Lettering can answer a further purpose still; it can enrich the design, for, if rightly chosen and employed, letters are very decorative. They may be seen forming a border to a piece of work. The three letters in [fig. 140] were taken from an XIth century embroidered cope, which has a fine inscription running round the entire lower margin.[13] The names of the saints and martyrs standing in rows in the columned arcades, affected at certain periods, are sometimes inscribed in the mouldings of the arches above them or along the base; kneeling donors can be seen naïvely presenting a little scroll inscribed with prayers, and many other interesting uses of lettering might be recalled. The names St. Luke and St. John, shown in [fig. 141], are taken from a beautiful embroidered example of Gothic lettering.
Illuminated manuscripts supply fine examples of initial letters and writing. A visit to the show-cases in the King's Library at the British Museum will be of great interest to the student; the illustrations also to be seen there, the beautifully composed and coloured figure-subjects, would be equally suitable for carrying out in embroidery; indeed it is very probable that many of the figure compositions on the old copes and chasubles were derived from such a source. [Fig. 142] gives as an example of an alphabet one taken from a Benedictionale of late XVth century date.
A practical purpose to which lettering is often put is the marking of linen. To learn how to do this used to be a recognised part of a girl's education, and was one of the objects of the sampler. Marking can be anything from a simple cross-stitch initial to an elaborately worked monogram. For simple work the corner to be marked can be tacked upon toile cirée, a material not unlike American cloth. Tambour frames also are useful for this purpose.
[Fig. 143] shows the stitches most used for working simple letters such as those seen upon the old samplers. The first is cross stitch, which for marking purposes should be worked so as to be alike on both sides. To do this requires some forethought whilst the work progresses, and necessitates an occasional doubling of one of the crossed stitches, in order to reach the point for commencing the next one and at the same time preserving a cross on each side.
The second stitch in the diagram shows a square on one side and is a cross upon the reverse. This makes a good stitch for the purpose, is quite simple to manipulate, and is easier to manage than the cross on both sides.