Krista McCracken
Sherry Farrell Racette in Looking for Stories and Unbroken Threads notes, “Through the power of colour and design, the objects in museum collections not only speak a powerful aesthetic, they also reveal critical information about the worlds and circumstances in which they were created.” Textiles have a role in telling community and personal histories and can tell stories that aren’t evident in other historical records. In some cases, a piece of embroidery might be the only record of a life lived.
How many of these women thought their embroidery would end up in a museum? As I have learned to embroider I have become interested in how historians and heritage professionals use embroidery to talk about the past. What can embroidery tell us about individual lives, communities, and history?
In this post I’m going to highlight a few of my favourite embroidery samplers that are held by museums, and talk about their connections to personal and larger histories. Created by young women as they learned to sew and embroider, samplers were used to demonstrate proficiency in needlework. They are particularly remarkable not only because they often include dates and the names of the maker, but are some of the only documents produced by young women from the nineteenth century. Samplers were also created for personal reference, almost like a ‘sample’ of stitches and patterns that could be recreated later in other projects.

Caption: Mary Lacasse Sampler, 1818. Textile Museum of Canada, T2011.10.1.
The above sampler is held by the Textile Museum of Canada and was stitched by Mary Lacasse at age 12 in Montreal. It is dated May 8, 1818. Other than Mary’s name on the sampler there is no other information in the catalogue record about Mary. However, the stitched date and name of Mary Lacasse suggest that this piece was likely an educational sampler, perhaps one that Mary completed in the course of her schooling. Embroidery was often taught to middle and upper class women as a way to emphasize feminie virtues such as patience, quietness, neatness, and conformity. This sampler showcases a range of patterns and stitches, with a floral and tree theme. The top of the sampler includes two angels and the apple tree with a Snake around it is referencing the Tree of Knowledge in the Garden of Eden. These religious motifs connect Mary to the Catholic education that was prominent in Quebec in the 1800s. I still don’t know much about Mary, but by exploring her embroidery I’m pulling at the edges of her existence and connecting her work to larger social movements. Continue reading