The Development of Embroidery in America. Candace Wheeler
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 grasses twisted, braided and interwoven in every conceivable manner, and varied along the depth of the fringes by small perforated shells, teeth of animals, seeds of pine, or other shapely and hard substances which gave variety and added weight. Beads of bone and shell 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 shells 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 shirts 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 masses. 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.
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Courtesy American Museum of Natural History, New York
MAN'S JACKET OF PORCUPINE QUILLWORK
Made by Sioux Indians.
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Courtesy American Museum of Natural History, New York
MAN'S JACKET OF PORCUPINE QUILLWORK
Made by Plains Indians.
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 New England was the first ornamental stitchery 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.
The seed of it was brought by that winged creature of destiny, the Mayflower, hidden in the folds or decorating the borders of the precious household linen which was a part of the gear of the first Pilgrims. In its hollow interior there was room for bed dressings and table napery, even when the high-posted bedsteads and tables which they had adorned were abandoned, or exchanged for peace of mind and liberty of action.
It may have declared itself in the very first years of settlement, before they had encountered the savage antagonism of the aborigines, and while they still had only the privations incident to pioneer life; or it may have been after the long struggle for ascendancy and possession was over, and they could settle down in hard-won homes. Upon neighboring or contiguous farms there they gradually drew together the threads of memory concerning former peaceful occupations, and wove them once more into the warp of daily life. They could visit one another, exchanging domestic experiences, or reminiscences of spiritual struggles of their own or of fellow Pilgrims, and old-time hand occupations would be a mutual lullaby and an exorcism of anxiety.
The real beginning of embroidery as a national art was probably at a later period, for its previous practice would be but a continuation of old-world occupations or diversions of life.
The devoted mothers of the American race, who sailed the seas in those far-off days, might have brought some favorite "piece" of embroidery among their most intimate belongings, wherewithal to while away the hours of weary days upon the limitless breadths of ocean. There would be intervals of calm between storms, and periods when even the merest shred of a home-practiced art would be doubly and trebly valued, like a piece of heavenly raiment to a naked and banished angel.
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CREWEL DESIGN, drawn and colored, which dates back to Colonial times.
In the possession of the Dunham family of Cooperstown.
The most natural effort of the woman standing in the midst of such new and strenuous conditions as surrounded the Pilgrim mothers in America, would be to reproduce something which had meant peace and tranquillity in former days. We can imagine her, searching the closely packed iron-bound chests which held most of the worldly goods of the traversing pilgrims—those famous chests, the boards of which had been carefully doweled and faithfully put together to resist outward and inward pressure—packed and repacked with constant misgivings and hopeful foresight. In those crowded treasure chests it was possible there might be found skeins of crewel, and even working patterns which some hopeful instinct had prompted her to preserve.
While the Puritan mother was scheming to add embroidery to her occupations, she did not forget to train each small maid of the family to the use of the needle. Ruth and Peace and Harmony and Mercy made their samplers as faithfully as though they were growing up under the shade of the apple trees of old England instead of among the blackened stumps of newly cut forests.
So the old art survived its transplantation and rooted itself in spite of storms of terror, and during and after the test of fire and blood, and spread, after the manner of art and knowledge, until it became the joy and comfort of a new race, a vehicle of feminine dexterity and an expression of the creative instinct with which in a greater or lesser degree we are all endowed.
We can easily believe that stores of linen and precious china, as well as the small wheels for the spinning of the flax, could not be denied to the devoted women who chose to share the hard fortunes of their Pilgrim husbands and