The Development of Embroidery in America Part 1

The Development of Embroidery in America.

by Candace Wheeler.

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.

When this small implement came open-eyed into the world it brought with it possibilities of well-being and comfort for races and ages to come.

It has been an instrument of beneficence as long ago as "Dorcas sewed garments and gave them to the poor," and has been a creator of beauty since Sisera gave to his mother "a prey of needlework, 'alike on both sides.'" This little descriptive phrase--alike on both sides--will at once suggest to all needlewomen a perfection of method almost without parallel. Of course it can be done, but the skill of it must have been rare, even in those far-off days of leisure when duties and pleasures did not crowd out painstaking tasks, and every art was carried as far as human a.s.siduity and invention could carry it.

A history of the needlework of the world would be a history of the domestic accomplishment of the world, that inner story of the existence of man which bears the relation to him of sunlight to the plant. We can deduce from these needle records much of the physical circ.u.mstances of woman's long pilgrimage down the ages, of her mental processes, of her growth in thought. We can judge from the character of her art whether she was at peace with herself and the world, and from its status we become aware of its relative importance to the conditions of her life.

There are few written records of its practice and growth, for an art which does not affect the commercial gain of a land or country is not apt to have a written or statistical history, but, fortunately in this case, the curious and valuable specimens which are left to us tell their own story. They reveal the cultivation and amelioration of domestic life. Their contribution to the refinements are their very existence.

A history of any domestic practice which has grown into a habit marks the degree of general civilization, but the practice of needlework does more. To a careful student each small difference in the art tells its own story in its own language. The hammered gold of Eastern embroidery tells not only of the riches of available material, but of the habit of personal preparation, instead of the mechanical. The little Bible description of captured "needlework alike on both sides" speaks unmistakably of the method of their st.i.tchery, a cross-st.i.tch of colored threads, which is even now the only method of st.i.tch "alike on both sides."

It is an endless and fascinating story of the leisure of women in all ages and circ.u.mstances, written in her own handwriting of painstaking needlework and an estimate of an art to which gold, silver, and precious stones--the treasures of the world--were devoted. More than this, its intimate a.s.sociation with the growth and well-being of family life makes visible the point where savagery is left behind and the decrees of civilization begin.

I knew a dear Bible-nourished lonely little maid who had constructed for herself a drama of Eve in Eden, playing it for the solitary audience of self in a corner of the garden. She had brought all manner of fruits and had tied them to the fence palings under the apple boughs. This little Eve gathered grape leaves and sewed them carefully into an ap.r.o.n, the needle holes pierced with a thorn and held together by fiber stripped from long-stemmed plantain leaves. Here she and her audience of self hid under the apple boughs and waited for the call of the Lord.

The long ministry of the needle to the wants of mankind proves it to have been among the first of man's inventions. When Eve sewed fig leaves she probably improvised some implement for the process, and every daughter of Eve, from Eden to the present time, has been indebted to that little implement for expression of herself in love and duty and art. For this we must thank the man who, the Bible relates, was "the father of all such as worked in metals, and made needles and gave them to his household." He is the first "handy man" mentioned in history--blest be his memory!

If the day should ever come, not, let us hope, in our time or that of our children, when the manufacturer shall find that it no longer pays to make needles, what value will attach to individual specimens! If they were only to be found in occasional bric-a-brac shops or in the collections of some far-seeing h.o.a.rder of rarities, it would be difficult to overrate the interest which might attach to them. How, from the prodigal disregard of ages and the mysteries of the past, would emerge, one after another, recovered specimens, to be examined and judged and cla.s.sified and arranged!

Perhaps collections of them will be found in future museums under different headings, such as:

"Needles of Consolation," under which might come those which Mary Stuart and her maids wrought their dismal hours into pathetic bits of embroidery during the long days of captivity, or the daughter of the sorrowful Marie Antoinette mended the dilapidations of the pitiful and ragged Dauphin; or:

"Needles of Devotion," wielded by canonized and uncanonized saints in and out of nunneries; or:

"Needles of History," like those with which Matilda st.i.tched the prowess of William the Conqueror into breadths of woven flax.

Possibly there may arise needle experts who, upon microscopic examination and scientific test, will refer all specimens to positive date and peculiar function, and by so doing let in floods of light upon ancient customs and habits. It is idle to speculate upon a condition which does not yet exist, for, happily, needles for actual hand sewing are yet in sufficient demand to allow us to indulge in their purchase quite ungrudgingly.

I was once shown a needle--it was in Constantinople--which the dark-skinned owner declared had been treasured for three hundred years in his family, and he affirmed it so positively and circ.u.mstantially that I accepted the statement as truth. In fact, what did it matter? It was an interesting lie or an interesting truth, whichever one might consider it, and the needle looked quite capable of sustaining another century or so of family use. Its eye was a polished triangular hole made to carry strips of beaten metal, exactly such as we read of in the Bible as beaten and cut into strips for embroidery upon linen, such embroidery, in fact, as has often been burned in order to sift the pure gold from its ashes.

Not only the history, but the poetry and song of all periods are starred with real and ideal embroideries--n.o.ble and beautiful ladies, whose chief occupations seem to have been the medicining of wounds received in their honor or defense, or the broidering of scarfs and sleeves with which to bind the helmets of their knights as they went forth to tourney or to battle. In these old chronicles the knights fought or made music with harp or voice, and the women ministered or made embroidery, and so pictured lives which were lived in the days of knights and ladies drifted on. The sword and the needle expressed the duties, the spirit, and the essence of their several lives. The men were militant, the women domestic, and wherever in castle or house or nunnery the lives of women were made safe by the use of the sword the needle was devoting itself to comforts of clothing for the poor and dependent, or luxuries of adornment for the rich and powerful. So the needle lived on through all the civilizations of the old world, in the various forms which they developed, until it was finally inherited by pilgrims to a new world, and was brought with them to the wilderness of America.

CHAPTER I -- BEGINNINGS IN THE NEW WORLD

The history of embroidery in America would naturally begin with the advent of the Pilgrim Mothers, if one ignored the work of native Indians. This, however, would be unfair to a primitive art, which accomplished, with perfect appropriateness to use and remarkable adaptation of circ.u.mstance and material, the ornamentation of personal apparel.

The porcupine quill embroidery of American Indian women is unique among the productions of primitive peoples, and some of the dresses, deerskin s.h.i.+rts, and moccasins with borders and flying designs in black, red, blue, and s.h.i.+ning white quills, and edged with fringes hung with the teeth and claws of game, or with beautiful small sh.e.l.ls, are as truly objects of art as are many things of the same decorative intent produced under the best conditions of civilization.

To create beauty with the very limited resources of skins, hair, teeth, and quills of animals, colored with the expressed juice of plants, was a problem very successfully solved by these dwellers in the wilderness, and the results were practically and aesthetically valuable.

In the Smithsonian Inst.i.tution at Was.h.i.+ngton, D. C., there has happily been preserved a most interesting collection of these early efforts. The small deerskin s.h.i.+rts worn as outer garments by the little Sioux were perhaps among the most interesting and elaborate. They are generally embroidered with dyed moose hair and split quills of birds in their natural colors, large split quills or flattened smaller quills used whole. The work has an embossed effect which is very striking. A coat for an adult of Sioux workmans.h.i.+p, made of calfskin thicker and less pliant than the deerskin ordinarily used for garments, carries a broad band of quill embroidery, broken by whorls of the same, the center of each holding a highly decorated ta.s.sel made of narrow strips of deerskin, bound at intervals with split porcupine quills. These ornamental ta.s.sels carry the idea of decoration below the bands, and have a changeable and living effect which is admirable. In a smaller s.h.i.+rt, the whole body is covered at irregular intervals with whorls of the finest porcupine quill work, edged by a border of interlaced black and white quills, finished with perforated sh.e.l.ls. Many of the designs are edged with narrow zigzag borders of the split quills in natural colors carefully matched and lapped in very exact fas.h.i.+on. There is one small s.h.i.+rt, made with a decorative border of tanned ermine skins in alternate squares of fur and beautifully colored quill embroidery, not one tint of which is out of harmony with the soft yellow of the deerskin body. The edge of the s.h.i.+rt is finished in very civilized fas.h.i.+on, with ermine tails, each pendant, banded with blue quills, at alternating heights, making a s.h.i.+ning zigzag of blue along the fringe. The simplicity of treatment and purity of color in this little garment were fascinating, and must have invested the small savage who wore it with the dignity of a prince.

The mother who evolved the scheme and manner of decoration carried her bit of genius in an uncivilized squaw body, but had none the less a true feeling for beauty, and in this mother task lifted the plane of the art of her people to a higher level.

[Ill.u.s.tration: _Left_--MOCCASINS of porcupine quillwork, made by Sioux Indians.

_Right_--PIPE BAGS of porcupine quillwork, made by Sioux Indians.

_Courtesy of American Museum of Natural History, New York_]

The purely decorative ability which lived and flourished before the advent of civilization lost its distinctive simplicity of character when woven cloth of brilliant red flannel and the tempting glamour of colored gla.s.s beads came into their horizon, although they accepted these new materials with avidity. Porcupine quill work seems to have been no longer practiced, although a few headbands of ceremony are to be found among the tribes, and now and then one comes across a veritable treasure, an evidence of long and unremitting toil, which has been preserved with veneration.

Of course many valuable results of the best early embroideries still exist among the Indians themselves.

A very striking feature of both early and late work is the fringing, which plays an important part in the decoration of garments. The fringe materials were generally of the longest procurable dried moose hair, the finely cut strips of deerskin, or, in some instances, the tough stems of river and swamp gra.s.ses twisted, braided and interwoven in every conceivable manner, and varied along the depth of the fringes by small perforated sh.e.l.ls, teeth of animals, seeds of pine, or other shapely and hard substances which gave variety and added weight. Beads of bone and sh.e.l.l are not uncommon, or small bits of hammered metal. In one or two instances I have seen long deerskin fringes with stained or painted designs, emphasized with seeds or sh.e.l.ls at centers of circles, or corners of zigzags. This ingenious use of a decorative fringe gave an effect of elaborate ornament with comparatively small labor.

Perhaps the best lesson we have to learn from this bygone phase of decorative effort is in the possibilities of genuine art, where scant materials of effect are available.

A thoughtful and exact study of early Indian art gives abundant indication of the effect of intimacy with the moods and phenomena of Nature, incident to the lives of an outdoor people.

Many of the designs which decorate the larger pieces, like s.h.i.+rts and blankets, were evidently so inspired. The designs of lengthened and unequal zigzags are lightning flashes translated into embroidery; the lateral lines of broken direction are water waves moving in ma.s.ses.

There are clouds and stars and moons to be found among them, and if we could interpret them we might even find records of the sensations with which they were regarded.

[Ill.u.s.tration: MAN'S JACKET OF PORCUPINE QUILLWORK Made by Sioux Indians.

_Courtesy American Museum of Natural History, New York_]

[Ill.u.s.tration: MAN'S JACKET OF PORCUPINE QUILLWORK Made by Plains Indians.

_Courtesy of American Museum of Natural History, New York_]

It would seem to argue a want of inventive faculty, that the aboriginal women never conceived the idea of weaving fibers together in textiles, but were contented with the skins of animals for warmth of body covering. The two alternatives of so close and warm a substance as tanned skins, or nakedness, seem to a civilized mind to demand some intermediate substance. This, however, was not felt as a want, at least not to the extent of inspiring a textile. Perhaps we should never have had the unique porcupine quill embroidery except for the close-grained skin foundation, which made it possible and permanent. Certainly the cleverness with which the idea of weaving has been used in the evolution of the Indian blanket shows that only the initial thought was lacking.

The subsequent use of the arts of spinning and weaving, with the retention of the original idea of decoration in design and coloring, has made the Indian blanket an article of great commercial value.

Fortunately, these productions are valuable to their producers, and even to other members of the tribes, and were carefully preserved from casualties, so that there are still many examples of Indian manufacture, such as belts of wampum, and headbands of ceremony, to be found among existing tribes.

These early specimens are not only intrinsically valuable, but give many a clue to what may be called the spiritual side of the aborigines. They had not learned the limits of representation, and as this history deals with results of life and not with the impulse toward expression which lies at the root of design, we need not attempt more than a suggestion of some of the results. The unguided impulses of Indian art, as seen or imagined in their work, lies behind the work itself and can be read only by its materialization.

CHAPTER II -- THE CREWELWORK OF OUR PURITAN MOTHERS

The crewelwork of New England was the first ornamental st.i.tchery practiced in this country by women of European race, and in their hands made its first appearance even during the days of privation and nights of fear which were their portion in this strange new world to which they had come.