Abstract

Women have always had a connection to embroidery, whether it was through nomadic bands of workers who worked for commission on pieces such as the Bayeux Tapestry or nuns within the Catholic Church who used it as a source of income. English embroidery in particular in the 16th century had a focus on ecclesiastical work, while the 17th century led to embroidery being centered in the secular sphere with an emphasis on preparing one for a life of domesticity. Ironically though while needlework was preparing one for suitor ship it was also providing tools such as literacy that would give women the ability to move out of the domestic space in the future. Through looking at artworks such as samplers, which included different stitches and patterns and which showed women gaining literacy, and comparing them to completed pieces such as gloves, which were seen as an engagement symbol, it is possible to highlight and represent the conflict women found themselves in. However, this new access to literacy was limited to women in the middle and upper classes, who had the time and money to practice embroidery, while those in the lower class simply focused on weaving the base fabrics. This thesis will analyze examples of religious embroidery such as priests' garb, as well as secular examples such as samplers and gloves, to show how the artistic practice moves from the monastic to the secular sphere. The visual evidence provided will also serve to prove that once embroidery moved into the domestic sphere, it opened a window of education for women.

How to Cite