Needlework Sampler (Dechado)

Needlework Sampler (Dechado)

Filomena Torres
Mexico City, Mexico
Silk embroidery on linen foundation
Neusteter Textile Collection: Gift of Mr. and Mrs. Raymond L. Grimes for the Julia Wolf Glasser Collection
Filomena Torres. Needlework Sampler (Dechado). 1846. Silk embroidery on linen foundation. Neusteter Textile Collection: Gift of Mr. and Mrs. Raymond L. Grimes for the Julia Wolf Glasser Collection. 1965.216.
length: 14 in, 35.5600 cm; width: 10 in, 25.4000 cm
At upper left: "FILOMEN / A.TORES.D / EDICA.ES / TE.DECHA / DO.ALANI / ÑA.LUCEC / ITA.BARE / RA.YMAS.D / EPEÑA.EN / ELAÑODE / 1846" Filomena Tores dedica este dechado a la niña Lucecita Barera y mas de peña en el año de 1846 English translation: Filomena Torres dedicates this sampler to the girl Lucecita Barrera [y más de peña] in the year 1846. Around border, clockwise, starting at lower right corner: ABCDEFGHIJKLMNOPqRSTUVY / 123456789123456789[illegible symbol] / ABCDEFGHIJLMNOPQRSTUVYZ / abcdefghijklmnopq
Textile Art and Fashion
Textile Art and Fashion-Ancient and Latin American Art

Instruction in sewing, embroidery, and other needlework was considered an essential element of a young woman’s education in Spain and the Spanish Americas during the early modern period until at least the late 1800s. Over the course of her education, especially when undertaken in a school outside the home, a girl would typically produce at least one advanced needlework exercise called a sampler (dechado in Spanish), a panel of embroidered cloth made to show off the student’s training and skill. Like the more well-known works from Great Britain and the United States, samplers made by schoolgirls across the Spanish-speaking world often include a wide variety of stitches and other needlework techniques, alphabets, numbers, verses, as well as religious and decorative motifs sometimes drawn from printed pattern books. Girls frequently signed and dated their samplers, and occasionally included the name of the school or instructor who supervised the project.

Although proficiency in needlework was considered a practical skill, it also came to be equated with female virtue and popular conduct manuals such as Juan Luis Vives’ Education of a Christian Woman (first published in Latin in 1523) and other moralizing texts promoted textile work as a particularly appropriate type of feminine labor. In addition, the stitching of a sampler demonstrated more than needlework skills as the embroidered text and imagery often drew upon multiple aspects of a young woman’s education, including reading and writing, math, drawing and composition, religion, politics, and geography. The display and preservation of samplers by families further points to their role as a symbol of a young woman’s accomplishment, virtue, and social status. A sampler is oftentimes the only surviving record of a woman’s life. As objects of artistic and material culture, samplers not only chart the history of needlework, but give evidence of the limitations and opportunities in female education and literacy, and help to illuminate the lives of individual women, their families, and the specific cultural, religious, and political contexts in which they lived. 

The upper left corner of this sampler includes an inscription that tells us it was made by Filomena Torres, who dedicated it to “the girl Lucecita Barrera y Más de Peña” in the year 1846 ("FILOMENA TORES DEDICA ES TE DECHADO A LA NIÑA LUCECITA BARERA Y MAS DE PEÑA EN EL AÑO DE 1846"). Likely made in Mexico, it includes many bands of repeat border patterns.

--Sabena Kull, 2017-18 Mayer Fellow for Spanish Colonial Art

Known Provenance
Provenance research is on-going at the Denver Art Museum. Please e-mail, if you have questions, or if you have additional information to share with us.