Lettering of one kind or another is frequently in request. It is useful for inscriptions, verses, names attached to figures, the signing and dating of work, and for the more ordinary purposes of marking linen and so forth. Signed and dated work has peculiar attractiveness: it can be placed amidst definite historical associations: an authenticated piece of embroidery, say of the reign of King Richard Coeur de Lion, Queen Anne, or George III., would be an historical document and a standard to gauge the period of any uninscribed examples. Although few of us are likely to possess treasures of the XIIIth century, signed and dated pieces of our great-grandmothers' embroideries are interesting personal landmarks in family history, so for this reason, amongst others, unostentatious marks of identification are by no means out of place. Descriptive names or verses are also a means of amplifying the story and so enlivening our curiosity.

Lettering can answer a further purpose still; it can enrich the design, for, if rightly chosen and employed, letters are very decorative. They may be seen forming a border to a piece of work. The three letters in fig. 140 were taken from an XIth century embroidered cope, which has a fine inscription running round the entire lower margin.[13] The names of the saints and martyrs standing in rows in the columned arcades, affected at certain periods, are sometimes inscribed in the mouldings of the arches above them or along the base; kneeling donors can be seen naÏvely presenting a little scroll inscribed with prayers, and many other interesting uses of lettering might be recalled. The names St. Luke and St. John, shown in fig. 141, are taken from a beautiful embroidered example of Gothic lettering.

Illuminated manuscripts supply fine examples of initial letters and writing. A visit to the show-cases in the King's Library at the British Museum will be of great interest to the student; the illustrations also to be seen there, the beautifully composed and coloured figure-subjects, would be equally suitable for carrying out in embroidery; indeed it is very probable that many of the figure compositions on the old copes and chasubles were derived from such a source. Fig. 142 gives as an example of an alphabet one taken from a Benedictionale of late XVth century date.

A practical purpose to which lettering is often put is the marking of linen. To learn how to do this used to be a recognised part of a girl's education, and was one of the objects of the sampler. Marking can be anything from a simple cross-stitch initial to an elaborately worked monogram. For simple work the corner to be marked can be tacked upon toile cirÉe, a material not unlike American cloth. Tambour frames also are useful for this purpose.

Fig. 143 shows the stitches most used for working simple letters such as those seen upon the old samplers. The first is cross stitch, which for marking purposes should be worked so as to be alike on both sides. To do this requires some forethought whilst the work progresses, and necessitates an occasional doubling of one of the crossed stitches, in order to reach the point for commencing the next one and at the same time preserving a cross on each side.

The second stitch in the diagram shows a square on one side and is a cross upon the reverse. This makes a good stitch for the purpose, is quite simple to manipulate, and is easier to manage than the cross on both sides.

The third example is made use of when a larger letter is required. It is known as blanket stitch, and is used for the marking of such things. It may be further completed by a neat back stitch just fitting along the outside edges of the other stitches.

Many embroidery stitches are suitable for marking purposes, such as satin, chain, stem, back, rope, basket, and others. The Oriental stitch which carries out the letter in fig. 144 is a good one when both sides can be seen, for though these are quite different, it is presentable upon either. The diagram shows the appearance of the stitch on the front and on the back.

A simple initial letter may be made interesting by enriching the ground behind it with some form of diaper patterning. An example of this is shown in fig. 145. The letter could be worked in a plain satin stitch over a padding of threads, and the pattern on the ground in a darning stitch and French knots, or in any other suitable way.

A monogram carried out in embroidery can be a very pretty thing; there is scope in it for ingenuity both of design and of stitching. The letters may be decorated and tied up with a floral spray, strap work or a combination of several motifs. Fig. 146 shows a monogram composed of the letters I. G. ornamented and bound together by a ribbon-like interlacing band. The letters are worked in a raised satin stitch, and a running stitch in another colour threads in and out down the centre of each letter. The outline is stem stitch in a darker colour. The band is outlined on both sides with an overcast stitch, which always makes a particularly neat edging for anything of this sort. The centre is filled with a row of French knots, the tassels are worked in close lines of stem stitch, and the petals of the small flowers in satin stitch, finished off with a French knot at the centre.

Another mark of proprietorship and origin was the shield of arms of the owner, which introduces the subject of heraldry. A shield executed with the needle is often seen, and looks particularly rich. Heraldry is an intricate science, full of pitfalls for the unwary, and demands an earnest study of its complex rules and regulations. Every one should know at least some fine examples of great national shields such as the Lions of England, the Fleur de Lys of France, and the Imperial Eagle. Examples of shields surmounted by helmets and crests with quaint and flowing mantling are to be seen in all kinds of art work.

Various stitches and methods specially lend themselves to the expression of heraldry. Those which, like cross stitch, impose a certain simplicity, are very good. Another suitable medium is applied work, of which an illustration can be seen on page 95. Gold and silver thread are very useful here, and look exceptionally rich when couched in the XIIIth century method. Fig. 147 is an embroidered coat of arms dated the first half of the XIVth century. It is executed almost entirely in the point couchÉ rentrÉ ou retirÉ. The arms are those of the Clinton and Leyburne families—argent, 6 cross crosslets fitchÉe 3, 2 and 1 on a chief azure, two mullets or.

In designing heraldic work care must be taken to introduce no debased forms such as were current after the XVth century. The XIIIth and XIVth centuries are the periods considered best for the study of this subject. Heraldry sometimes adds historic interest to embroideries; owners or donors may be traced by their coat of arms appearing upon some part of the work.

Allied to heraldry and marking are a number of decorative objects that have acquired peculiar traditional significance of an emblematic or symbolical nature, hard to define. The Cross of Christianity may be instanced, the olive branch of peace, the mirror of truth, and the snake of eternity. The name of a saint is frequently declared by an emblem accompanying the figure. In appropriate surroundings emblems may often be used effectively. For knowledge about these things the student must go to various books that deal with the special subject. Fig. 148 is an illustration of the well-known emblem, the Pelican in her piety.