Sampler Design: the Human Figure
Whilst embroideries in imitation of tapestries deal almost entirely with the portrayal of the human figure, samplers of the same period, and that the best, for the most part avoid it. This is somewhat remarkable, for the design of the Renaissance, which was universally practised at the time upon which we are dwelling, was almost entirely given up to weaving it into other forms, and the volumes which treat of embroidery show how frequently it occurs in foreign pieces of needlework. The omission is a curious one, but the reason for it is, apparently, not far to seek. If we examine the earlier pieces we shall see that practically one type of figure only presents itself. Save in exceptional pieces, such as Mrs Longman’s early piece ([Plate IV.]), where the figures are clearly copied from one of the small tapestry pieces so in vogue at that date (1656), or Mrs Millett’s piece ([Fig. 16]), the figures which appear upon samplers are all cast in one mould, and in no way improve but rather mar the composition.
This last-named drawn-work sampler is a specimen altogether apart for beauty of design and workmanship. Doubts have been expressed as to its English origin, but portions of the ornament, such as the acorn, and the Stuart S in the lowest row, are thoroughly English; besides, as we have seen, design in almost every one of the seventeenth-century samplers is infected with foreign motives. The uppermost panel is supposed to represent Abraham, Sarah, and the Angel. To the left is the tent, with the folds worked in relief, in a stitch so fine as to defy ordinary eyesight. Sarah, who holds up a hand in astonishment at the angel’s announcement, has her head-dress, collar, and skirt in relief, the latter being sewn with microscopic fleurs-de-lis. The winged angel to the left of Abraham has a skirt composed of tiny scallops, which may represent feathers. A rabbit browses in front of the tent. The centre of the second row is occupied by a veiled mermaid, her tail covered with scalloped scale in relief. She holds in either hand a cup and a mask. The lettering in the two flanking panels is “S.I.D. 1649 A.I.” The decorative motive of the outer panels is peapods in relief, some open and disclosing peas. Roses and tulips fill the larger square below, and these are followed by a row (reversed) of tulips and acorns. Four other rows complete the sampler, which only measures 18½ × 6¾. In order to give it a larger size the lowest row is not reproduced. I have seen another drawn-work sampler which antedates that just described by a year. It is of somewhat coarse texture but is good in design, and bears in a panel at the side initials and the date. The Victoria and Albert Museum has also two somewhat similar drawn-work samplers—one by Elizabeth Wood, dated 1666, which contains the Stuart S’s; the other (undated) has the arms of James I.
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Fig. 16.—Drawn-Work Sampler by S. I. D.
Dated 1649.
Mrs C. F. Millett.
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Fig. 17.—Sampler by Jean Porter. 1709-10.
A type of figure prevalent in early samplers has puzzled collectors who possess specimens containing it. It wears a close-fitting costume and has arms extended, and has received the name of a “Boxer,” presumably from its attitude and costume. It and a companion are continuously depicted for nearly a century, finally disappearing about 1742, but maintaining their attitude with less variation than any other form of ornament, the only alteration being in the form of the trophy which they hold in one hand. It is this trophy, if we may use such a term, that negatives the idea of their being combatant figures, and it almost with certainty places them in the category of the Greek Erotes, the Roman Amores, or the Cupids of the Renaissance. It is difficult to give a name to the trophy in most of the samplers, and the worker was clearly often in doubt as to its structure. In some it resembles a small vase with a lid, in others a spray with branches or leaves on either side. In one of 1673 it takes the form of a four-petalled flower, and in one of 1679 that of an acorn, which is repeated in samplers of 1684, 1693, and 1694, this repetition being probably due to the acorn being a very favourite subject for design under the Stuarts. In a sampler of 1693 acorns are held in either hand. In one of 1742 ([Fig. 18]), the object held is a kind of candelabra. The little figures themselves preserve a singular uniformity of costume, which again points to their being the nude Erotes, clothed, to suit the times, in a tight-fitting jerkin and drawers. These are always of gayest colours. On occasions (as in a sampler dated 1693) they don a coat, and have long wigs, bringing them into line with the prevailing fashion.
When these figures disappear their place is taken by those of our first parents in the Garden of Eden, the incongruity of which is well depicted in the sampler illustrated in [Fig. 17]. This piece of work, which took nearly a year to complete—it was begun on 14th May 1709, and finished on 6th April 1710—is unlike any other that I have seen of that period, for it antedates, by nearly half a century, the scenes from real life which afterwards became part and parcel of every sampler. Adam and Eve became quite common objects on samplers after 1760.[5]
Mention need only be made here of the dressed figures which occur in samplers dated during the reign of George the Third. They are sometimes quaint (as in [Plates IX.] and [XI.]), but they hardly come into any scheme of decoration. The squareness of the stitch used in later samplers renders any imitation of painting such as was attempted altogether a failure.
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Fig. 18.—Sampler. Name Illegible. Date 1742.
Formerly in the Author’s Collection.