the current fashions.
Mary Lawson circa 1820 Scotland (Courtesy of The Scarlet Letter) The band sampler, which became popular in the 17th century, consisted of tightly packed rows of designs, using a great many different stitches. These samplers often were worked with geometric and floral designs. Assisi work, introduced from Italy, often appears on samplers of the period. Representations of humans, later dubbed ‘Boxers' because of their stance, were depicted carrying a heart shape, acorn or flower. They are thought to represent Adam and Eve or lovers bearing gifts. Bands of complex whitework and other open work sometimes accentuated the bottom portion of band samplers with geometric or floral designs.
Elizabeth Topham 1727 England (Courtesy of The Scarlet Letter)
Mar x Thurston 1778 English (Courtesy of The Royal School of Needlework) Eventually, the increased accessibility of printed patterns began to supplant the function of the sampler as a record. During the reign of Charles I, samplers were used as a teaching tool and became an established part of school curriculum. These samplers retained their function as practice pieces and notebooks for recording patterns, with an emphasis on practical application. Alphabet letters were taught for marking linens and smaller items such as pincushions or purses made use of spot motifs. After the middle of the 17th century, pious and moral inscriptions begin appearing on samplers, reflecting the prevailing Protestant work ethic. By the 18th century, a dictionary definition of the word sampler was stated as "a piece worked by young girls for improvement." During the 18th century embroidery continued in popularity and quality inspired by new influences coming from the Far East. However, these lofty standards generally did not apply to samplers, which were worked mostly by children. The importance of the needlework became secondary to the it's value as an instructive vehicle for religion, geography, English and mathematics. Using samplers to make almanacs, maps, the alphabet, currency and math tables were the most common projects. They provide us with a window on the social history of the time, projecting an endearing charm when one realizes how young children endured long hours of tedium stitching row upon row of letters and verses.
This practice of using samplers to learn the alphabet, numerals, etc, continued until the early part of the 19th century. Qualities stressed in their execution were simplicity and legibility. They were usually worked using only cross stitch and Algerian eye. Occasionally, a more elaborate initial appeared worked in other stitches. Spaces left over at the ends of rows of letters were filled in with small patterns. Motifs often found were crowns and coronets as these were also used in marking linens. The most charming samplers were those made by children who were allowed to use their own ideas in depicting their homes and families.
Elizabeth West circa 1810 England (Private Collection) The reign of Queen Victoria brought with it even more rigid standards for morality. Most of the population lived in poverty and child labor was rampant. Poor children relied on charity schools where samplers were specifically designed to teach them the skills required for employment in service to a family. Most were very plain and densely packed but the standard of work remained high. Children were required to master a significant variety of stitches: back, buttonhole, chain, darning, herringbone, marking, basting, overcast ans oellit. Bands of patterns were still used along with the obligatory religious text, often highlighted with a bible or crucifix.
Mary Ogleed 1694 England (Courtesy of the Scarlet Letter) Apart from these plain samplers there were some which did feature more decoration, but themes portrayed became increasingly stereotyped and arranged symmetrically. The number of motifs were far fewer than in the 18th century and colors employed were more garish. From about the 1830's embroidery was supplanted by a fad for Berlin woolwork and samplers showed influences of this technique. A group of Berlin woolwork samplers survive from this period, consisting of long strips of canvas with blocks of floral and geometric patterns, with simple border patterns in between. These revived the original purpose of samplers, being made as a reference record for the stitches and techniques particular to Berlin work.
Evelyn Perkins 1914 English (Courtesy of The Royal School of Needlework) Before the 19th century came to a close machines had been created which revolutionized the field of textiles. Not until the mid to late 20th century has there been a substantial renewal of interest in preserving the priceless and timeless samplers of the past and reviving the tradition of creating new samplers for a new age.
Sarah Rudland - taught by Alice Rosier 1792 English (Courtesy of The Royal School of Needlework)
An example of an 18th century English child's sampler, representative of the period Martha Morrice finished this sampler on August 9th, 1731, at age 8. It measures 43 x 23 cms ( 9" x 17"). The background linen is beige, the border approximately 1¾ " wide, with the most delightful scroll of leaves and floral effect in tones of blue, red, white and green silk, the stitches being stem stitch, satin stitch and fly stitch. Inside the border, beginning at the top, is an alphabet in fine cross stitching in green, blue, red and cream silk. The another alphabet is stitched in capital letters in cross stitch with red silk. This is followed by a row of crowns and coronets in cross stitch in red, green, cream and blue, and a further alphabet in tiny eyelets in blue, red and cream. There is yet another alphabet in satin stitch between the second and last verses. The verse in eyelet stitch and cross stitch reads:
"If you desire to Worship God aright
First in the Morning pray and late at Night
Crave for his Blessing on your Labours
And in Distress for his Assistance Call
Make much of Precious Time while in your power
Be careful well to husband every Hour
For time will come when you shall sore lament
The Unhappy Minutes that you have misspent
Kingdoms like private Persons have their Fate
Sometimes in high Sometimes in low Estate"
Martha Morrice Finished this Sampler August 9 1731 In the eighth year of her Age.
Martha Morrice 1731 English (Courtesy of The Royal School of Needlework) The following samplers were provided courtesy of The Royal School of Needlework, from their extensive collection of historical needlework: Mar x Thurston, Martha Morrice, Evelyn Perkins and Sarah Rudland.
The Royal School of Needlework was founded by Princess Helena, the third daughter of Queen Victoria. Lady Welby, an accomplished needlewoman and Mrs Dolby, an authority on ecclesiastic work, formed the Royal School of Art Needlework with Princess Helena. The aims of the School were, and still remain, to ensure that the art of hand embroidery and skills employed, be passed on to future generations. The Royal School of Needlework provides tours for interested visitors on a regular basis, by appointment. It is located at Apt. 12 A at Hampton Court Palace in Surrey, England. For more information see their website at:
http://www.royal-needlework.co.uk or e-mail them at annie@royal-needlework.co.uk
The following samplers were provided courtesy of The Scarlet Letter and include works from both current and previous collections: Mary Lawson, Hannah Shaw, Elizabeth West, Mary Ogleed, Sarah Wilson and Elizabeth Topham.
The Scarlet Letter produces reproductions of the world's finest samplers, found in museums and private collections. Their collection encompasses four centuries, from seventeenth century aristocratic England to nineteenth century rural America. The inspiration for these samplers is drawn from the actual handwork of our foremothers. In addition to reproducing works from museum collections they actively buy and sell high quality authentic antique needleworks.
For more information, see The Scarlet Letter website at http://www.scarlet-letter.com or e-mail them at samplers@scarlet-letter.comFor Part I of the History of Samplers see our Feature Story Archives at: http://www.caron-net.com/featurefiles/featfeb.html
Bibliography:
Don, Sarah, Traditional Samplers (Viking Penquin, Inc. New York, NY, 1986)
Dreesman, C., Samplers for Today (Van Nostrand Reihold, New York, 1972)
Horner, M. M., The Story of Samplers (Philadelphia Museum of Art, Philadelphia, 1963)COPYRIGHT NOTICE: No part of this feature story nor the included designs can be reproduced or distributed in any form (including electronic) or used as a teaching tool without the prior written permission of the CARON Collection Ltd. or the featured designers or contributors.
© 1999 The Caron Collection / Voice: (203) 381-9999, Fax: 203 381-9003
