Scottish Embroidery Through the Times
By Karen Phan
Embroidery, with its intricate stitches and delicate threads, has long served as a medium for storytelling and expression. Nowhere is this more evident than in the rich tapestry of Scottish embroidery, where each stitch weaves together narratives of daily life, cultural heritage, and the experiences of women. From reviewing works from Queen Mary of Scotland during her time in captivity to the meticulously crafted samplers of the 18th and 21st centuries, Scottish embroidery offers a window into the nuances of womanhood and societal norms. Through exploring these historical threads, alongside contemporary endeavours such as the Great Tapestry of Scotland, we uncover not only the skill and artistry of the craft but also the profound ways in which it enlightens us on different narratives, offering insights into the lives and perspectives of those who stitched them.
Mary, Queen of Scots, valued embroidery as more than a mere pastime; it served as a vital means of communication and expression, enabling her to convey her thoughts, emotions, and diplomatic positions through her needlework. Utilizing two simple yet durable stitch styles—cross stitch and diagonal tent stitch—Mary, along with her close companion Bess Talbot, Countess of Shrewsbury, and household embroiderers, crafted pieces that not only adorned their surroundings but also endured the test of time. Mary's penchant for sending embroidered gifts, including those to Queen Elizabeth, underscores her efforts to maintain political alliances and foster relationships in the tumultuous landscape of royal politics. Drawing inspiration from classical literature and folklore, these motifs were also chosen to signify Mary’s most private concerns during a period when her correspondence was monitored by her captors.
Detail from the Marian Hanging, Mary Queen of Scots and Elizabeth Talbot, Countess of Shrewsbury, 1570-85, England. Museum no. T.29-1955. © Victoria and Albert Museum, London.
A closer examination of the Marian Hanging reveals the true complexity of Mary's artistry and embroidery. Symbolism abounds within the panels, with each stitch telling a story of courage, despair, and political ambition. The marigold turning towards the sun signifies bravery in adversity, while the yellow rose, besieged by a group of caterpillars, symbolizes the overwhelming feeling of despair. At the heart of the hanging lies a masterful depiction of a grapevine and a hand holding a pruning knife, symbolizing Mary's claim to the throne and the necessity of cutting away the fruitless branch of the Tudor tree embodied by Elizabeth. The Latin motto 'Virescit Vulnere Virtus,' translated as 'virtue flourishes by wounding,' further emphasizes the depth of meaning woven into every thread of Mary's embroidery, illustrating the intricate interplay between art, politics, and personal conviction.
Margaret Alexander’s sampler, made during the Napoleonic Wars, includes portraits of three British army regiments. © Leslie B. Durst Collection.
In 2018, a collection of Scottish samplers was exhibited at the National Museum of Scotland on loan from American collector Leslie B. Durst in a show called 'Embroidered Stories: Scottish Samplers.' Crafted by girls and occasionally boys as part of their education, these samplers serve as poignant records of their formative years, showcasing details about their education, family, religion, and interests. With over 70 samplers in the collection, each intricately stitched by hand, these pieces offer a touching glimpse into the lives of their makers. Margaret Alexander's sampler, for instance, was created during the Napoleonic Wars and portrays three British army regiments. Notably, Scottish samplers often include the initials of extended family members and details of their hometowns, aiding Durst in identifying the makers and uncovering surprising personal histories through genealogical research. Through the narratives embedded within these textiles and the extensive research conducted, this exhibition not only highlights changes in morality, education, and industrialization within Scottish society but also provides a compelling window into women's historic engagement through visual culture.
Panel stitched by the 'KA Two' – Linda McClarkin and Carol Whiteford. © The Great Tapestry of Scotland. Photo credit: Alex Hewitt / The Great Tapestry of Scotland.
While The Great Tapestry of Scotland lies not only in its monumental scale—spanning 160 panels and 70 meters—but also in its profound narrative, which encapsulates over 400 million years of Scottish history, from prehistoric times to the present day. Unlike other historical tapestries that may focus on singular events or figures, The Great Tapestry of Scotland, guided by historian Alistair Moffat, seeks to portray the everyday lives and experiences of ordinary Scots alongside pivotal moments in the nation's past. This inclusive approach, championed by artist Andrew Crummy and stitcher coordinator Dorie Wilkie, transformed the tapestry into one of the world's largest community arts projects, involving over a thousand stitchers from across Scotland. Through meticulous craftsmanship and shared dedication, the tapestry not only celebrates the land's rich cultural heritage but also fosters a sense of national pride and connection among its creators and viewers alike. As panels were passed between stitchers, traversing travels overseas through stormy weather, and as friendships formed and ancestral connections were discovered, The Great Tapestry of Scotland became more than just a work of art; it became a symbol of unity, resilience, and the enduring spirit of the Scottish people. The tapestry can be viewed in Galashiels, Scotland and additional information can be found at https://www.greattapestryofscotland.com/.
Bibliography
“Embroidered Stories: Scottish Samplers.” National Museums Scotland. Accessed February 8, 2024. https://www.nms.ac.uk/exhibitions-events/past-exhibitions/embroidered-stories/.
“The Great Tapestry of Scotland.” Art UK. Accessed February 8, 2024. https://artuk.org/discover/artworks/the-great-tapestry-of-scotland-311354.
“The Great Tapestry of Scotland: A New Galashiels Gallery Space Focussed on Wellbeing.” Art UK. Accessed February 8, 2024. https://artuk.org/discover/stories/the-great-tapestry-of-scotland-a-new-galashiels-gallery-space-focussed-on-wellbeing.
Museum, Victoria and Albert. “The Marian Hanging: Elizabeth Talbot: Mary Queen of Scots: V&A Explore the Collections.” Victoria and Albert Museum: Explore the Collections. Accessed February 8, 2024. https://collections.vam.ac.uk/item/O137608/the-marian-hanging-hanging-mary-queen-of/.
“The Prison Embroideries of Mary, Queen of Scots · V&A.” Victoria and Albert Museum. Accessed February 8, 2024. https://www.vam.ac.uk/articles/prison-embroideries-mary-queen-of-scots.