Marking Alphabets in Samplers and Metamorphosis Books

By Jacqui Reid-Walsh and Colette Slagle

In our last blog, we observed that the alphabet border of the Metamorphosis text (particularly those written by Sands and illustrated by Poupard), resembled that of a sampler, noting that “the letter style is also ornate and appears ‘stitched’ rather than printed in the standardized letterpress style.”  Since then, we have been exploring this connection further, researching information on the history of samplers, marking, and—as Jacqui calls it—stitchery literacy (Reid-Walsh, Interactive Books 40).

Cynthia Cooper, the curator of textiles at the McCord Museum in Montreal, directed us towards The Workwoman’s Guide, an early nineteenth century needlewoman’s guide “for the inexperienced.”  It was written “By a Lady” and published in London in 1838.  Notably, figure 1 of the first plate depicts a model sampler used to exemplify different types of stitches that are used in marking linen.  The author states that “the sampler drawn gives an accurate idea of the canvass, and the shape of all the letters in the different alphabets” (5).

The Workwoman’s Guide, containing instructions to the inexperienced in cutting out and completing those articles of wearing apparel, &c., which are usually made at home; also, explanations on upholstery, straw-platting, bonnet-making, knitting, &c., By a Lady, London, 1838. Photo courtesy of Penn State Special Collections.

The various letter styles shown in the sampler are used for different kinds of marking from simple to ornate.  She notes, “The first alphabet is that in most general use; the second contains the small letters; the third is a correct representation of the Italian characters, which are much used for marking pocket handkerchiefs and other fine articles of dress; the fourth and last is quite a fancy stitch, and rarely employed” (5). Intriguing to our minds is the link between this Workwoman’s Guide and the 1814 Metamorphosis book published by Robert Porter with the subtitle, “also, an alphabet of large and small letters to aid females in marking linen.”  The Sands/Poupard versions only include “the first alphabet,” which has only uppercase letters, is the most commonly used for marking, and made of the simplest stitches (5).  By contrast, Porter’s 1814 version includes both this alphabet and the second alphabet The Workwoman’s Guide refers to, which “contains the small letters” (5).  Interestingly, the placement of each type of alphabet in the borders reinforces their function: the uppercase alphabet in the upper border and the lowercase alphabet in the lower border.  Although we have not seen every version of the Metamorphosis book, we are struck by how the lowercase alphabet only seems to appear in Porter’s version, where the specific aim is to teach girls how to mark linen.

The Workwoman’s Guide, containing instructions to the inexperienced in cutting out and completing those articles of wearing apparel, &c., which are usually made at home; also, explanations on upholstery, straw-platting, bonnet-making, knitting, &c., By a Lady, London, 1838. Photo courtesy of Penn State Special Collections.

The frontispiece of The Workwoman’s Guide provides an excellent example of this type of stitchery literacy being taught in the classroom.  The room is full of girls of varying ages and a young woman teacher sitting in the center, modelling how to measure and cut fabric.  The children are all busy working as well: sewing, cutting, and measuring fabric.  On the wall there is a prominently featured alphabet of capital letters.  This alphabet is immediately adjacent to the woman and girls who are modelling the sewing activity.  Higher up on the wall there are also several sheets with animals and accompanying text underneath, reminiscent of a bestiary.  These animals include a goat, camel, swan, dog, and owl.  The combination of the alphabet, the informational animal sheets, and the cutting and sewing of fabric emphasizes the pragmatic educational nature of the scene.

The Case of the Elusive “J”

By Colette Slagle and Jacqui Reid-Walsh1817 Metamorphosis; or, a Transformation of Pictures, with Poetical Explanations, for the Amusement of Young Persons. Photo courtesy of Penn State Special Collections.

This week we began engaging with the Metamorphosis texts differently—not as a set of narrative episodes directed by the panels, but as a literacy abecedary.  Instead of following the directives in the text to turn-up and turn-down the flaps, attending to the alphabet requires opening and laying out all of the flaps at once.  The alphabet is displayed horizontally across the length of the open artifact.  Interestingly, if you follow the directions in the text and turn the flaps up and down in the intended manner, the order of the alphabet is disrupted.  For example, in the first panel the letters revealed when opening the flaps read “A B C C D D” across the top, followed by “U V W X Y” across the bottom.

The letters are printed in the upper and lower border of the central images, but bear no obvious relation to the images or the accompanying verse. Although an alphabet is textual, in this case it is not printed by the metal type, but is part of the woodblock illustrations.  We ascertained this by comparing Sands and Poupard’s editions to G.S. Peters’ editions.  The images and alphabet remain the same across the Sands and Poupard editions, but when Peters changes the images in his editions, the alphabet also changes.

1831 (1960 facsimile) Metamorphosis; or, a Transformation of Pictures, with Poetical Explanations, for the Amusement of Young Persons. Photo courtesy of Penn State Special Collections.

We also noticed that the alphabet border resembles the style of a sampler.  For example, the letters are all capitalized and are on a faintly lined background.  The letter style is also ornate and appears “stitched” rather than printed in the standardized letterpress style.

1853 Sampler by Anna Timmis. M974.119.2.  Photo Courtesy of McCord Museum.

Some of the letters appear twice—one in a more basic style, and one in a more ornate style.  Curiously, not all of the letters appear this way, only C, D, I, and T have duplicates.  This partly seems to follow the sampler style which would sometimes duplicate the whole alphabet in capital letters.  We are still puzzled as to why only certain letters are duplicated in the Metamorphosis.  Perhaps it is only due to the allotment of space and the chosen letters are arbitrary.

Moreover, while there is a double “I”—one simple and one ornate—there is no “J” present.  The history of the English alphabet is complex and the development is not perfectly linear. According to E. Jennifer Monaghan in Learning to Read and Write in Colonial America (2005), the authors of spellers “differed about the treatment of the consonantal i and u (which eventually became the j and v of the modern alphabet)” (216).  Interestingly, the Metamorphosis has both the letters “U” and “V” but no “J”.  While no “J” is listed in the alphabet, it is used in the text: “There nothing could their joys controul” (emphasis added)—even more interesting is that it is used in the same panel that the double I (and absent J) appears.

1817 Metamorphosis; or, a Transformation of Pictures, with Poetical Explanations, for the Amusement of Young Persons. Photo courtesy of Penn State Special Collections.

The inclusion of a secret alphabet hidden inside the flaps may have been intended for utilitarian purposes, indeed, an 1814 edition of the text printed by Robert Porter makes this clear through the subtitle: “also, an alphabet of large and small letters to aid females in marking linen.”  At the same time, however, there could be a more playful option.  One possible educational game that could emerge from the object would be matching some of the letters to the images in the text when all of the flaps are open.  For example, “A for Adam or Apple,” “E for Eve, Eden, or Eagle,” “L for Lion,” “G for Griffin,” “S for Serpent,” etc.

We then began to question if there were any possible image connections with the missing letter “J.”  We did not find many, but one possibility is that the empty scales featured in the third panel with the wealthy merchant could be read as an allusion to the “scales of justice,” particularly as the verses in the fourth panel condemn his greed.

1817 Metamorphosis; or, a Transformation of Pictures, with Poetical Explanations, for the Amusement of Young Persons. Photo courtesy of Penn State Special Collections.