CHAP.		PAGE
	[Introductory. The Story of the Needle]	3
I.	[Beginnings in the New World]	10
II.	[The Crewelwork of Our Puritan Mothers]	17
III.	[Samplers and a Word About Quilts]	48
IV.	[Moravian Work, Portraiture, French Embroidery and Lacework]	62
V.	[Berlin Woolwork]	96
VI.	[Revival of Embroidery, and the Founding of the Society of Decorative Art]	102
VII.	[American Tapestry]	121
VIII.	[The Bayeux Tapestries]	144

ILLUSTRATIONS

[CANDACE WHEELER.] From the painting by her daughter Dora Wheeler Keith Frontispiece
[MOCCASINS OF PORCUPINE QUILLWORK.] Made by Sioux Indians Facing 12
[PIPE BAGS OF PORCUPINE QUILLWORK.] Made by Sioux Indians 12
[MAN'S JACKET OF PORCUPINE QUILLWORK.] Made by Sioux Indians 14
[MAN'S JACKET OF PORCUPINE QUILLWORK.] Made by Plains Indians 14
[CREWEL DESIGN], drawn and colored, which dates back to Colonial times 18
[TESTER] embroidered in crewels in shades of blue on white homespun linen. Said to have been brought to Essex, Mass., in 1640, by Madam Susanna, wife of Sylvester Eveleth 22
[RAISED EMBROIDERY ON BLACK VELVET.] Nineteenth century American 22
[QUILTED COVERLET] made by Ann Gurnee 26
[HOMESPUN WOOLEN BLANKET] with King George's Crown embroidered with home-dyed blue yarn in the corner. From the Burdette home at Fort Lee, N. J., where Washington was entertained 26
[CHEROKEE ROSE BLANKET], made about 1830, of homespun wool with "Indian Rose" design about nineteen inches in diameter worked in the corners in home-dyed yarns of black, red, yellow, and dark green. From the Westervelt collection 26
[BED SET], Keturah Baldwin pattern, designed, dyed, and worked by The Deerfield Society of Blue and White Needlework, Deerfield, Mass. 32
[BED COVERS] worked in candle wicking 32
[SAMPLER] worked by Adeline Bryant in 1826, now in the possession of Anna D. Trowbridge, Hackensack, N. J. 50
[SAMPLER] embroidered in colors on écru linen, by Mary Ann Marley, aged twelve, August 30, 1820 52
[SAMPLER] embroidered in brown on écru linen, by Martha Carter Fitzhugh, of Virginia, in 1793, and left unfinished at her death 52
[SAMPLER] worked by Christiana Baird. Late eighteenth century American 54
[MEMORIAL PIECE] worked in silks, on white satin. Sacred to the memory of Major Anthony Morse, who died March 22, 1805 54
[SAMPLER] of Moravian embroidery, worked in 1806, by Sarah Ann Smith, of Smithtown, L. I. 54
[SAMPLER] worked by Nancy Dennis, Argyle, N. Y., in 1810 56
[SAMPLER] worked by Nancy McMurray, of Salem, N. Y., in 1793 56
[PETIT POINT PICTURE] which belonged to President John Quincy Adams, and now in the Dwight M. Prouty collection 56
[SAMPLER] in drawnwork, écru linen thread, made by Anne Gower, wife of Gov. John Endicott, before 1628 60
[SAMPLER] embroidered in dull colors on écru canvas by Mary Holingworth, wife of Philip English, Salem merchant, married July, 1675, accused of witchcraft in 1692, but escaped to New York 60
[SAMPLER] worked by Hattie Goodeshall, who was born February 19, 1780, in Bristol 60
[NEEDLEBOOK] of Moravian embroidery made about 1850, now in the possession of Mrs. J. N. Myers, Bethlehem, Pa. 64
[MORAVIAN EMBROIDERY] worked by Emily E. Reynolds, Plymouth, Pa., in 1834, at the age of twelve, while at the Moravian Seminary in Bethlehem, and now owned by her granddaughter 64
[MORAVIAN EMBROIDERY] from Louisville, Ky. 66
[LINEN TOWELS] embroidered in cross-stitch. Pennsylvania Dutch early nineteenth century 70
["THE MEETING OF ISAAC AND REBECCA"]—Moravian embroidered picture, an heirloom in the Reichel family of Bethlehem, Pa. Worked by Sarah Kummer about 1790 74
["SUFFER LITTLE CHILDREN TO COME UNTO ME"]—Cross-stitch picture made about 1825, now in the possession of the Beckel family, Bethlehem, Pa. 74
[ABRAHAM AND ISAAC.] Kensington embroidery by Mary Winifred Hoskins, of Edenton, N. C., while attending an English finishing school in Baltimore in 1814 76
[FIRE SCREEN] embroidered in cross-stitch worsted 78
[FIRE SCREEN], design, "The Scottish Chieftain," embroidered in cross-stitch by Mrs. Mary H. Cleveland Allen 78
[FIRE SCREEN] worked about 1850 by Miss C. A. Granger, of Canandaigua, N. Y. 78
[EMBROIDERED PICTURE] in silks, with a painted sky 80
[CORNELIA AND THE GRACCHI.] Embroidered picture in silks, with velvet inlaid, worked by Mrs. Lydia Very, of Salem, at the age of sixteen while at Mrs. Peabody's school 80
[CAPE] of white lawn embroidered. Nineteenth century American 84
[COLLARS] of white muslin embroidered. Nineteenth century American 84
[BABY'S CAP.] White mull, with eyelet embroidery. Nineteenth century American 86
[BABY'S CAP.] Embroidered mull. 1825 86
[COLLAR] of white embroidered muslin. Nineteenth century American 86
[EMBROIDERED SILK WEDDING WAISTCOAT], 1829. From the Westervelt collection 88
[EMBROIDERED WAIST OF A BABY DRESS], 1850. From the collection of Mrs. George Coe 88
[EMBROIDERY ON NET.] Border for the front of a cap made about 1820 90
[VEIL] (unfinished) hand run on machine-made net. American nineteenth century 90
[LACE WEDDING VEIL], 36 × 40 inches, used in 1806. From the collection of Mrs. Charles H. Lozier 92
[HOMESPUN LINEN NEEDLEWORK] called "Benewacka" by the Dutch. The threads were drawn and then whipped into a net on which the design was darned with linen. Made about 1800 and used in the end of linen pillow cases 92
[BED HANGING] of polychrome cross-stitch appliquéd on blue woolen ground 98
[NEEDLEPOINT SCREEN] made in fine and coarse point. Single cross-stitch 98
[HAND-WOVEN TAPESTRY] of fine and coarse needlepoint 100
[TAPESTRY] woven on a hand loom. The design worked in fine point and the background coarse point. A new effect in hand weave originated at the Edgewater Tapestry Looms 100
[EMBROIDERED MITS] 104
[WHITE COTTON VEST] embroidered in colors. Eighteenth-nineteenth century American 104
[WHITE MULL] embroidered in colors. Eighteenth-nineteenth century American 104
[EMBROIDERED VALANCE], part of set and spread for high-post bedstead, 1788. Worked in crewels on India cotton, by Mrs. Gideon Granger, Canandaigua, New York 104
[DETAIL] of linen coverlet worked in colored wool 108
[LINEN COVERLET] embroidered in Kensington stitch with colored wool 108
[QUILTED COVERLET] worked entirely by hand 118
[DETAIL] of quilted coverlet 118
[THE WINGED MOON.] Designed by Dora Wheeler and executed in needle-woven tapestry by The Associated Artists, 1883 122
[SEVENTEENTH CENTURY DESIGN TAPESTRY PANEL] 126
[THE MIRACULOUS DRAUGHT OF FISHES.] Arranged (from photographs made in London of the original cartoon by Raphael, in the Kensington Museum) by Candace Wheeler and executed in needle-woven tapestry by The Associated Artists 130
[MINNEHAHA LISTENING TO THE WATERFALL.] Drawn by Dora Wheeler and executed in needle-woven tapestry by The Associated Artists, 1884 132
[APHRODITE.] Designed by Dora Wheeler for needle-woven tapestry worked by The Associated Artists, 1883 134
[FIGHTING DRAGONS.] Drawn by Candace Wheeler and embroidered by The Associated Artists, 1885 140
[THREE SCENES FROM THE BAYEUX TAPESTRY] 146

THE DEVELOPMENT OF EMBROIDERY IN AMERICA

INTRODUCTORY

THE STORY OF THE NEEDLE

The story of embroidery includes in its history all the work of the needle since Eve sewed fig leaves together in the Garden of Eden. We are the inheritors of the knowledge and skill of all the daughters of Eve in all that concerns its use since the beginning of time.

CONTENTS

ILLUSTRATIONS

THE DEVELOPMENT OF EMBROIDERY IN AMERICA

INTRODUCTORY

THE STORY OF THE NEEDLE