A "sampler" is an example or a sample of the worker's skill and cleverness in design and stitching. When they first appeared, as far as we know about the middle of the seventeenth century, they were merely a collection of embroidery, lace, cut and drawn work stitches, and had little affinity to the samplers of a later date, which seemed especially ordained to show various patterns of cross stitches, the alphabet, and the numerals.

The early samplers were real works of art; they were frequently over a yard long, not more than a quarter of a yard wide, and were adorned with as many as thirty different patterns of lace and cut and drawn work. This extreme narrowness was to enable the sampler to be rolled on a little ivory stick, like the Japanese kakemonas.

The foundation of all the early samplers was a coarse linen, and to this fact we owe the preservation of many of them. Those made two hundred years later, on a coarse, loose canvas, even now show signs of decay, while these ancient ones on linen are as perfect as when made, only being gently mellowed by Time to the colour of old ivory.

The earliest sampler known is dated 1643, and was worked by Elizabeth Hinde. It is only 6 inches by 6½ inches, and is entirely lacework, and apparently has been intended for part of a sampler. The worker perhaps changed her mind and considered rightfully that she had accomplished her chef d'oeuvre, or as so often explains these unfinished specimens, the Reaper gathered the flower, and only this dainty piece of stitching was left to perpetuate the memory of Elizabeth Hinde.

The sampler in question is just one row of cut and drawn work and another of fine Venetian lacework, worked in "punto in aria." A lady in Court dress holds a rose to shield herself from Cupid, a dear little fellow with wings, who is shooting his dart at her heart. Perhaps poor Elizabeth Hinde died of it and this is her "swan song."

The earliest samplers appeared to have been worked only on white cotton or silk. A favourite design, apart from the lacework samplers, was the "damask pattern" sampler, a specimen of which may be noted, commencing with the fifth row, on the sampler illustrated. Sometimes the sampler was entirely composed of it, and although ineffective, remains as a marvel of skill. It was worked entirely in flat satin stitch and eyelet holes, known as the "bird's eye" pattern. In the illustration four rows of cutwork will be noted, followed by five rows of drawn threadwork, and above are patterns worked in floral and geometric designs in coloured silks. The alphabet and the date 1643 complete this monument of skill, which may be seen in the South Kensington Museum.

The succeeding illustration shows a more ambitious attempt, and is considered one of the finest specimens known. It was worked by Elizabeth Mackett, 1696. It is on white linen with ten rows of floral patterns worked with coloured silks in cross, stem, and satin stitches, with some portions worked separately and applied. Five rows of white satin stitch, two rows of alphabet letters in coloured silks, and four rows of exquisite punto in aria lace patterns are followed by the alphabet again in white stitches and the maker's name and date. The sampler is in superb preservation, the colours are particularly rich and well chosen. This sampler is also from the South Kensington Collection. Often the worker's name is followed by a verse or rhyme having a delightfully prosaic tendency. One can imagine the poor girls, in the early days we are writing of, writhing under the infliction of having slowly and painstakingly to work the solemn injunction—

And we can appreciate how little Maggie Tulliver ("The Mill on the Floss ") must have girded at the philosophy she was compelled to work into her sampler—

With the eighteenth century the beauty of the Samplers distinctly declined. They became squarer, and were bordered with a running pattern, and the whole canvas became more or less pictorial. Inevitably the end of this art came. Ugly realistic bowpots with stumpy trees decorated the picture in regular order. The alphabet still appeared, and moral reflection seemed to be the aim of the worker rather than to make the Sampler show beauty of stitchery. Quaint little maps of England are often seen, surrounded with floral borders, but it remained to the early nineteenth century to show how the Sampler became reduced to absurdity. One of the quaintest and most amusing Samplers at South Kensington is a 12-inch by 8-inch example in woollen canvas and embroidered with coloured silk. At the lower end is a soldier, a tiny realistic house, a dovecot, any number of flowering plants, a stag and other animals. Above is a band of worked embroidery enclosing the words, "This is my dear Father." The remaining spaces are filled in with angels blowing trumpets, double-headed eagle, peacocks and other birds, and baskets of fruit. In spite of its absurdity, this little piece is far more pleasant than the tombstone inscriptions which abound, and is, after all, delightfully suggestive of home and affection.

Another quaint piece at South Kensington is a sampler worked by poor Harriet Taylor, aged seven! At the top are four flying angels, two in clouds flanking a crown beneath the letters "G. R." In the middle stands a flower-wreathed arch, with columns holding vases of flowering plants; above are the words, "The Temple of Fancy," and within an enclosed space the following homily:

Then follows a house called "The Queen's Palace," standing in an enclosed flower-garden. This masterpiece of moral philosophy from the hands of a child of seven years is dated 1813.

An exaggerated conception of the value of old Samplers is very widely spread. Only the seventeenth-century Samplers are really of consequence, and these fetch fancy prices. In the sale-rooms a long narrow Sampler of lace stitches and drawn-thread work would bring as much as a handsome piece of lace. They are practically unattainable, and in this case the law of supply and demand does not obtain. It is beyond the needlewomen of the present day to imitate these old Samplers. Life is too short, and demands upon time are so many and varied, that a lifetime of work would result in making only one. Therefore, the fortunate owners of these seventeenth-century Samplers may cherish their possessions, and those less lucky possess their souls in patience, and hoard their golden guineas in the hope of securing one. Twenty years ago a few pounds would have been ample to secure a fine specimen, but £30 will now secure only a short fragment.

During the last three years I have not seen a good Sampler at any London Curio or lace shop, and none appear in the sale-rooms. The eighteenth-century Samplers are comparatively common, the map variety especially so, and can be purchased for a pound or so, but these are not desirable to the collector.