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."

[Illustration: A SEVENTEENTH-CENTURY "SAMPLER" (ENGLISH), SHOWING CUT
AND DRAWN WORK.

(_S.K.M. Collection._)]

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--

"When this you see remember me
And keep me in your mind,
And be not like a weathercock
That turns at every wind.

When I am dead and laid in grave,
And all my bones are rotten,
By this you may remember me
When I should be forgotten."

And we can appreciate how little Maggie Tulliver ("The Mill on the Flos