By Kathryn Greensides, Collections Assistant/Photographer.
A (needlework) sampler is a piece of embroidery produced as a demonstration or test of skill in needlework. It often includes the alphabet, figures, motifs, decorative borders and sometimes the name of the person who embroidered it and the date. The word ‘sampler’ is derived from the Latin ‘exemplum’ - an example.
The first samplers were produced in the 15th century and were narrow strips of cloth called ‘band samplers’. These were usually stitched on linen or cotton and were just 6 – 9 inches wide as cloth was very expensive. When a needlewoman saw a new stitch or pattern she would sew a small sample as a reference which would become her ‘sampler’. These became highly valued and were often passed down through generations. Many were elaborate and decorative using different styles of stitching, threads and patterns.
During the 17th century as fabric became more affordable, borders were added and samplers became larger and included alphabets, numbers, religious and moral quotations and pictures. The embroiderer would also date and name their piece. The stitching of samplers was believed to be a sign of virtue, achievement and industry, and girls were taught the art from a young age.
The texts on British and American samplers between 1750 and 1850 tended to be from the Bible, Isaac Watts' religious poetry, or the Wesleyan hymnbook. Religious proverbs and sayings were also much favoured, and those which used a rhyme or a play on words were easily remembered. A popular poem found on many samplers of the 18th century included the following:
“Jesus permit thy gracious name to stand
As the first effort of an infant's hand
And as her fingers on the sampler move,
Engage her tender heart to seek thy love.
With thy dear children may she have a part,
And write thy name thyself upon her heart.”
Authorship is attributed by some to the hymn-writer John Newton (1725-1807), best known for 'Amazing Grace', who is said to have written it for the sampler of his niece. It has also been suggested that it was composed by Isaac Watts (1674-1748) for his niece.
This sampler from the museum collection was sewn by Elizabeth Unwin age 11 in 1857 and includes the above poem.
In the 19th century, samplers became an integral part of the school curriculum for young girls to prepare them for the role of wives-to-be. Girls from six to fifteen would sew samplers with numbers, the alphabet, their name and date, and occasionally included a crude image such as an animal, flower, house or pattern. Other samplers taught geography in the form of embroidered maps, or mathematics in the guise of cross-stitch multiplication tables! Other ‘samples’ taught would have included part of a garment, such as a sleeve, to demonstrate mastery of construction and finishing methods and then added examples of techniques for mending clothes, such as darning and patching.
Samplers are still widely stitched today, some using kits purchased from needlework shops, some from chart-packs, and many from patterns available on the Internet or through e-mail from designers. Patterns range from simple using only one stitch (usually cross stitch) to complex, using 15 to 20 or more stitches. Designs range widely in style, from accurate reproductions of historic pieces to much more contemporary and modern styles. Many sampler reproductions are also available, copying colours and imperfect stitches from the originals.
Here at the museum we have a collection of over fifty samplers or samples of stitching. Below are some of the earliest.
This sampler is the oldest we have in our collection, although faded and damaged you can still see the skill and charm of the work. Silk threads on fine linen demonstrate cross, feather, herringbone and satin stitches. You see the lines of sample sewing of the alphabet, homilies and designs of flowers, crowns and geometric motifs.
Homilies read:
“Soft answer turneth away wrath and grievous words stir up anger
Envy thou not the oppressor and choose none of his ways
No riches like content
As ye love me keep my commandments”
Only just visible under a strong magnifying glass at the lower edge is stitched "Grace Combe March 24 1724.
The following three items were all sewn by Edith Grace when she was a pupil at Arnot Street Boarding School in Liverpool, England, when she was 8 -10 years old. Arnot Street Board School was built in 1885. Board schools, run by a Board of Trustees, were secular and uninfluenced by church affiliation, and provided free education to children aged five to 13 years after the Elementary Education Act 1870.
Sampler of half a doll’s dress demonstrating a lined yoke, bias-bound neck edge with double feather stitch embroidery, button thread loops, a set-in sleeve with gathering, applied cuff band to give gathering and the frill.
This sampler was made by Edith Grace when she was eight years old. A single-thread canvas sampler with red, twisted cotton thread has been worked in cross stitch to create upper and lower case letters of the alphabet and place and name, “Arnot Street Board School. E Grace”. It has a double turned-under hem.
Cream wool flannel sampler with bound edging demonstrating a mend, flat fell seam, embroidery stitches, blanket stitching, herring bone hemming, waist band, covered button & button hole, placket, darning and pleats. Made by Edith Grace, ten years old at Arnot Street, Board School, Liverpool, England.
In 1786 A Rouse created a geographical work of art. The British Isles are hand-stitched on fine cream linen using coloured silk thread. Country and county borders are worked in chain stitch. County, city, town and waterway names are in black cross stitch. A looping decorative border frames the whole with flowers and is worked in chain stitch and satin stitch. The work is backed with polished linen. This is a grown-up version of the sampler, where an accomplished needlewoman has designed and delivered a sophisticated work that speaks of patriotism and pride.
This sampler was made by Hannah Hopkins in 1729 and is on fine, natural-coloured linen. The deep flower and leaf border is stitched with two strands of twisted silk thread in satin stitch, French knots and cross stitch. The centre panel spells out the great Psalm XXVII, proclaiming absolute faith. It is easy to recognise what sort of beliefs Hannah’s family had.
“The Lord is my Light and my salvation. Whom shall I fear, the Lord is the strength of my life of Whom shall I be afraid.”
The eccentric punctuation of the lettering is matched by the eccentric switch from rose red to yellow thread. Perhaps Hannah ran out of the red and only had yellow left to match the rest of the sampler. The yellow text is faded and hard to read. Hannah’s details and dates are under the psalm.
for "Vaults''.
Ngā Manu – Birds of New Zealand is taking flight and migrating into storage for a well-earned rest after about 40 years on display. A new and exciting development is taking shape in the gallery based on our land’s most famous big bird, the moa.
also be a small Science Study Centre attached to the gallery which will provide the opportunity for on-going research and work on the collection.
