LETTERING, HERALDRY, AND EMBLEMS
The Uses of Lettering--Marking--Monograms--Heraldry--Emblems.
Lettering of one kind or another is frequently in request. It is useful
for inscriptions, verses, names attached to figures, the signing and
dating of work, and for the more ordinary purposes of marking linen and
so forth. Signed and dated work has peculiar attractiveness: it can be
placed amidst definite historical associations: an authenticated piece
of embroidery, say of the reign of King Richard Coeur de Lion, Queen
Anne, or George III., would be an historical document and a standard to
gauge the period of any uninscribed examples. Although few of us are
likely to possess treasures of the XIIIth century, signed and dated
pieces of our great-grandmothers' embroideries are interesting personal
landmarks in family history, so for this reason, amongst others,
unostentatious marks of identification are by no means out of place.
Descriptive names or verses are also a means of amplifying the story and
so enlivening our curiosity.
[Illustration: Fig. 140.]
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.
[Illustration: Fig. 141.]
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.
[Illustration: Fig. 142.]
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.
[Illustration: Fig. 143.]
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.
The third example is made use of when a larger letter is required. It is
known as blanket stitch, and is used for the marking of such things. It
may be further completed by a neat back stitch just fitting along the
outside edges of the other stitches.
[Illustration: Fig. 144.]
Many embroidery stitches are suitable for marking purposes, such as
satin, chain, stem, back, rope, basket, and others. The Oriental stitch
which carries out the letter in fig. 144 is a good one when both sides
can be seen, for though these are quite different, it is presentable
upon either. The diagram shows the appearance of the stitch on the front
and on the back.
A simple initial letter may be made interesting by enriching the ground
behind it with some form of diaper patterning. An example of this is
shown in fig. 145. The letter could be worked in a plain satin stitch
over a padding of threads, and the pattern on the ground in a darning
stitch and French knots, or in any other suitable way.
[Illustration: Fig. 145.]
A monogram carried out in embroidery can be a very pretty thing; there
is scope in it for ingenuity both of design and of stitching. The
letters may be decorated and tied up with a floral spray, strap work or
a combination of several _motifs_. Fig. 146 shows a monogram composed of
the letters I. G. ornamented and bound together by a ribbon-like
interlacing band. The letters are worked in a raised satin stitch, and a
running stitch in another colour threads in and out down the centre of
each letter. The outline is stem stitch in a darker colour. The band is
outlined on both sides with an overcast stitch, which always makes a
particularly neat edging for anything of this sort. The centre is filled
with a row of French knots, the tassels are worked in close lines of
stem stitch, and the petals of the small flowers in satin stitch,
finished off with a French knot at the centre.
[Illustration: Fig. 146.]
Another mark of proprietorship and origin was the shield of arms of the
owner, which introduces the subject of heraldry. A shield executed with
the needle is often seen, and looks particularly rich. Heraldry is an
intricate science, full of pitfalls for the unwary, and demands an
earnest study of its complex rules and regulations. Every one should
know at least some fine examples of great national shields such as the
Lions of England, the Fleur de Lys of France, and the Imperial Eagle.
Examples of shields surmounted by helmets and crests with quaint and
flowing mantling are to be seen in all kinds of art work.
Various stitches and methods specially lend themselves to the expression
of heraldry. Those which, like cross stitch, impose a certain
simplicity, are very good. Another suitable medium is applied work, of
which an illustration can be seen on page 95. Gold and silver thread are
very useful here, and look exceptionally rich when couched in the XIIIth
century method. Fig. 147 is an embroidered coat of arms dated the first
half of the XIVth century. It is executed almost entirely in the _point
couché rentré ou retiré_. The arms are those of the Clinton and
Leyburne families--_argent, 6 cross crosslets fitchée 3, 2 and 1 on a
chief azure, two mullets or_.
[Illustration: Fig. 147.]
In designing heraldic work care must be taken to introduce no debased
forms such as were current after the XVth century. The XIIIth and XIVth
centuries are the periods considered best for the study of this subject.
Heraldry sometimes adds historic interest to embroideries; owners or
donors may be traced by their coat of arms appearing upon some part of
the work.
[Illustration: Fig. 148.]
Allied to heraldry and marking are a number of decorative objects that
have acquired peculiar traditional significance of an emblematic or
symbolical nature, hard to define. The Cross of Christianity may be
instanced, the olive branch of peace, the mirror of truth, and the snake
of eternity. The name of a saint is frequently declared by an emblem
accompanying the figure. In appropriate surroundings emblems may often
be used effectively. For knowledge about these things the student must
go to various books that deal with the special subject. Fig. 148 is an
illustration of the well-known emblem, the Pelican in her piety.
FOOTNOTE:
[13] This cope is full of interest in every detail. See M. Louis de
Farcy, _La Broderie du Onzième Siècle jusqu'à Nos Jours_. Plate II.