Sampler Literature
Although, undoubtedly, much of the ornament upon samplers consists of designs that have been handed down from generation to generation by means of the articles themselves, pattern-books have not been altogether lacking even from early days. They have not, however, rivalled either in quantity or quality those which treat of the sister Art of lace-making, for, so far as is known, early English treatises on the subject are limited to some half a dozen, and these occupy themselves as much with lacework as with embroidery.
The first English book that is known is in reality a foreign one; it is entitled, “New and Singular Patternes and Workes of Linnen Serving for Patternes to make all sorts of Lace Edginges and Cut Workes. Newly invented for the profite and contentment of Ladies, Gentilwomen and others that are desireous of this Art. By Vincentio. Printed by John Wolfe 1591.” We have not been able to find a copy, and therefore can do no more than chronicle its existence.
A volume upon which needleworkers of the seventeenth century must have relied much more largely for their ideas was published in its early years under the title of “The Needle’s Excellency. A New Booke wherein are divers admirable workes wrought with the needle. Newly invented and cut in copper for the pleasure and profit of the industrious. Printed for James Boler, and are to be sold at the Syne of the Marigold in Paules Churchyard.” This treatise went to twelve editions at least, but, nevertheless, is very rare. The twelfth, “enlarged with divers newe workes, needleworkes, purles, and others never before printed. 1640,” is to be found in the British Museum Library, but even that copy has suffered considerably from usage, for many plates are missing, and few are in consecutive order. The title-page consists of an elaborate copper plate, in which are to be seen Wisdom, Industrie, and Follie; Industrie, seated in the middle under a tree with a formal garden behind her, is showing Follie, who is decked out in gorgeous Elizabethan costume, her work, and Follie is lifting her hands in astonishment at it. Following the title-page comes a lengthy poem by Taylor, the Water Poet, upon the subject of needlework. So far as one can judge from the samplers of the period, the designs for needlework in the book, which consist of formal borders, have been very seldom copied, but some for drawn work undoubtedly have a close resemblance to those which we see in existing pieces. Another book, which I have been unable to find in the Museum, is described as “Patternes of Cut Workes newly invented and never published before: Also Sundry Sorts of Spots, as Flowers, Birdes, and Fishes, etc., which will fitly serve to be wrought, some with gould, some with silke, and some with creuell in coullers; or otherwise, at your pleasure.”
From “The Needle’s Excellency” we have many clues as to needlework in the early seventeenth century. First of all, as to the articles for which samplers would be required, the following are mentioned: “handkerchiefs, table cloathes for parloures or for halls, sheetes, towels, napkins, pillow beares.” Then as to the objects which were delineated on embroideries, it states that:—
“In clothes of Arras I have often seene
Men’s figured counterfeits so like have beene
That if the parties selfe had been in place
Yet Art would vie with nature for the grace.”
“Flowers, Plants and Fishes,
Beasts, Birds, Flyes and Bees,
Hills, Dales, Plains, Pastures,
Skies, Seas, Rivers, Trees,
There’s nothing ne’er at hand or farthest sought
But with the needle may be shap’d and wrought.”
It would seem from the foregoing that the volumes would be of more profit to the worker of embroidered pictures than to sampler-makers, and this was no doubt the case; for when the former went out of fashion, the books dealing with the subject disappeared too, and nothing further of any note was published, except in the beginning of the last century, when the National Schools were furnished with manuals which dealt more with plain sewing than with decorative needlework.