Needlewords, Feburary 1999

NEEDLEWORDS was begun in 1983 by me (Meg) and Ginnie Thompson (Mom). It no longer exists but the aricles are too good to pass into obscurity. Here's a reprint of an article from the November 1983 issue (newspaper format).

A History of Cross Stitch

Cross stitch is almost as old as the pyramids. I personally believe that Eve cross stitched a few Sunday-best fig leaves. oldest existing embroidery in a museum today was found in Athens, Greece (see photo). It dates from the 5th century BC and although the stitches are long gone, experts agree that the technique was counted cross stitch! Now, in 1983, cross stitch is the national stitch of Denmark and the fastest growing form of art needlework in the United States. In the intervening centuries since 500 BC, cross stitch has been mainstay, a foundation stitch, and from time to time the object of widespread popularity.

The great fascination of counted cross stitch is that each stitch is perfect. Each stitch is precisely the same size as the previous stitch because it is based an an evenweave background fabric. Second, there 1S nothing on the fabric forehand so that the design materializes only as perfect stitch is added to perfect stitch.

Cross stitch has other merits. The simplest of stitches, it is suitable for children. The initial expense is less than any other forms of needlework yet it has considerable value when completed. It appeals to stitchers in that one works only the design without having to fill in the background. It is easy to personalize. There is actually very little counting involved. It is restful, rhythmic, relaxing.

The recorded history of cross stitch is sparse until the 16th century in England. Locally made cloth, thread, dyes, local flora, fauna and customs, all combined to produce an ethnic look unique to a particular area. By the 14-15 century linens were considered part of the wealth of a household. Becoming an accomplished needleworker was a necessary part of a woman's education as needlework was used extensively as decoration on clothing, window hangings, cushions and household linens.

Say "cross stitch" and most people thing "samplers" Gibbs Sampler The earliest samplers were used as a stitch reference and consisted of a haphazard arrangement of motifs scattered over a background of linen. In the 17th century the band sampler hit its peak in popularity. These were narrow strips of linen, 8" or 9" wide, with selvages at top and bottom. Sometimes they were pieced together for an overall length of up to 40". These band samplers, with their neat, formal rows, included a variety of surface stitches, as well as Some drawn work. Usually, the skill level increased noticeably from the top of the the sampler to the bottom.

Landscapes and houses were the best feature ln 18th century English and American samplers. These samplers included alphabets, numerals, and floral verses but obviously the houses and landscapes were the meaningful areas to the stitchers. The designs were personal, individual, and therefore charming. The moral and religious verses are generally attributed to Dr. Isaac Watts, John Wesley or Philip Dodderidge, but some schools had particular moral maxims or mottoes, also favored.

To be continued next month. . .

The sampler featured in this article was not part of the original article but was added to illustrate the typical 18th century sampler style. It is a reproduction sampler design published by Hollie Designs. Ask for it at your favorite shop!