Abraham on sampler, 58. Fig. 16
Acorn, 58, 68, 109. Plate III. Fig. 16
Adam and Eve on samplers, 21, 62, 109;
on embroideries, 128
Africa, map of, 97. Fig 41
Age of sampler, how to estimate, 15
Age of sampler workers, 80
Agur’s prayer. Plate XI.
Alphabets on samplers, 19, 22, 84;
stitches, 164
America, samplers from, 24, 97 (Plate XIII., Figs. 42-51);
map of, 92. Fig. 39
Anchors, Fig. 23
Animals on samplers, 65
Ascension Day samplers, 38
Background-stitches, 144
Back-stitches, 109, 163. Plates III. and VII. Fig. 75
Bead embroidery, 158 (Plate XXII.);
sampler, Fig. 53
Belief, the, 28
Belgian samplers, 110
Biblical subjects in tapestry embroideries, 128
Bird’s-eye-stitch, 164
Borders to samplers, 75
Boston, U.S.A., samplers from, 89. Fig. 50
Boxers, 61. Plate III. Fig. 18
Boys, samplers by, 84. Fig 34
BrontËs, samplers by, 28. Figs. 10, 11, 12
Brooklyn, U.S.A., sampler from, 89. Fig. 47
Buttonhole-stitch, 146
Calcutta, samplers from, 35. Fig. 3
Carnation, see “Pink”
Caterpillar, 140
Charles I., Plates XVI. and XVIII.
Charles II., Plate XXI.
Children, samplers by, 80
Christening samplers, 109
Christmas samplers, 38
Colouring of samplers, 52
Commandments, the, 27. Fig. 9
Corn blue-bottle, 78
Coronet, see “Crowns”
Costume on tapestry embroideries, 132
Crewel-stitch, 170
Cross-stitch, 109, 166
Crowns on samplers, 68. Figs. 20-22
Crucifixion on samplers, 108, 109
Cupids on samplers, Fig. 23
Cushion-stitch, 144. Fig. 62
Cut and drawn work stitches, 161. Figs. 4, 7, 16, 24, 42, 72, 73

Darned samplers, Fig. 76. Plate XXIV.
Darning-stitches, 110, 165. Plate XXIV. Figs. 76, 77
David and Abigail, 128, 130;
and Goliath, 130
Deer, see “Stags”
Design on samplers, 51
Dogs on samplers, Fig. 17. Plate III.
Drawn-work, 58, 135. Fig. 16
Dress, value of tapestry embroideries as patterns of, 132
Dutch samplers, 110
Earliest samplers, 10, 13, 16
Easter samplers, 36
Embroiderers’ Company, 127
Embroideries in the manner of tapestry pictures, 123;
subjects of, 127;
as mirrors of fashion, 132
England, maps of, 94. Fig. 40
Esther and Ahasuerus, 128, 130. Plate XVIII.
Evolution of samplers, 12, 15
Eyelet-stitch, 146. Fig. 63
Fig on samplers, 68. Plate III.
Fine Art Society’s Exhibition of samplers, 4, 28, 66, 89, 119;
of embroideries, 123
Fleur de Lys on samplers, 21
Florentine-stitch, 145
Flowers on samplers, 65;
on tapestry embroideries, 139
Foreign flavour in embroideries, 131
Foreign samplers, 104
Fountains on tapestry embroideries, 136
French knot-stitches, 151. Figs. 21 and 67
French samplers, 111
Gardening, illustrations of, on tapestry embroideries, 135
German samplers, 108
Glove, embroidered. Fig. 55
Gobelin-stitch, 145
Gold and silver passing, 154
Grubs on tapestry embroideries, 140
Hagar and Ishmael, 129. Plate XV.
Hearts on samplers, 75. Figs. 21-23
Hollie point lace cap, Fig. 61;
stitch, 157
Honeysuckle on samplers, 66, 79. Fig. 30
Horticulture, see “Gardening”
House on samplers, 118 (Figs. 14, 46, 48);
on tapestry embroidery, 135. Fig. 56
Human figure, 57
Hungary-stitch, 145
Implements used in stitchery, 159. Fig. 71
Indian samplers, 113. Figs. 3 and 52
Inscriptions on samplers, 23, 91
Italian samplers, 111
Judgment of Paris, 128. Fig. 56
Knot-stitches, 109, 151. Figs. 21 and 67

Lace-stitches, 154. Figs. 61, 68-70
Laid-stitch, 146
Last of the samplers, 117
Lettering on samplers, 22
Leviathan-stitch, 169
Life and death, inscriptions referring to, 41
Lion on sampler, 65. Fig. 44
Literature sampler, 115
Little Gidding, nuns, 131, 149
Long-and-short-stitch, 170
Looped-stitches, 152
Lord’s Prayer, the, 27
Maidstone Museum, tapestry picture. Plate I.
Map samplers, 92. Figs. 39-41
Materials on which samplers were worked, 171
Mermaid on sampler, Fig. 16
Metal thread, 153
Milton, mention of sampler by, 14
Mitford, Miss, on samplers, 118
Mortlake tapestries, 100
Moses in the bullrushes, 129
Mustard or canary-coloured canvas, 55
National events, samplers as records of, 90
Need of samplers, 11
Needle’s excellency, the, 115, 116, 143
Numerals on samplers, 22
Oak, see “Acorn”
Origin of samplers, place of, 88
Ornament, sampler, 51
Ornamentation, earliest date of various forms of, 21
Orpheus, 128
Parents and preceptors, duties to, 46
Passing, 154
Passion Week samplers, 38
Patternes of cut workes, 115
Peacocks’ feathers, use of, 154
Pearls, seed, on tapestry embroideries, 133—note
Pears, 109
Pineapple on samplers, 68
Pink on samplers, 66, 78, 109. Plates III., IV., VI. Fig. 28
Place of origin of samplers, 88
Plush-stitch, 153. Plate XVIII.
Portuguese samplers, 112
Poverty, inscriptions concerning, 48
Prayers on samplers, 39
Preceptors, duties to, 46
Purl, 153. Plate XXIII.
Quaint inscriptions, 49
Religious festivals, verses commemorating, 36
Rhymes on samplers, see “Verses”
Royal personages on tapestry embroideries, 133
Royal school of art needlework, 120
Rose on samplers, 58, 66, 109 (Figs. 7, 16, Plate VI.);
on tapestry embroideries, 113
Ruskin, John, on needlework in museums, 2;
on samplers, 3;
sampler by grandmother of, 3, and Plate X.
Samplers. Parts I. and III. (Sec. II.)
Satin-stitch, 122, 141, 146
Scottish samplers, 71, 84, 89. Figs. 21, 34
Sex of sampler workers, 80

Shakespeare, mention of sampler by, 13
Sidney, Sir P., mention of sampler by, 14
Signatures on samplers, 23
Size of samplers, 84
Smoke (chimney) on embroideries, 135. Fig. 57
Spanish samplers, 112
Spectator on decay of needlework, 117
Spies to Canaan, 21
Split-stitch, 150. Figs. 65, 66
Stag on samplers, 21, 65, 80. Figs. 6, 17. Plates III., VIII.
Star-stitch, 169. Figs. 35, 36
Stem-stitch, 150
Stitchery of tapestry pictures, 143;
of samplers, 161
Stitches, background, 144;
cushion, 144;
tent, Printed at The Darien Press, Edinburgh

[1] The picture also shows that the principal decorations of the walls of the schoolroom were framed examples of attainments with the needle.

[2] In the original all the small pieces of work in the upper corner near the initials are varieties of gold thread design, and almost all the grey colour throughout, in the reproduction, is silver thread.

[3] It was claimed by its late owner, Mrs Egerton Baines, that almost every line of this sampler contains Royalist emblems. For instance, the angel in the upper part is supposed to be Margaret of Scotland wearing the Yorkist badge as a part of her chatelaine; beside her is the Tree of Life, on either side of which are Lancastrian S’s, the whole row being symbolical of the descent of the Stuarts from Margaret of Scotland, daughter of Henry VII. The next row of ornament is also the Tree of Life, represented by a vine springing from an acorn, by tradition a symbolical badge of Henrietta Maria, wife of Charles I. The next two rows are made up of roses, acorns, and Stuart S’s, which S’s again appear in the line beneath, linked with the Tree of Life. We refer elsewhere (p. 62) to the figures in the bottom row (the whole of the sampler is not shown here), and these are supposed to be Oliver Cromwell as a tailed devil. The sampler is neither signed nor dated, but it clearly belongs to the first half of the seventeenth century. The silks employed are almost exclusively pink, green, and blue, and the work is of the open character found in that illustrated in Plate III.

[4] In one by Hannah Lanting, dated 1691, the orthography is “with my nedel I rout the same,” and it adds, “and Juda Hayle is my Dame.”

[5] The lower portion of Fig. 18 opposite introduces us to an early and crude representation of Adam and Eve and the serpent, and to the bird and fountain, and flower in vase, forms of decoration which became at a later date so very common. The name of the maker has been obliterated owing to dirt getting through a broken glass, but the date is 1742.

[6] This sampler is interesting owing to its drawn-work figures, which are directly copied from two effigies of the reign of James I., and may stand for that Monarch and his Queen. This portion of the sampler might readily be mistaken for that date were it not that it bears on the bar which divides the figures the letters S.W., 1700. The border at the side of the figures is in red silk, that at the top and the alphabet are in the motley array of colours to which we are accustomed in specimens of this date.

[7] A map of Europe, formerly in the author’s possession, had the degrees marked as so many minutes or hours east or west of Clapton!

[8] “Samplers,” by Alice Morse Earle.

[9] It first appeared in the Lady’s Magazine, 1819, and in the first collected edition, 1824, Vol. I. pp. 67, 68; also in Bohn’s Classics, 1852, pp. 138, 139.

[10] These latter, with their figures standing out in relief, could never have been used for cushions, and can only have been employed as pictures.

[11] The difficulty of assigning a close date to tapestry embroideries is a considerable one, for dress is practically the only guide, and this is by no means a reliable one, for a design may well have been taken from a piece dated half a century previously, as, for instance, when the marriage of Charles I. is portrayed on an embroidery bearing date 1649, the year of his death. Those, therefore, which have a genuine date have this value, that they can only represent a phase of art or a subject coeval with, or precedent to, that date. Hence the importance of the pieces illustrated in Fig. 60 and in Fig. 68, dated six years later.

[12] Mr Davenport considers that this rounded, padded work is a caricature of the raised embroidery of the opus Anglicanum, and that the earliest specimens of it are to be found at Coire, Zurich, and Munich.

[13] The fondness for decking the dress with pearls is quaintly portrayed in these pictures, where they are imitated by seed pearls. As to these there is an interesting extract extant, from the inventory of St James’s House, nigh Westminster, in 1549, wherein among the items is one of “a table [or picture] whereon is a man holding a sword in one hand and a sceptre in the other, of needlework, prettily garnished with seed pearls.”

[14] A very good example of a sampler in drawn-work, in which the floral form of decoration is entirely absent, save in the sixth row (the pinks), which is in green silk, the rest being in white. That the sampler was intended as a pattern is evident from some of the rows being unfinished.