Campionatore. Cultura: British. Dimensioni: H. 37 1/2 x W. 6 3/8 pollici (95,3 x 16,2 cm). Autore: Margret Barbiere. Data: 1661-63. Questo campionatore di banda da Margret barbiere, probabilmente lavorato tra il 1661 e il 1663, è suddiviso in righe in tre grandi sezioni, ciascuna delle quali mette in mostra una tecnica specifica. La parte superiore a due terzi del campionatore comprende motivi facilmente classificabili in categorie standard, ad esempio caratteri alfabetici, disegni geometrici e motivi floreali, lavorato in seta e lino su un lino massa utilizzando diversi comuni tecniche di cucitura. Un alfabeto ricamato segna la fine della terza parte superiore
Questa immagine potrebbe avere delle imperfezioni perché è storica o di reportage.
Sampler. Culture: British. Dimensions: H. 37 1/2 x W. 6 3/8 inches (95.3 x 16.2 cm). Maker: Margret Barber. Date: 1661-63. This band sampler by Margret Barber, probably worked between 1661 and 1663, is divided into rows within three larger sections, each of which showcases a specific technique. The top two-thirds of the sampler includes motifs easily classifiable into standard categories, such as alphabetic characters, geometric designs, and floral motifs, worked in silk and linen on a linen ground using several common stitch techniques. An embroidered alphabet marks the end of the top third of the piece. The middle third is worked with white thread on a white ground, a technique commonly known as whitework. This middle section features scattered design motifs and concludes with an embroidered rendering of the maker's name and dates of production. The bottom third of the piece is worked in reticella, a technique that originated in the late fifteenth century. The technique developed from cutwork and utilized stitches common to embroidery. Threads were pulled from a plain weave linen fabric to create open spaces in which a design was completed and the deconstructed fabric was stabilized primarily with buttonhole stitches. The result is a design based on the grid of the foundation fabric, with open areas throughout and arched and scalloped borders. Subsequently, the technique progressed to the point where the foundation fabric was eliminated and the design was worked over threads temporarily secured to a piece of vellum or paper for stability during the construction of what was called punto in aria (literally, "stitches in air"), or early needle lace. Designs for reticella were popularized through numerous editions of late sixteenth-century Continental pattern books. Copies of these books made their way into England, and their popularity occasioned the publication of English pattern books, mostly consisting of patterns copied from the earlier book. Although cutwork
