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Pens and Needles: Women's Textualities in Early Modern England

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Pens and Needles: Women's Textualities in Early Modern England Pens and Needles ................. 17732$ $$FM 05-05-10 11:53:01 PS PAGE i MATERIAL TEXTS Series Editors Roger Chartier Leah Price Joseph Farrell Peter Stallybrass Anthony Grafton Michael F. Suarez, S.J. A complete list of books in the series is available from the publisher. ................. 17732$ $$FM 05-05-10 11:53:02 PSPAGE ii Pens and Needles Women’s Textualities in Early Modern England O Susan Frye University of Pennsylvania Press Philadelphia · Oxford ................. 17732$ $$FM 05-05-10 11:53:02 PS PAGE iii Copyright ᭧ 2010 University of Pennsylvania Press All rights reserved. Except for brief quotations used for purposes of review or scholarly citation, none of this book may be reproduced in any form by any means without written permission from the publisher. Published by University of Pennsylvania Press Philadelphia, Pennsylvania 19104-4112 Printed in the United States of America on acid-free paper 10 9 8 7 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Frye, Susan, 1952– Pens and needles : women’s textualities in early modern England / Susan Frye. p. cm. — (Material texts) Includes bibliographical references and index. ISBN 978-0-8122-4238-6 (hardcover : alk. paper) 1. Arts, English—16th century. 2. Arts, English—17th century. 3. Material culture—Social aspects—England. 4. Women—England—Social conditions. 5. Art and society—England—History—16th century. 6. Art and society—England—History—17th century. I. Title. NX543.F79 2010 704Ј.0420942—dc22 2010004563 ................. 17732$ $$FM 05-05-10 11:53:02 PSPAGE iv For Lizzie ................. 17732$ $$FM 05-05-10 11:53:02 PS PAGE v ................. 17732$ $$FM 05-05-10 11:53:02 PSPAGE vi Contents O List of Illustrations ix Note on Spelling xiii Preface xv Introduction 1 Chapter One. Political Designs: Elizabeth Tudor, Mary Stuart, and Bess of Hardwick 30 Chapter Two. Miniatures and Manuscripts: Levina Teerlinc, Jane Segar, and Esther Inglis as Professional Artisans 75 Chapter Three. Sewing Connections: Narratives of Agency in Women’s Domestic Needlework 116 Chapter Four. Staging Women’s Relations to Textiles in Shakespeare’s Othello and Cymbeline 160 Chapter Five. Mary Sidney Wroth: Clothing Romance 191 Notes 223 Selected Bibliography 267 Index 291 Acknowledgments 299 ................. 17732$ CNTS 05-05-10 11:53:05 PS PAGE vii ................. 17732$ CNTS 05-05-10 11:53:05 PSPAGE viii Illustrations O Figures 1. Artist unknown, Alice Barnham and her Sons Martin and Steven, c. 1557 17 2. Attributed to Jan van Belkamp, The Great Picture of the Clifford Family,c.1649 22 3. Elizabeth Tudor, embroidered binding, The Glass of the Sinful Soul, 1544 34 4. Hans Holbein, ‘‘HISA’’ cipher, c. 1533–35 35 5. Elizabeth Tudor, embroidered binding, Calvin’s Institution Chre´tienne, 1545 36 6. Elizabeth Tudor to Edward VI, autograph letter dated only Hatfield 15 May 38 7. Artist unknown, Elizabeth When a Princess, 1546 or 1547 42 8. After Franc¸ois Clouet, Mary Queen of Scots in White Mourning, 1560 47 9. Countess of Shrewsbury, after 1569 62 10. Virgil Solis, Diana and Actaeon, 1563 64 11. High Great Chamber with pastoral frieze, 1590s 67 12. Bess of Hardwick, Chastity as Mary Queen of Scots, 1570s 69 13. Mary Queen of Scots, An Unicorne, 1570s 70 14. Attributed to Levina Teerlinc, An Elizabethan Maundy,c.1565 82 ................. 17732$ ILLU 05-05-10 11:53:07 PS PAGE ix 15. Jane Segar, dedication to Elizabeth I, The Prophecies of the Ten Sibills upon the Birth of Christ, 1589 88 16. Jane Segar, concluding poem and transcription in charactery, The Prophecies of the Ten Sibills upon the Birth of Christ, 1589 94 17. Esther Inglis, self-portrait, Le Livre de l’Ecclesiaste, 1599 109 18. Esther Inglis, ‘‘Vive la Plume!’’ Cinquante Octonaires, 1607 111 19. Martha Edin, pincushion in Irish stitch, c. 1670–80 124 20. Hannah Smith, message placed in her embroidered cabinet, 1657 134 21. Gerard de Jode, Abraham’s Dismissal of Hagar, 1585 143 22. The Judgment of Solomon, 1640–70 146 23. Maker’s initials M I, Esther and Ahasueras, 1665 148 24. Detail of Judith and her maidservant with the head of Holofernes, first half of the seventeenth century 158 25. Geertruid Roghman, Two Women Sewing, 1600 161 26. Gabriel Metsu, The Huntsman’s Present, 1658–60 166 27. Pieter de Hooch, Interior with Two Women at a Linen Chest,c.1663 174 28. Simon de Passe, Portrait of Mary Sidney Herbert, Countess of Pembroke, 1618 201 29. Simon de Passe, title page, The Countess of Montgomery’s Urania, 1621 203 30. Professional embroidery, the Bradford Table Carpet, 1600–1615 (detail) 214 31. Sophonisba Anguissola, Autoritrato in miniatura,c.1556 216 Plates Following page 140 1. Mary Queen of Scots, possibly with Bess of Hardwick, ‘‘Las Pennas Passan y Queda la Speranza,’’ 1570s 2. Mary Queen of Scots, ‘‘Virescit Vulnere Virtus,’’ 1569–71 3. Bess of Hardwick, Penelope Flanked by Perseverans and Paciens, 1570s xIllustrations ................. 17732$ ILLU 05-05-10 11:53:08 PSPAGE x 4. Bess of Hardwick, Lucrecia Flanked by Chasteti and Liberaliter, 1570s 5. Bess of Hardwick, Diana and Actaeon, 1570s 6. Attributed to Levina Teerlinc, ‘‘The Ceremonye for the heling,’’ c. 1553–58 7. Jane Segar, The Prophecies of the Ten Sibills upon the Birth of Christ, 1589 (back cover) 8. Esther Inglis, Argumenta Psalmoru Davidis, 1608 9. Jane Bostocke, earliest known English spot sampler, 1598 10. Margret Mason, band sampler, 1660 11. Hannah Smith, cabinet front, Deborah and Barak; Jael and Sisera, 1654–56 12. Hannah Smith, embroidered cabinet, 1654–56 13. Maker’s initials S C, David and Bathsheba, 1661 or 1681 14. Domestic needleworker, Susanna and the Elders,c.1630–60 15. Domestic needleworker, Abraham Casting Out Hagar and Ishmael,c.1650 16. Book cover, Abraham Banishes Hagar and Ishmael, 1652 17. Mirror frame, Abraham Banishes Hagar and Ishmael, 1660–80 18. Maker’s initials I H, Esther and Ahasueras, 1652 19. Mirror frame showing King Charles II, Queen Catherine of Braganza, Judith, and Jael, c. 1665 20. Purse embroidered with grapes, vines, flowers, and small animals, c. 1600–1650 21. Tapestry with the arms of Robert Dudley, Earl of Leicester, c. 1585 Illustrations xi ................. 17732$ ILLU 05-05-10 11:53:08 PS PAGE xi ................. 17732$ ILLU 05-05-10 11:53:08 PSPAGE xii Note on Spelling To make this work more accessible for the nonspecialist, I have silently modernized the early modern spelling and capitalization of nonliterary texts only. I have also modernized u/v, i/j, and i/y, while replacing long s with the modern s and completing abbreviations. ................. 17732$ SPEL 05-05-10 11:53:12 PS PAGE xiii ................. 17732$ SPEL 05-05-10 11:53:12 PSPAGE xiv Preface O Decades of scholarly work on early modern English women have expanded our sense of their lives and of the media that they used to express those lives, media that I call women’s textualities. Early modern modes of perception made wom- en’s verbal and visual textualities seem closely related, even versions of one another. As a result, this book considers women’s writing alongside their paint- ings and embroidery. Through their multiple textualities, I argue, women from about 1540 to 1700 expressed themselves in several media that also record the ongoing redefinition of the feminine. Women’s textualities took many forms in early modern England. As activi- ties, they may be placed along a continuum, from those that provide very little information about their producers to those that provide a great deal of informa- tion. Surviving forms of women’s textualities include notes in samplers, alpha- bets both stitched and penned, initials, ciphers, wise sayings, and embroidery patterns, all of which offer glimpses of women’s activities and perceptions. Still other textualities, including calligraphic manuscripts with embroidered covers and needlework pictures, pamphlets, as well as the texts now classified as litera- ture, offer more substantive information about the connections that women saw between themselves and their texts. Whether providing only traces or whole treatises of information, women’s textualities materialize their creators’ identi- ties as situated within familial, intellectual, religious, and historical traditions, even as they used those traditions to redefine themselves. To some producers of early modern texts we can attach names, including privileged women like Elizabeth Tudor, Mary Stuart, Bess of Hardwick, Anne Clifford, Margaret Hoby, Mary Sidney Herbert, and Mary Sidney Wroth. Other women who wrote, painted, or worked textiles include those more at the periphery of power, like Levina Teerlinc, Jane Segar, Esther Inglis, and Amelia Lanyer. Still other women’s names are largely unknown, their existence regis- tered only by the needlework that they left behind and by their choice of narra- tives. Both the nameable and the anonymous women who produced a variety of ................. 17732$ PREF 05-05-10 11:53:16 PS PAGE xv texts led lives that were engaged with economic, political, religious, and material changes within their society—changes that encouraged both literacy and needle- work among members of the middling classes. The objects that register their subjectivities—whether the products of educated, literate women or the prod- ucts of the less privileged—offer the rare opportunity to access lives that might otherwise be lost. At the same time, attending to the products of both pens and needles presents an alternative way to read the canonical literature of the period, including William Shakespeare’s Othello and Cymbeline, and Mary Sidney Wroth’s Urania. The Introduction opens with the evidence that early modern people often saw the products of women’s pens and needles as interrelated, a way of concep- tualizing the combined media present in epitaphs, dedications, diaries, educa- tional treatises, and commonplace books.
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