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| Anonymous Needleworker Darning Sampler 1816 silk on linen Cooper Hewitt, Smithsonian Design Museum |
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| Anonymous Needleworker Darning Sampler 1825 silk on cotton Cooper Hewitt, Smithsonian Design Museum |
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| Cheney Brothers (Manchester, Conn.) Textile Sample 1913 border-printed, satin-striped silk marquisette National Museum of American History, Washington DC |
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| Wiener Werkstätte Textile Sample before 1932 block-printed silk Cooper Hewitt, Smithsonian Design Museum |
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| Wiener Werkstätte Textile Sample before 1932 block-printed silk Cooper Hewitt, Smithsonian Design Museum |
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| Wiener Werkstätte Handkerchief ca. 1930 block-printed silk Cooper Hewitt, Smithsonian Design Museum |
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| Pierre Mourgue for Stehli Silk Corp. (New York) Parachutes ca. 1926-28 screenprinted silk Cooper Hewitt, Smithsonian Design Museum |
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| Anonymous French Maker Alençon Needle-Lace Border 17th century linen National Museum of American History, Washington DC |
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| Anonymous French Maker Argentella Needle-Lace Border ca. 1720 linen National Museum of American History, Washington DC |
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| Sue Thatcher Palmer for Stead, McAlpin & Co. (Carlisle, Cumbria) Chrome City 1970 screenprinted cotton Cooper Hewitt, Smithsonian Design Museum |
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| Eddie Squires for Warner Fabrics, London Gemstones 1971 screenprinted cotton Cooper Hewitt, Smithsonian Design Museum |
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| Anonymous Chinese Makers Textile Sample ca. 1900 printed silk-satin Cooper Hewitt, Smithsonian Design Museum |
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| Anonymous Chinese Makers Fragment with Birds and Flowers 19th century silk embroidery on silk Cooper Hewitt, Smithsonian Design Museum |
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| Robert Paige Scarf ca. 1980 resist-dyed and hand-painted silk Cooper Hewitt, Smithsonian Design Museum |
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| Ursula Luthi for Création Baumann (Langenthal, Switzerland) Ortis 1989 screenprinted cotton Cooper Hewitt, Smithsonian Design Museum |
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| Anonymous Bulgarian Makers Leaf from Sample Book c1950-60- machine-printed silk, mounted on paper Cooper Hewitt, Smithsonian Design Museum |
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| Patricia Urquiola for Kvadrat (Ebeltoft, Denmark) Winding 2014 polyester Cooper Hewitt, Smithsonian Design Museum |
Though it hath been doubted if there be in the soul such imperious and super-excellent power as that it can by the vehement and earnest working of it deliver knowledge to another without bodily organs, and by only conceptions and ideas produce real effects, yet it hath been ever and of all held as infallible and most certain that it often (either by outward inspiration or some secret motion in itself) is augur of its own misfortunes, and hath shadows of approaching dangers presented unto it before they fall forth. Hence so many strange apparitions and signs, true visions, uncouth heaviness and causeless languishings: of which to seek a reason, unless from the sparkling of God in the soul or from the God-like sparkles of the soul, were to make reason unreasonable by reasoning of things transcending her reach.
Having, when I had given myself to rest in the quiet solitariness of the night, found often my imagination troubled with a confused fear or sorrow or horror, which interrupting sleep did astonish my senses and rouse me all appalled and transported in a sudden agony and amazedness; of such an unaccustomed perturbation, not knowing nor being able to dive into any apparent cause, carried away with the stream of my (then doubting) thoughts, I began to ascribe it to that secret foreknowledge and presaging power of the prophetic mind, and to interpret such an agony to be to the spirit as a sudden faintness and universal weariness useth to be to the body, a sign of following sickness; or, as winter lightnings, earthquakes and monsters prove to commonwealths and great cities, harbingers of wretched events and emblems of their hidden destinies.
– William Drummond of Hawthornden, from A Cypress Grove (London: Hawthornden Press, 1919, reprinting the original edition of 1623)