Yale University Library
39002005393674
)EPARTMENT OF TEXTILES

CATALOGUE OF SAMPLERS

YALE UNIVERSITY
^AN!21 1931
LIBRARY

Price : One Shilling and Sixpence Net.

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\,fpi^^tfoti7idmg of a. College bv.

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z. English ; late 16th or early 17th century, (p. 11.

Frontispiece.]

VICTORIA AND ALBERT MUSEUM
DEPARTMENT OF TEXTILES

CATALOGUE OF SAMPLERS

WITH 16 illustrations.

'LONDON : PRINTED UNDER THE AUTHORITY
OF HIS MAJESTY'S STATIONERY OFFICE, 1922.

Publication No. 115 t.
Crown Copyright Reserved.
First printed, September 1906.
Second Edition, November 191 5.
Third Edition, February 1922.

ITm*!

90

a.
G Vc

This Catalogue may be obtained directly from the Victoria and
Albert Museum, price ls. 6d. net. (by post ls. 8d.) It may also be obtained
either through any bookseller or directly from H.M. Stationery Office at
the following addresses : Imperial House, Kingsway, London (W.C. 2)
and 28, Abingdon Street (S.W.i); 37, Peter Street, Manchester^
1, St. Andrew's Crescent, Cardiff; 23, Forth Street, Edinburgh;
and Eas'on & Son, Ltd., 40 and 41, Lower Sackville Street, Dublin.
ii
(4568) (6651) Wt. 5839/243 375 6/22 Harrow G.51

NOTE TO SECOND EDITION.
A LIST of the Museum collection of samplers issued
in 1906 being out of print, advantage has been
taken of the opportunity thus afforded of rearranging
it so as to bring it more into conformity with the
recent publications of the Museum, and of including
samplers acquired since that year. This work has
been entrusted to Mr. P. G. Trendell, Assistant-Keeper
of the Department. The samplers in the circulation
collections of the Museum are not included in this
catalogue. Department of Textiles, A. F. KENDRICK.
November, 1915.

NOTE TO THIRD EDITION.
SINCE the publication of the second edition the
number of samplers in the Museum collection has
about doubled. A great part of this increase is due to
important accessions of Spanish and Italian samplers,
which have been procured and contributed by donors
. with the express object of strengthening the collection
in examples from these countries.
Department of Textiles, A. F. KENDRICK.
December, 1921.

111

I. ENGLISH 7
SEVENTEENTH CENTURY 8
EIGHTEENTH CENTURY 14
NINETEENTH CENTURY 20
II. DUTCH 27
III. FRENCH 28
IV. GERMAN 30
V. ITALIAN 34
VI. SPANISH 37
VII. SCANDINAVIAN 53
LIST OF USEFUL WORKS ON SAMPLERS IN THE
LIBRARY OF THE MUSEUM 54
NUMERICAL INDEXES 56
GENERAL INDEX 60

LIST OF ILLUSTRATIONS.
Frontispiece. — 12. English ; late 16th or earlv 17th century
(p. n).
PLATE I.— 13. English" ; first half of 17th century (p. 11).
II.— 1 and n. English; dated 1643 and 1696 (pp.
8, 10).
III.— 6. English ;. dated 1661 (p. 9).
IV. — 21. English ; second half of 17th century (p. 14).
, V. — 20 and 27,. English ; second half of 17th century,
and dated 1731 (pp. 13, 15).
VI. — 49. English ; dated 1826 (p. 22).
VII.— 62. Dutch ; dated 1798 (p. 27).
VIII. — 66. German ; dated 1681 (p. 30).
IX. — 69. German ; dated 1807 (p. 31).
(-37. English or Dutch ; dated 1799 (p. 19).
X.-< 78. From Florence; late 18th or early 19th
L century (p. 35).
XI. — 81. Spanish ; dated 1756 (p. 37).
XII. — 77. Italian ; 17th century (p. 35)

vi

CATALOGUE OF SAMPLERS
INTRODUCTION.
THE term Sampler is derived from the Latin word
" exemplar," meaning a pattern, and it is found
spelt in various ways such as "saumplarie, sawmplar,
sampleth, and sam-qloth." It was first confined to a
record, probably worked by adults, of patterns both
in embroidery and lace. Subsequently it denotes an
exercise in needlework done by children, often of tender
age, to show the degree of skill they had attained, and
to teach them the letters of the alphabet, the numerals,
texts from the Bible, moral maxims, poetry, geography,
etc. Nos. 6, ii, 13, 14, 17, and 21 are specimens of the
former class, and Nos. 9, 27, 32, 34, 51, and 54, of the
latter. References to samplers are found in English literature
from the 16th century onwards. One of the earliest
instances occurs in the following lines written by the
Poet Laureate, John Skelton (about 1460-1529) :—
" With that the tappettis and carpettis were layd,
Whereon theis ladys softly myght rest,
The saumpler to sow on, the lacis to enbraid." x
Sir Philip Sidney laments in his " Arcadia " (about
1576. II, 119) "Alas then, o Loue, why doost thou
in thy beautifull sampler sette such a worke for my
Desire to take out, which is as much impossible?"
Thomas Kyd in The Tragedie of Solimon and Perseda
(1599. I> ") a*9***5-*3 : " When didst thou, with thy
sampler ... sit sowing?" Shakespeare makes
mention of samplers in two well-known passages. In
Titus Andronicus (Act II, scene 5) Marcus states :
" Fair Philomel, she but lost her tongue,
And in a tedious sampler sew'd her mind ; "
whilst in A Midsummer Night's Dream (Act III,
scene 2), Helen speaks : ,
" We, Hermia, like two artificial gods,
Have with our needles, created both a flower,
Both on one sampler, sitting on one cushion."
•J1) Garlande of Lamell, 1523. Vol. I., 11. 787-9-

Herrick also has the invitation in the Hesperides
(" The Wounded Heart ") :
" Come bring your sampler, and. with Art,
Draw in't a wounded Heart."
Thomas Milles, in The Treasure of auncient and
moderne Times (1613. I, 762), writes : —
" Feare God, and learne womens huswiuery ;
Not idle Samplery or silken follies ; "
and Wilham Hawkins in Apollo Shroving (1627. Prol., 5),
gives the further advice : " Take out thy fescue,1 and
spell here, in this one-leau'd booke. Tell the stitches in
this sampler of blacke and white "—perhaps referring to
Elizabethan or early Jacobean ' 'black work ' ' embroidery.
On the other hand Jasper Mayne'slinesln The City e Match
(1639. II, ii), may allude to the texts upon samplers or
the Scriptural pictures of the 17th century ; they run :
" Your school-mistresse . . . teaches
To knit in Chaldee, and worke Hebrew samplers."
Milton in Comus 2 makes the following allusion :
" Coarse complexions,
And cheeks of sorry grain, will serve to ply
The sampler, and to teaze the huswife's wool."
•Thomas Brooks in A Golden Key3 records " Such
as begin to work with the needle, look much on their
sampler and pattern," and Dr. Johnson in the Idler*
adds significantly " Our girls forsake their samplers to
teach kingdoms wisdom." Other references can be
traced in the writings of Keats, Pope, Burns, Thackeray,
Dickens, Calverley, and Miss Mitford (Our Village).
Notices also occur in documents and historical
manuscripts' of the 16th century. For example, the
household accounts of Queen Elizabeth of York (1465-
1503), preserved in the Pubhc Record Office, contain
the entry : "To Thomas Fissch, for an elne, of lynnyn
cloth for a sampler for the Quene, viijd." Further, in
an inventory of King Edward VTs property, made in
1552, occur the following references: "Item, xii
samplars " ; " Item, one samplar of Normandie canvas,
wrought with green and black silk " ; "A book of
(l) A pointer of straw or wire used in teaching children to read
(2) LI. 749-51- (») 1675. Works, 1867, v. 284. («) i758. No.' 2, p. 3, .

parchment containing diverses patternes."1 The will
of Margaret Tomson, of Freston in Holland, Lincoln-
, shire, proved at Boston, May 25th, 1546, is another
noteworthy instance. It contains the clause : "I gyve
to Alys Pynchebeck my sawmpler. with semes."2 Actual
samplers before the 17th century are extremely rare,3
but subsequently they are comparatively numerous.
Samplers are found throughout Great Britain, and
also in France, Belgium, Holland, Denmark, Sweden,
Germany, Switzerland, Italy, Spain, and America.
Specimens worked in Mission Schools as far east as
Calcutta are known. On some English, Scotch, and
American samplers the town and school are recorded.
The Museum collection of Enghsh samplers runs in a
fairly complete sequence from the first half of the 17th
to the second quarter of the 19th century. The earliest
dated specimen (No. 1, Plate II) belongs to the year
1643 but two others, with patterns resembling the
close stitchery of 17th century purses (Nos. 13 and 14),
were probably worked during the first half of the same
century ; they are, unfortunately, not dated (Plate I).
One of the most recent samplers is dated 1842 (No. 53).
There are now two Scandinavian samplers in the
Museum (Nos. 138 and 139), the former dated 1863
from Ska, Sweden, and the latter with date 1798 from
Copenhagen. An embroidered panel from Denmark,
recently acquired (No. 59 — 1914), has numerous squares
worked with small patterns arranged round the central
compartment, representing Christ and the woman of
Samaria. These may have been intended to serve the
same purpose as a sampler. The panel is dated 1751.
In the 17th century the small detached floral patterns
and the graceful repeating borders (the latter showing the
influence of contemporary Italian embroideries) resemble
the needlework decoration upon Elizabethan articles of
(1) Mrs. Palliser's History of Lace, 1902 edition, foot-notes to p. 9.
(2) Essex Review, 1908, xvii., 147.
(>) The London Museum possesses a sampler with horizontal bands of
lace-work. In one of them is shown the Royal Arms of England, with
the initials E.R., apparently referring to Queen Elizabeth. An important
embroidered panel in the Victoria and Albert Museum (816-1893) is
worked with the Royal Arms of the United Kingdom, the initials I.R. for
James I, and a symmetrical tree bearing nowers and grapes on each side.
The name of the embroidress, " mary hvlton, " is in the bottom corners.

costume — such as tunics, shirts and headdresses, purses
and coverlets.1 The alphabets and numerals worked upon
the majority of the 18th and 19th century samplers were
doubtless a practice for the working of household linen.
The various patterns were derived partly from
pattern books, of which the best known was pubhshed
in England in 1632, A Schole House for the Needle, by
Richard Shorleyker. The Venetian pattern books2 of
the later part of the 16th and the early 17th centuries
were largely used for the geometrical devices, of the
drawn and cut work bands. As the pattern books
published in different countries often copied each
other, a certain conservative tendency is apparent in
the designs worked on the samplers.
The favourite patterns in the 17th century were mostly
floral and geometric in character, the flowers, especially
on English samplers, representing well-known varieties,
such as red and white roses, carnations, tulips, pansies,
and honeysuckle ; acorns and strawberries are also shown.
OccasionaUy small quaint human figures are introduced
(Nos. 8, 23, and 26), bearing flowers or other devices, to
which the name of ' ' boxers ' ' has been given . In the 1 8th
and 19th centuries more pictorial patterns occur — Adam
and Eve in the Garden of Eden, landscapes, small formal
houses within fenced enclosures, fruit trees, flowering
plants in pots, birds and animals. The numerals and
alphabets were supplemented by religious verses, some -
times of ,a strangely melancholy character, together with
moral maxims and texts from the Scriptures. This
change was probably due to the rise of Methodism3 during
the first half of the 18th century.4 " Epistle " samplers
(l) See examples in the Museum collection.
(2) See Ostaus, La Vera Perfettione del Disegno., 1561. Parasolp,
Pretiosa Gemma delle virtuose donne, 1600. Vecellio, Corona delle nobili
et virtuose donne, 1593. Vinciolo, / singolari e nuovi Disegni, 1606.
(3) Wesley's hymns were first published in 1736.
(**) An interesting application of the idea of the sampler to purposes of
utility can be seen on an apron of drawn and embroidered muslin in the
Museum (1564-1904), In addition to a wavy stem pattern with fantastic
birds, it has four texts, mainly from the Proverbs of Solomon, and the
inscription" mary tykell in the 14 year of her age, 1717." ' Another
example, corresponding with samplers of the second half of the 18th
century, is a linen Hold-all and Needle-case (1-1903) embroidered, with
silks in cross-stitch, with ten verses of religious character, surrounded
by flowering plants in vases, baskets of fruit, and butterflies.

in the form of short letters are occasionally found
during the 18th century,1 and about 1780 map samplers
were popular. The latter were probably suggested by
the new interest in travel and colonisation. Figures
represented in contemporary costume appear during
the reign of George III, and there is a quaint figure of
a soldier or pensioner, inscribed " My dqar father," on
a sampler in the Museum (No. 56). The name of the
•embroidress, with the date of the completion of the
work, is commonly found on English samplers.
Foreign samplers seldom possess any pictorial
character, texts and verses are usually absent, and the
record of the worker's age has not often been found. On
some Spanish specimens the teacher's name is also
recorded (Nos. 83, 84, 92, 105, 116, and 125).
English samplers of the 17th century were worked
on long strips of bleached or unbleached linen, some
times about a yard long. In the early part of the 18th
century they were shorter, and they soon became
nearly square. The linen was then of a yeUower colour
and more harsh in texture. Towards the elose of the
century a wooUen tammy cloth or " sampler canvas "
was introduced, which has often suffered subsequently
from the attacks of moth. About 1800, quite small
samplers were popular (No. 33). The fabric of the
darned samplers, which then made their appearance,
was a kind of transparent gauze, stiffened with gum,
known as tiffany. In the early part of the 19th century
coarse hnen and linen canvas were again used. A few
oval2 and heart-shaped3 samplers are found, but the
majority are either oblong or square. Foreign samplers
are usually of hnen.
Both Danish and Swedish samplers are met with of
white muslin, with patterns of stitches for the " Tonder "
drawn work, which was much used in the 18th and
early 19th centuries on fichus, coUars, and other
articles of costume (No. 138). One Museiam speci
men (No. 72), probably from North Germany, bears
(!) See.Tuer, History of the Horn Book, Vol. II, cut 202, dated 1778.
(2) See Tuer, History of the Horn Book, cut 196, dated 1809.
(') See Huish, Samplers and Tapestry Embroideries, fig. 23, dated 1796.

resemblance to this class, and another is from the
province of Uppland, Sweden (No. 138).*
The embroidery is usually done in coloured silks,
with the rare addition of metal threads ; linen thread
is, however, used for the "white work" on 17th-
century samplers, and, at a later period, both cotton.
and woollen threads are employed. In the last quarter
of the 17th century some details are found semi
detached or raised by padding in the style of the
grotesque contemporary " stump- work " upon caskets
and pictures (Nos. 9 and 11). The openwork upon
17th-century samplers consists of cut and drawn work,.
with needlepoint lace fillings in the style of the Italian
reticella. A flat satin stitch was common at the same
time, and, when worked in white thread, it is known
as damask stitch. Short and back stitches were also
used, and French knots and petit point were occasionally
introduced. The lettering both in the 17th and 18th century is
embroidered in cross, satin, and bird's-eye or eyelet
stitches. Darning stitches were popular in various
diaper patterns at the close of the 18th century ; they
were either worked over the fabric or across squares
previously cut out of the ground (Plate X) ; both
back and front are often alike (Nos. 37, 42, and 61).
In the 19th century cross stitch was so general that it
received the name of sampler stitch.
In foreign samplers the embroidery is usually done
with coloured silks, sometimes in bright colours. The
Spanish specimens have a considerable variety of
stitches, as well as occasional decoration in drawn
work. Both in German and Dutch samplers darning
stitches occur.
It is evident that England was the chief producer of
samplers, and the practice of working them continued
general until about the middle of the 19th century.
After a long, - unbroken tradition of nearly 300 years,
it would be a source of regret if this charming and
domestic branch of needlework, with its special
individual record, should so far wane in popularity as
to become extinct.

I. ENGLISH.
THE decoration of 17th-century samplers is in the form of
horizontal bands of varying width, filled with repeating
floral and geometrical patterns frequently in the style of the
graceful Italian borders of the period (No. 17). One example,
dated 1661 (No. 6), has an interesting copy of lace scallops in
embroidery (Plate III), and another worthy of notice (No. 20)
has a' very decorative alphabet worked in needlepoint lace
(Plate V).
The colours of the embroidery silks were somewhat brighter
in the early part of the 18th century than in the preceding
century, reds,' blues and greens in more vivid tones being
frequently used. At this time also considerable care was taken
with the lettering, and borders of repeating wavy or angular
design were first introduced. A sampler dated 1710 (No. 24),
which is still divided into horizontal bands, is worked at the
bottom with a representation of the blue and white earthen
ware popular at that period, and another, dated 1731 (No. 27),
bears upon it the complete Apostles' Creed and the Lord's
Prayer (Plate V). The patterns as the century advanced
became more scattered. The map samplers, referred to in the
Introduction (p. 5), were produced approximately between
1770 and 1810 ; the single one exhibited (No. 35) is dated 1792.
In the early part of the 19th century the patterns became
still more disjointed. Alphabets were frequently large and
clumsy, and crowns and coronets are seen. Some tasteful
designs survived (Plate VI), however, until a late period
(No. 49, dated 1826), but the sampler steadily deteriorated, and
it gradually disappeared about the middle of the 19th century.
The earliest dated sampler in the Museum collection which
records the name of the worker is that done by " Rebeckah
Pope " in the year 1644 (No. 2) ; and the first statement of the
child-worker's age is No. 9, the inscription on which runs :
" Margreet Lucuh (Lucus ?), 1681. Being ten Year old come
July the First." The youngest workers recorded are " Catherine
Pickling . . . aged 7 years, 1780 " (No. 31), and " Harriot
Taylor, Ag'd 7 " (No. 54). On no sampler in the following list
is found the name of the school or locality where it was worked.
The small panel (No. 12) of late 16th or early 17th-century
date recently presented by Mr. F. Leverton Harris, M.P., is
included in this catalogue, although perhaps it should not
strictly be called a sampler. It is worked with the Emblems

of the Passion, a brief supplication, and the name of the
embroidress, " Anne Ingelbye." (Frontispiece.)
Samplers are represented in Francis Wheatley's picture of
"The Schoolmistress," and in George Morland's "Visit to
the Boarding School," the latter in the Wallace Collection.
The earher specimens possess a rare charm, both in their
decorative patterns and harmonious colouring, and well repay
careful study
SEVENTEENTH CENTURY.
(i) Dated.
i. Linen, embroidered with coloured silks and white linen
thread partly in satin and cross stitches ; it is also
decorated with cut and drawn work filled with needle
point stitches. At the top are seven horizontal bands of
varying width, containing wavy stems bearing roses,
honeysuckle and other flowers, acoms, fruit and S-forms,
the letters of the alphabet, and the date " ano do. 1643,"
all worked in colours. Below are fourteen bands con
taining geometrical and floral patterns, including lozenges
and zig-zag stripes, five being worked in white linen
thread, and the remaining nine in cut and drawn work.
Plate II.
"L- 3 ft. 3l m-i W. 7£ in. Acquired in 1902. Reproduced, Kendrick,
English Embroidery, Plate lii. Neg. No. 26146.
2. Linen, embroidered with coloured silks and white linen
thread partly in knotted and cross stitches. Four
horizontal bands of varying width filled with repeating
conventional rose-trees and lilies, also acorns, worked in
coloured silks alternating with five bands containing
geometrical patterns of lozenges, S-forms and zig-zag
stripes in white linen thread. Below the second band are,
the name and date : " rebeckah pope, 1644," with the
letters of the alphabet.
L. 2 ft. 2 in., W. 9 in. Acquired in 1908.
3. Unbleached linen, embroidered with coloured silks partly
in cross and satin stitches. Six horizontal bands of
gradually increasing width from top to bottom, filled
with alternately reversed conventional floral ornament,
consisting of wavy and interlacing stems bearing roses
and other flowers. At the bottom is the alphabet in large
and small letters,, with the name " martha Salter, 1651,"
* and the words, " The feare of God is an excellent gift."
L. 18 in., W. 9 in. Acquired in 1905. Neg. No. 37627.
8

4. Unbleached Unen, decorated with lacis or darned netting,
and cut and drawn work filled with needlepoint lace
stitches, and also embroidery in white linen thread. At
the top are eleven horizontal bands of openwork of
varying width, filled with repeating wavy floral stems,
fleurs-de-lis, lozenges, octagons, stars, and other geo
metrical devices, together with two representations of a
mermaid combing her hair. Below are ten bands chiefly
worked in satin stitch with angular stems bearing
carnations, detached blossoms within lozenges, and other
devices. At the bottom are worked the letters of the
alphabet, with the name " margreet may " and the date
1654.L. 2 ft. 5J in., W. 9 in. Acquired in 1872. Reproduced, Art
Workers' Quarterly, 14. Vol. IV., p. 73. Neg. No. 26146.
5. Unbleached linen, embroidered with brightly coloured
silks in cross, satin, and knotted stitches. Ten horizontal
bands of varying width filled with angular stems (some
interlaced) bearing roses, carnations, honeysuckle and
other flowers, also grapes and acorns. At the top are
geometrical devices, the inscription " mary bvrrowes is
my name," the letters of the alphabet, and the date 1656.
L. 2 ft. 6J in., W. "j\ in. Presented by Mrs." Miller in 1877.
6. Linen, embroidered with coloured silks in various stitches,
including cross and satin stitches. At the top are the
letters of the alphabet, the initials mmv and the date
1661. Above is one horizontal band, and below are
twenty-two others of gradually decreasing width, filled
with detached stems bearing conventional roses, carna
tions and other flowers, also grapes, angular continuous
stems with leaves and blossoms, and scalloped borders
copied from contemporary lace edgings. Plate III.
L. 3 ft. J in., W. 11 in. Acquired in 1907. Neg. No. 37635.
7. Linen, decorated with cut and drawn work filled with
needlepoint lace stitches, and embroidery in white hnen
thread. Six horizontal bands of varying width filled
with rosettes, lozenges and other geometrical devices,
and S-shaped scrolls. At the bottom are worked the
letters of the alphabet, the date 1666, and the name
" ELIZABETH WOOD."
L. 15J iii., W. 8 in. Acquired in 1899.

.8. Unbleached linen, embroidered with coloured silks partly
in cross stitches. Twelve horizontal bands of varying
width filled with angular leafy stems (some interlaced)
bearing pansies, honeysuckle, carnations, and other flowers,
together with strawberries, grapes, and acorns. In one
band are two standing figures of men (boxers) holding
flowers. At the top, amidst detached flowers, are the
initials I H, and the date 1666.
L. 2 ft. 3 in., W. 7£ in. Acquired in 1899. . Neg. No. 447I9-
9. Unbleached linen, embroidered with coloured silks and
white linen thread partly in cross, chain, and satin stitches.
There are also slight decorations in cut and drawn work,
and some of the flowers are raised by padding and are
covered with fine network. At the top, in colours, are
two wide horizontal bands of floral devices within
lozenges, and conventional flowering plants. In the'
middle, in white work, are two narrow borders and a
broad band of geometrical ornaments (zig-zag stripes and
rosettes), with small star-forms done in openwork with
the needle. Below, in colours, are eight narrow borders,
worked with the following inscription, the name and
date, and also the letters of the alphabet, in various
sizes : —
" my FATHer Hitherto Hath done his Best To Make Me A
woRKEWOMan Above the Rest MarGReet, lvcvh [Lucus?]
1681. BeinG ten Year old corrie iuly THe First."
L. 17 in., W. io£ in. Presented by Miss A. L. Dixon in 1911.
10. Loosely-woven linen, embroidered with coloured silks
chiefly in cross stitch. Nine horizontal bands of varying
width filled with angular leafy stems bearing roses,
honeysuckle, and other flowers, and fruit, also fret orna
ment. At the top are the repeated letters of the alphabet,
with the name " jane Harris," and the date 1694.
L. 20 in., W. 6 in. Acquired in 1899.
11. Linen, embroidered with coloured silks and white linen
thread partly in satin and cross stitches, with portions
applied in relief, and also decorated with cut and drawn
work filled with needlepoint stitches. Ten horizontal
bands in colours, filled with wavy, interlaced, and angular
stems bearing roses, honeysuckle, pansies, together with
grapes, two bands with the repeated letters of the
alphabet and the embroidress's name, five bands of
geometric ornament in white work, and four bands of cut
10

and drawn work filled with large and small rosettes within
lozenges or squares, a zig-zag band, and plants. At the
bottom are the letters of the alphabet, with the name
" Elizabeth MACKETT," and the date 1696, also in white
work. Plate II.
L. 3 ft. 7£ in., W. 9f in. Acquired in 1884. Reproduced, Kendrick.
English Embroidery, plate lii., and Art Workers' Quarterly, 14.
Vol. IV., p. 73. Neg. Nos. 26146, 29149, 37626, 37627.
(2) Undated.
12. Linen, embroidered with coloured silks chiefly in chain
stitch, and silver-gilt thread. The middle contains a
representation of St. Veronica holding the sacred napkin,
with Golgotha below. The surrounding space is filled
with the following Emblems of the Passion (beginning
at the top left-hand corner) : — The tomb (?), purse, the
cock, the crown of thorns, sword, axe and lance, spear,
the cross, sponge on a reed, the coat and three . dice,
three nails and hammer, the pillar, a scourge, pincers
and ladder, another scourge, lantern, vase of vinegar, a
smiting hand, hyssop and a reed. All are worked in
colours and gold on a pale green ground. There is a
narrow border all round, with the following inscription
in mauve (faded) on a yellow ground : " ihesv fili dei
MISERERE MEI PRAYE FOR ME ANNE INGELBYE."
Late 16th or early 17th .century. Possibly the cover for
a Book of Hours. Frontispiece.
L. 6J in., W. 5f in. Given by F. Leverton Harris, Esq., M.P., in 1915.
Neg. No. 39086.
13. Loosely-woven linen, embroidered with silver-gilt and
silver thread and coloured silks ; some of the devices are
partly in petit point and drawn work. (Unfinished.)
Closely covered with a number of detached geometrical
and floral patterns ; among them are blossoms, rosettes,
acorns, and S-forms within compartments*; pansies,
carnations, and strawberry plants, together with fish, birds,
butterflies, caterpillars, and a toad. On one side are the
letters " m.i." First half of 17th century. Plate I.
L. 19J in., W. nf in. Acquired in 1913. Neg. No. 36177.
14. Loosely-woven hnen, embroidered with silver-gilt arfd silver
thread and coloured silks ; some of the patterns are in
petit point and drawn werk. Worked with twenty detached
geometrical and floral patterns, including roses, carna
tions, blossoms, rosettes, swastikas, and S-forms within
11
<6651) B

lozenge compartments, together with obelisks, acorns,
and scale and interlaced ornament. First half of
17th century.
L. I7i*in., W. 9 in. Presented by Francis C. Eeles, Esq., in 1918.
No. 13, Plate I., is a closely similar specimen.
Some of the patterns in Nos. 13 and 14 resemble those found on
contemporary English embroidered purses. A sampler of similar
character is illustrated on Plate II. of Mr. Marcus Huish's Samplers ,
and Tapestry Embroideries. Neg. No. 48570.
15. Unbleached linen, embroidered partly in cross and satin
stitches with coloured silks, and silver thread and spangles.
Ten horizontal bands, varying in width, filled with
angular and wavy stems delicately designed, bearing
roses, pansies, honeysuckle and other flowers, and straw
berries. Four small figures of men (boxers) in blue shirts
and red breeches holding flowers (?) are introduced into
one band, and the letters of the alphabet are worked
along the top of the sampler, together with the initials
" m.p." Middle of 17th century.
L. 2 ft. \ in., W. 7f in. Acquired in 1913.
16. Unbleached Hnen, -embroidered with white hnen thread
and red silk, and further decorated with drawn work filled
in with needlepoint lace stitches. (Unfinished.) At the top
are six bands of varying width in white work (oak stems
with acorns, lozenges, and rosettes) and the words " Hannah
Pittman Her — ". Beneath is the incomplete inscription : — ¦
" The Lamentation Of A Sinner. O Lord .Turn . not .
Away . Thy . Face . From . Him That . Lies Prostret
Lementing Sor His Sinful Life. Be-For . . Th "¦  At
the bottom are seven bands of floral and geometrical
pattern, and S-forms, in openwork. The middle is
plain. Middle of 17th century.
L. 3 ft. 1 in., W. 6 in. Acquired in 1913.
17. Linen, embroidered with coloured silks partly in cross
stitch (both sides worked alike). Eleven horizontal
bands of varying width filled with zig-zag and wavy
stems bearing honeysuckle, carnations, and other flowers,
detached plants, lozenges, octagons, and geometrical
ornament, and also the figure of an angel. At the top
are small detached geometrical and floral devices. Second
half of 17th century.
This specimen shows strong Italian influence.
L. 3 ft., W. 8 in., two pieces joined. Transferred from the Educa
tional Division in 1877. Neg. Nos. 37639, 37640.
12

i8. Linen, embroidered with coloured silks in cross, satin,
and other stitches. Seven horizontal bands filled with
a symmetrical pattern of angular stems (some interlaced)
bearing pansies, roses (the petals semi-detached), honey
suckle, carnations, ,and other flowers, together with
strawberries and acorns, and also S-forms. They, are
separated by the following lines in lettering -of varying
size :—
" When I was young I little thought
That wit must be so dearly bought
But now experience tells me how
If I would thrive then I must bow ,
And bend unto another's will
That I might learn both art and skill
To get my hving with my hands
That so I might be free from band
And my own dame that I may be
And free from all such slavery.
Avoid vaine pastime fie youthfull pleasure
Let moderation allways be thy measure
And so prosed unto the heavenly treasure. III."
Second half of 17th century.
L. 2 ft. 3 in., W. 7I in. Acquired in 1894.
19. Unbleached linen, decorated with cut and drawn work
filled with needlepoint stitches. Eight horizontal bands
of varying width, filled with wavy, leafy stems bearing
conventional flowers and grapes, detached four-petalled
blossoms, geometrical devices (including lozenges, rosettes
and stars), and small S-shaped scrolls. A portion is left
unworked at one end. Second half of 17th century.
L. 22J in., W. 6J in. Acquired in 1898.
20. Unbleached hnen, embroidered with white hnen thread,
and further decorated with cut and drawn work filled
with needlepoint stitches. Thirteen horizontal bands of
varying width, filled with zig-zag stems bearing car
nations, large and small lozenges enclosing rosettes,
starlike flowers, and S-forms. Between them and below
are four bands of openwork, one containing some of
the letters of the alphabet (from A to U), and thtf others
eight-pointed stars, S-forms, and crosses within octagons.
Second half of 17th century. Plate V.
The lettering in this sampler is of remarkable beauty.
L. 3 ft. 2j in., W. 6J in. Acquired in 1898. Neg. Nos. 29149, 37642;
13

21. Linen, decorated with cut and drawn work partly filled
with needlepoint stitches. Twelve horizontal bands, the:
upper four filled with rosettes, acorns, birds, a hound^
chasing a hare, and leafy scrolls upon which ¦ parrots;*
are perched; the remaining eight below contain geo
metrical devices. Second half of 17th century. Plate IV.
L. 24J in., W. 9| in. Acquired in 1899. Neg. No. 37636.
22. Unbleached linen, decorated with cut and drawn work
filled with needlepoint stitches. Seven horizontal bands
of varying width filled with various geometrical devices,
including lozenges and octagons. Second half of 17th s
century.L. 7£ in., W. 5f in. Acquired in/1899.
23. Unbleached linen, embroidered with coloured silks in
cross and short stitches. Twenty-four horizontal bands
varying in width, filled with leafy angular stems (some
interlaced) and detached plants bearing pansies, carna-
. tions, honeysuckle and other flowers, together with grapes,
strawberries and acorns, and also S-forms. In one band
are two standing male figures (boxers), each holding a
flower (?). Second half of 17th century.
L. 2 ft. 10 in., W. 7 in. Acquired in 1902.
EIGHTEENTH CENTURY.
(1) Dated.
24. Unbleached Hnen, embroidered with coloured silks partly
in cross stitch. Horizontal bands varying in width ;
those at the top are fiUed with letters of the alphabet,
the numerals and detached letters of various sizes,
followed by the inscription : —
" Lord Give me Wisdom To Direct my Ways, I Beg'
not Riches nor Yet Length of Days. Martha . Wheeler
Her Sampelr September The 15 1710 ageed 12 Years
The 2 Day of Last March."
Below is a broad band of zig-zag ornament, a narrower
one of geometrical patterns, and others containing four
detached floral sprays, a bottle, jug, and pot in blue and
white earthenware, the latter containing a flower, a
flying bird and various emblems. A portion at the
bottom is left unfinished.
L. i8f in., W. 10J in. Acquired in' 1907. Neg. No. 50109.
14

25. Linen, embroidered with coloured silks partly in cross
stitch. At the top are three bands varying in width,
the first two filled with the letters of the alphabet three
times repeated in large and small capitals, and the third
with a zig-zag band in graduated colours and small
detached sprigs of flowers. The lower part is worked
with the Lord's Prayer, the name " Elisabeth cutler,"
and the date 1717, within a large oval compartment
surrounded by trailing leafy stems bearing roses, tulips,
carnations, HHes, and other flowers.
L. 15^ in., W. 8 in. Presented by Harry Tipper, Esq., in 1912.
26. Linen, embroidered with coloured silks, partly in cross
stitch. Six horizontal bands of varying width fiUed as
foUows : (1) five hearts separated by pairs of birds and
conventional plants or trees; (2) five trees, some bearing
buds*, with birds perched upon the branches, including two
, pehcans " in their piety," beneath is a hound pursuing a
stag, 5. hon, and another animal ; (3) flowers and plants
between pairs of birds ; (4). in the middle a plant with curved
stems issuing from a two-handled vase, and on either side
a cavaher and his lady represented in Elizabethan costume ;
there are smaU figures of " boxers " behind ; (5) pairs of
birds with flowering plants between ; and (6) a narrow
octagonal cartouche containing the following inscription :
" Mary Smith Her Work made in the Year of our Lord
1729," with two cupids supporting a crown above, and on
each side stems bearing flowers and strawberries, also
swans, animals and insects. The ladies wear red or blue
dresses with train, open skirt and ruff, and the gentlemen
a red or blue doublet, hose and cloak, with ruff.
Probably copied from an earher design.
L. nfin. W. iojin. Presented by Miss Frances M. Beach in 19 16.
Neg. No. 45580.
27. Unbleached Hnen, embroidered with coloured silks chiefly
in small cross stitches. Horizontal bands of varying
width fiUed with the Apostles' Creed, straight and zig-zag
stems bearing honeysuckle, carnations and other flowers,
the letters of the alphabet, the numerals, and the Lord's
Prayer. At the bottom is the inscription : * Mary
Chapman, her Work, ended in The 12 Year Of her
age, 1731." Plate V.
L. 17 in., W. 9 in.. Presented by Miss Eyton in 1880. Neg. No. 37641.
15

28. WooUen canvas, embroidered with coloured silks in close
cross stitch. At the top are four rows of the alphabet
in small and large letters, and an angular stem bearing
conventional roses and other flowers. Below are the
remaining letters of the alphabet, and some numerals,
foUowed by the foUowing inscription : —
" Gay dainty flowers, go swiftly to decay, poor wretched
life's short portion flies away,
We eat, we drink, we sleep ; but lo, anon, Old age
steals on us, never thought upon.
Mary Wakeling Ended This, December The Tenth 1742,
Aged Ten Years."
There is a repeating border composed of an angular
stem with honeysuckle and carnations.
12 in. square. Presented by Mrs. Leggatt in 1878. Neg. No. 37628.
29. WooUen canvas, embroidered with coloured silks partly in
cross stitch. In the upper part, within an octagonal panel,
is the Lord's Prayer, with the name " Elizabeth cridland"
and the date 1752. Below is the following text from
Proverbs xii. 24 :
" The hand
of the diligent shaU
bear rule but the slothfuU
shall be under Tribute."
The surrounding space is filled with a symmetrical 5
arrangement in pairs of flowering trees, carnations growing
from pots, pointed yew trees (?) with birds perched upon
them, strawberries, cupids, birds, stags and dogs? At the
bottom is a rural landscape showing houses, a dovecot,
and a windmill.
One of the earliest known of the landscape class.
H. 13J in., W. g| in. Presented by Miss Edmands in 1886.
30. Loosely-woven canvas, embroidered in coloured silks,
partly in cross and eyelet stitches. At the top are two i
horizontal rows of letters of the alphabet in capitals, and
one row of numerals up to 12 ; below are the foUowing
two verses arranged in ten lines, and separated by a band
of lozenge ornament : —
" Friends are like leaves that On trees
do grow . in summers prosp'rous state
much Love the- show . but art thou in
adversity than they . like laves from
trees in autum full away
16

Bad Company As Deadly Poyson Shun
thousands by It Are ruin'd And Undon
the giddy Multytude Stil gose AStray
turn From the broad And tuse the
Narrow Way."
At the bottom is an octagonal compartment fiUed with the
inscription : " this
work in ha
nd my friends
mey have whe
n . I am dead and
laid in grave."
and the name " Ann Hunt."
The surrounding space is ruled with a Hon, stag, dog,
butterfly, birds, crowns, oak-trees, stems of tuhps, carna
tions and honeysuckle, symmetricaUy arranged. Beneath
is a narrow border with a hunting scene, and the date 1770.
L. 13! in., W. 8J in. Presented by Mrs. Wyman in 1917.
31. WooUen canvas, embroidered- with coloured silks in cross
and satin stitches. In the middle is a square red brick
house with five windows ; there is a large pot of flowers
on each side, together with birds, a Hon, a stag and a
squirrel. Above are conventional flowering plants, some
growing from vases; also stars and birds. Below is an
oblong compartment with the foUowing inscription :—
" Catherine Pickling,
her work,
aged 7 years, 1780,"
with male and female figures bearing baskets of flowers
or fruit on each side. . There is a repeating border com
posed of a wavy stem with flowers and blossoms.
H. 14J in., W. I2f in. Presented by Miss Edmands in 1886.
32. WooUen canvas, embroidered with coloured silks chiefly in
chain stitch. A map of England and Wales, with the
counties outlined in different colours, and a few towns
also indicated. Several ships are represented upon the
sea, and a rowing boat. In the lower left hand corner
is the inscription : " Ann Rhodes, April the 26J.I1 1780.
In the 13th year of her Age." The title "Map of
England," and the date 1780, is within a wreath also
to the left, and there is a narrow border of latitude and
longitude. L. 24^ in., W. 21 J in. Presented by the Rev. J. Williamson in 1905,
17

33. Loosely-woven cotton, embroidered with red and blue
silks in cross stitch. The upper half is filled with the
letters of the alphabet, repeated twice, the numerals up
to 14, a crown and the date 1789. The lower half has
the name, " jane harrison," surmounted by two small
, conventional trees and a vase of flowers. There is a
narrow border consisting of an angular red stem and
minute dark blue flowers.
L. 5J in., W. 5J in. Presented by Miss Grant in 1909.
34. WooUen canvas, embroidered with coloured silks in cross
stitch. At the top is the foUowing verse : —
" Dear mother I am young and cannot show
such work as I unto your goodnefs owe
Be pleased to smile on this my smaU endeavour
111 strive to learn and be obedient ever."
In the middle, between wavy stems of carnation and
honeysuckle, is a row of roses and tuhps in pots or vases,
a chpped tree with two stags beneath and birds flying
' above, also the foUowing lines : —
" If aU Mankind would live in mutual love
This world would much resemble that above."
At the bottom is the inscription : " Mary. Ann Body Her
Work in ye 9 Year of her age 1789," with a basket of flowers
between two parrots ; on either side is a windmiU with
dog beneath, and a square brick house with 7 windows.
The border consists of a slight wavy stem with yeUow buds.
L. 14 in., W. 12J in. Presented by Miss Frances M. Beach, her
maternal grand-daughter, in 1916.
35. Woollen canvas, embroidered with coloured silks, partly
in cross and eyelet stitches. The map shows England and
Wales, Scotland south of the Firth of Forth, the Eastern
portion of Ireland, and part of the Northern coast of
France. The counties are outhned in colours, with the
name of each in black. The inscription : " Map of England
and Wales Work'd by Ann Gardiner March 17th 1792," is
within a floral wreath, tied with ribbons, in the top right
hand corner. A " north point " and scale is worked on the
left side. Beside the three capitals of London, Edinburgh
and Dublin, only "Hwkshd" (Hawkshead, near Winder
mere), is denoted amongst the towns.
H. 23I in., W. 19J in. In gilt frame glazed. Presented by Mrs.
Antrobus in 1916.
18

36. Loosely-woven cotton, embroidered with coloured silks,
partly in darning stitches. It bears the name " M.
Sharman " and the date " July 26th 1796." In the middle
are stems of flowers (HHes, rosebuds, etc.), tied by a ribbon,
with the name and date above and below. The surrounding
space is fiUed with twelve crosses worked in various diaper
patterns (lozenges, straight and zig-zag stripes). There is
a border of a wavy stem with sprigs bearing berries
attached. SimUar work is on the English or Dutch sampler,
dated 1799. No. 37.
i4f in. square. Bequeathed by the late Miss Pluckrose in 1919.
37. Linen, darned with coloured sUks and white linen thread.
The pattern consists of twelve large crosses worked with
various diapers (chiefly lozenges, chequers and stripes).
In the middle is a square compartment containing the
initials E.c. and the date 1799. English or Dutch.
Plate X.
13 in. square. Acquired in 1899. Neg. No. 39085.
38. Canvas, embroidered with coloured silks, chiefly in cross
and eyelet stitches. The upper half is worked, with nine
horizontal bands filled with the letters of the alphabet in
capitals twice repeated and the numerals to 10. Below is
lozenge ornament, with the inscription : " Phebe NichoUs
Her Sampler Aged 13 Years February 9th 1800," the
letters of the alphabet in smaUer characters, and the
foUowing religious verse : —
" Why so offensive in some eyes
. Doth God's Election seem
Because they think themselves so wise
That they have chosen Him."
L. 16 in., W. 7 J in. Presented by Mr. R. Linstead in 1919.
(2) Undated.
39. Unbleached linen, embroidered with coloured silks in cross
and satin stitch. The upper part is worked with seven
bands of varying width, containing angular stems bearing
carnations and strawberries, conventional trees and
flowering plants (some growing from pots), fleurs-de-lis
crowns, birds and windmiUs. In the middle portion is
a small rose stem, and the greater part of the Lord's
Prayer within an incomplete octagonal compartment
The lower part is plain. . There is a narrow billet border
, aU rbund. First half of 18th century. Apparently about
the same date (1731) as No. 27.
L. i8£ in., W. 8f in. Presented by Miss Eyton in 1880. 19

40. WooUen canvas, embroidered with coloured sUks, chiefly
in cross stitch. (Unfinished.) A record of miscellaneous
designs, consisting of smaU flowering plants, trees, blossoms,
baskets of fruit, birds, a stag, a butterfly, crowns, and a
wavy floral stem. In the middle is a square house with side
columns and cupola, also with chequered marble pavement
and grass plot in front. At the bottom is an irregular
octagon decorated with stems of roses and other flowers,
and fiUed with a soldier holding a rifle, and a man in
crimson tail coat and yellow breeches beside a conventional
tree. There is a small figure of a lady in the right lower
corner. Latter part of 18th century.
L. i2| in., W. 7i in. Presented by Miss Frances M. Beach in 1916.
NINETEENTH CENTURY.
(1) Dated.
41. Unbleached canvas, embroidered with coloured worsteds
and silks in cross stitch. Ten narrow horizontal bands
fiUed with the letters of the alphabet in capitals, and
the numerals, separated by wavy and straight stripes.
At the bottom is the name " maria smith " and the
date 1810. There is a repeating straight border of smaU
blossoms.
L. 9J in., W. 7I in. Acquired in 1900.
42. Linen, embroidered with coloured silks chiefly in chain
stitch. At the top are five horizontal bands of varying
width containing the letters of the alphabet (repeated
four times), the numerals (repeated twice), crowns and
strawberries. In the middle is an octagonal panel enclosing
the foUowing verse : —
" May Plenty difsipate
all worldly Cares
And smiling Peace blefs
my revolving Years."
above are the initials l K-q p, and below is the name
" mary ann cann " and the date " Year 18011 " (probably
meant for 1811 or possibly 1801). The remaining space is
filled with clumps of conventional trees, upon some of
which birds are perched, angular floral stems, baskets
containing flowering plants and fruit, stars, lions arid
dogs. There are also nine squares (not cut out) closely
darned in colours, mainly in diagonal stripes. There
is a border of fret pattern.
16J in. by 15J in. Acquired in 1899.
20

43- Unbleached canvas, with patterns in drawn work stitched
round with coloured cottons. The letters of the alphabet
in large capitals arranged in four horizontal rows. At
the bottom are embroidered the words : " Maria Smith
Her Work March 25th 1813." .
L. 7§ in., W. 8£ in. Acquired in 1900.
44. Linen, with portions cut out and closely darned in white
and blue cotton. Twenty-four squares (arranged in six
rows of four) fiUed with various diaper patterns, such
as dots, chequers, lozenges. At the bottom is worked in
cross stitch the name " Susanna smith " and the date
1816.
L. 17^ in., W. 10J in. Acquired in 1900.
45. Linen, with portions cut out and closely darned in white
cotton. Fifteen squares (arranged in five rows of three)
fiUed with various diaper patterns, such as dots, chequers
and lozenges. On the lower portion, the initials ss and
the date 1816 are worked with blue cotton in cross stitch.
L. 12$ in., W. 7I in. Acquired in 1900.
46. Linen, with portions cut out and closely darned in white
cotton. Fifteen squares (arranged in five rows of three)
. fiUed with various diaper patterns, such as dots, chequers
and lozenges. On the lower portion the initials MS and
the date 1816 are worked with red cotton in chain stitch.
L. 12$ in., W. 7f in. Acquired in 1900. »
47. WooUen canvas, embroidered with coloured silks in cross
stitch. In the middle is represented the Temptation of
Adam and Eve in the Garden of Eden, with the sur
rounding space fiUed with birds, dogs, flowering plants
(some growing from baskets), yew trees, crowns, hearts
and other devices, symmetrically arranged in pairs. At
the bottom is the foUowing inscription :— " Amy Barnes
her sampler aged 13 years," and the date 1822. There is a
border of a slender wavy stem with small blossoms.
L. 13$ in., W. 8f in. Acquired in 1900.
48. WooUen canvas, embroidered with coloured silks chiefly in
cross stitch. In the middle is a conventional flowering
tree with slender angular boughs, and the following verse
above : —
" Patience wiU wipe away the streaming tear
And hope wiU paint the palid cheek of fear
Content will always happiness supply
And virtue caU a blessing from on high." 21

The remaining space is fiUed with flowering plants (some
growing from vases), detached blossoms and leaves, trees,
birds, animals and butterflies symmetricaUy arranged in
pairs. At the bottom is the name " hannah blackford,"
and the. date 1822. There is a border of a wavy floral
stem.
L. i6| in., W. 13! in. Acquired in 1899.
49. Woollen canvas, embroidered with coloured silks chiefly
in cross stitch. In the middle is a large symmetrical
plant bearing roses and other flowers growing from a
two-handled vase, surrounded by birds upon fruit-laden
boughs, conventional plants (some growing from smaUer
vases), baskets of fruit, and dogs, aU symmetricaUy
arranged in pairs. At the top is the foUowing verse : —
" If idly spent no art or care. Time's blessing can
Restore.
And God requires a strict account For ev'ry mis-pent
hour.
Short is our longest day of life. And soon its prospect
ends.
Yet on that day's Uncertain date. Eternity depends,"
and at the bottom, within a smaU square compartment,
is the name " Harriot tullett " and the date 1826. There
is a border of a wavy stem with carnatiqns. Plate VI.
L. 16 in., W. 12J in. Acquired in 1907. > Neg. No. 37633,
50. Woollen canvas, embroidered with coloured silks chiefly
in cross stitch. At the top is the following verse :~—
" Come gentle God without thy aid.
I sink in dark despair.
O wrap me in thy silent shade.
For peace is only there."
There are plants on each side and an angular floral stem
above and below. In the middle within an oblong compart
ment is the inscription : " Sophia Starling wrought this
sampler in the year 1833," between two baskets of flowers
with the rhyme " Love the Lord and he wiU be a tender
Father unto thee." At the bottom is a row of plants and
conventional trees. The border consists of flowering stems
with rosebuds and other blossoms in the corners. The
colours of the silks are mainly red, light blue, mauve (all
faded), yeUow, white and shades of green.
L. 13J in., W. 13 \ in. Presented by Mrs. Cushion in 1921.
22

51. .Coarsely-woven yeUow linen, embroidered with coloured
cottons (chiefly blue, red, brown, and shades of green).
At the top are five . horizontal rows of the letters of the
alphabet repeated four times, the numerals up to 15,
and four varieties of crowns. In the middle is the maxim
" Honour thy Father and Mother in the days of thy Youth,"
an angular floral stem, and the inscription.: "Ann Simmons
April 6th 1835. Aged 8 years." The remaining space is
filled with conventional plants, some growing from pots,
birds, a windmill, a heart, and detached blossoms. There
is a straight stripe round the border (double on one side).
L. 15J in., W. i6| in. Presented by Mrs. Osmond in 1915.
52. WooUen canvas, embroidered with coloured silks chiefly
in cross stitch. At the bottom is a square house with five
windows and a door, flanked on each side by a row of three
trees, a hedge and rustic arch, there is a formal garden in
front with lawns and paths, upon which arg standing three
ladies and a gentleman with small dog, also seats and vases
of flowers. Above are large and smaU baskets and vases
of flowers and fruit, cloud ornament, a vase, anchors,
crowns and crosses, and at the top the following rhyme : —
" Let gratitude in acts of goodness flow
Our love to God in love to man below
Be this our joy to calm the troubled breast
Support the weak and succour the distrest
Direct the wandrer dry the widows tear
The orphan guard the sinking spirits cheer
Though smaU our power to act though mean our skill
God sees the heart he judges by the wiU,"
also the worker's name " Mary Pether " and therdate 1839.
There is a continuous border of angular lily stems.
H. i2| in., W. 15J in. In black and gold wooden frame, glazed.
Acquired at Oxford in 1920.
53. Linen, embroidered with coloured linen threads in cross
and eyelet stitches. Eight horizontal bands of varying
width fiUed with letters of the alphabet in capitals and
smaUer characters, and the numerals up to 30. At the
bottom is the inscription : " Lucy Heath April the 21 1842."
L. 10 in., W. i6£ in. Presented by Mr. R. Linstead in 1919.
(2) Undated.
54. WooUen canvas, embroidered with coloured silks in cross
and satin stitches. At the top are four flying angels (two
23

amidst clouds), beside a crown with the letters G. R.
above. In the middle is an arch with two tall columns
entwined with flowering stems, and surmounted by vases
of plants, together with the words "The Temple of
Fancy." Within an oblong compartment below is the
foUowing verse : —
" Not Land but Learning
Makes a Man complete
Not Birth but Breeding
Makes him truly Great
Not Wealth but Wisdom
Does adorn his State
Virtue not Honor
Makes him Fortunate
Learning Breeding Wisdom
Get these three
Then Wealth and Honor
WiU attend on thee."
and the inscription : " Harriot Taylor, Ag'd. 7." At the
bottom is a square house named " Queens Palace,"
standing in an enclosed garden of conventional trees, with
squirrels and birds amidst the fohage. There is a wavy
floral b6rder. Worked in 1813.
The date is given on the authority of a note on the original
mounting.L. 18 in., W. 13 1 in. Presented by Miss H. J. Jones in 1904.
55. Unbleached canvas, embroidered with coloured cottons and
silks in cross stitch. Seven horizontal bands of varying
width, the first six fiUed with the letters of the alphabet
in capitals (twice repeated), the numerals up to 11, and
the name " matilda smith " ; the seventh band has a
Wavy floral stem. There is a smaU interlacing border.
First quarter of 19th century.
Compare with No. 46, which has the initials m.s. worked
upon it and the date 1816.
L. 7I in., W. 7f in. Acquired in 1900.
56. Woollen canvas, embroidered with coloured silks in cross
and satin stitch. At the bottom is represented a standing
soldier or pensioner, wearing a red long-tailed coat, dark
breeches, and cocked' hat, a smaU square house surmounted
by a pigeon-cot, conventional fruit-trees, a stag and other
animals, and a bird. Above is a short horizontal band
of parallel stripes in pale blue and white, also the inscription
24

" This is my Dear Father." The remaining space is filled
with winged figures blowing trumpets, peacocks and other
birds, double-headed eagles, conventional flowering plants
and baskets of fruit, some symmetrically arranged in pairs.
There is a narrow border on three sides consisting of a
wavy stem with smaU blossoms. First half of 19th century.
L. i2|- in., W. 8f in. Acquired in 1900.
57. Canvas, embroidered with coloured silks and wools, and
silver-gilt thread and gilt metal beads, and bordered with
green velvet. The patterns consist of geometrical, floral,
foliated and other designs, many of which are within
rectangular compartments. At one end is a large piece of
black velvet, lined with satin of the same colour, bordered
with green velvet, and worked with floral designs in
yellow silk. From the end of this piece hang two ribbons
of olive-coloured satin. First half of 19th century,.
L. 10 ft. ij in., W. 4 in. Presented by Miss Longhurst in 1910.
58. Loosely-woven linen, embroidered in coloured cottons with
cross and eyelet stitches. Six horizontal rows with two
alphabets (one in large capitals), and the numerals up to
13, divided by a wavy leafy stem, key, vandyke and
pendant ornament. At the bottom is the inscription :
" Charlotte Linstead Aged 8," with the figure of a dog,
First half of 19th century. (About 1830).
L. n in., W. 7 J in. Presented by Mrs. Linstead in 1916.
59. WooUen canvas, embroidered with coloured silks in cross
stitch. At the top are four narrow horizontal bands filled
with the letters of the alphabet (partly in capitals) three
times repeated, and the numerals to 17. In the middle are
the foUowing verses worked side by side : —
" How short is Hfe's uncertain space
Alas how quickly done.
How swift the wild precarious chase
And yet how difficult the race.
How very hard to run.
Youth stops at first its wilful ears .
To Wisdom's prudent voice.
TiU advanc'd to riper years,
Experienc'd age worn out with cares
Repents its earher choice." v
At the bottom are the two lines :—
" Cast but a smile on this my first endeavour,
I'll strive to mend and be obedient ever." 25

First half of 19th century.
L. 10 in., W. i2f in. Presented by Mr. R. Linstead in 1919.
60. Linen, embroidered with red linen thread with details in
blue. The letters of the alphabet in capitals and smaUer
characters twice repeated, with the numerals to 9, the
initials "qhiw" and a floral sprig, arranged in five
horizontal rows. First half of 19th century.
L. 5I in., W. 7! in. Presented by Mr. R. Linstead in 1919.

26

II. DUTCH.
DUTCH samplers are, generaUy, broad and square, with a
somewhat detached pattern. Elaborate alphabets occur
in several colours, as weU as human figures, animals, birds,
buildings and a variety of flowers. They are often dated and
worked with initials. Small squares fiUed with darning stitches
are not uncommon (No. 61). Cross stitch is largely used and
it is said that the embroidery is usually worked across the
material, the selvage being left at the sides.1 No. 62 is of
special interest since it bears the arms of the City of Amsterdam.

61. Cotton, embroidered with coloured sUks, chiefly ia darning
stitches. Fifteen large cross-shaped panels and fwo small
oblong ones fiUed with diaper patterns (stripes, chequers,
lozenges, etc.) and floral and fruit sprigs. Towards the
bottom is the date " anno 1763 " beneath a crown, with the
name below " gerarda gerritsen " and the letters "by ss."
14J in. square. Acquired in Holland. Presented by Mrs. Grove in
1921.
62. Linen, embroidered with coloured silks in cross stitch.
Pattern of detached devices arranged symmetricaUy in
pairs ; they include fig and yew trees, roses, carnations
and tuhps, and other conventional plants (some growing
from pots), flowers issuing from cornucopise, baskets of
fruit, pairs of smaU figures (one a black man) holding
eight-pointed standards, parrots, a peacock, cocks, and
' other birds, rabbits and dogs. At the top are the crowned
arms of the City of Amsterdam with lion supporters;
in the middle the initials a. c. b. (Amstelodunum Civitas
Batavorum ? ) and the date 1798 surmounted by a crown,
within an octagonal wreath' supported by two cupids, and
at the bottom a recumbent stag between two flowering
trees. There is a border of a wavy stem with blossoms.
See also No. 37, a darned linen sampler of Dutch or
English origin, dated 1798. Plate VII.
L. 21 in., W. 18J in. Acquired in 1907. Neg. No. 37629.
(!) Mrs. C. J. Longman in Mr. Marcus Huish's Samplers and Tapestry
Embroideries, p. no. 27 c
(6651)

III. FRENCH.
THERE is at present scanty information available about
samplers worked in France, but they are said to be
usuaUy dated and signed in fuU, and inscriptions are found upon
some of them.1 In No. 64 — which appears Hkely to be of
French origin — the varied emblems and floral desigiis are
gracefully worked, and some of the sprigs and borders suggest
records of the patterns used for the elaborate embroidered
decoration of gentlemen's suits and ladies' dresses in the latter-
part of the 18th century. Two samplers recently acquired
(Nos. 63 and 65) have designs of a rehgious character. One of
them bears an inscription recording the fact that the work was
done in a Convent School. It seems probable that this kind of
sampler was usually produced in such surroundings.
(1) Dated.
63. Canvas, embroidered with coloured wools and sUks. In
the upper portion is represented an Altar at Exposition,
with a monstrance on a smaU tabernacle, six candlesticks
with lighted candles and four vases containing flowers
standing upon it beneath the suggestion of a canopy. A
strip of tUed floor is sh'own in front. The altar is surrounded
by various Ornaments of the Sanctuary — two standard
candlesticks (one on the right with one light, and another
on the left with five Hghts), a chahce, a ewer and basin,
a chair and small hand beU, holy water bucket and sprinkler,
and a lamp, also the Sacred Trigram i.h.s. and the Emblems
of a heart pierced with seven arrows, the crown of thorns,
and an anchor with a wreath, and three nails. Above on
each side of the Altar is the following, inscription : " Faite
par Miete CheUan Agee de 8 Ans dans la classe des sceurs
des Saints Noms de Jesus et de Marie Lancon 1847." The
lower portion of the sampler has a vase with conventional
rose tree, two ducks and two trees, a lamb (the Agnus Dei ?)
beside a smaU tower, and a credence table under an arch
with cruet on a tray, cross and pyx placed upon it. The
side borders are of vine stems with grapes, and the upper
one represents a tasselled valance. The word " Lancon,"
occurring in the inscription, may refer to the town of
Lancon in Provence, near Marseilles.
2iJ in. by 19 in. Acquired in 1921.
(!) Mrs. C. J. Longman in Mr. Marcus Huish's Samplers and Tapestry
Embroideries, p. in.
28

(2) Undated.
64. White silk, embroidered with coloured silks, chiefly in satin
stitch and French knots, silver-gUt thread and spangles.
The upper part is fiUed with three rows of detached leafy
sprigs, bearing roses, tulips, lilies, carnations, pansies,
and other flowers, and strawberries. In the middle are
portions of leafy borders, three wreaths, a sheaf of corn,
a rake, a bow and arrow, and a cornucopia filled with
flowers, aU suspended by coloured ribbons ; also a basket
of flowers, an urn, and a butterfly. At the bottom are
broken columns, a circular temple, a classical altar, a
grotto, and trees. From Paris ; last quarter of 18th century.
L. n in., W. i6£in. Acquired in 1901. Neg, No. 39090.
65. Cotton, embroidered with coloured wools. At the bottom
is represented an altar with cross, tabernacle, and six lights,
and on each side two crosses. In the middle are the initials
" G G " within a wreath, with the letters of the alphabet in
two rows above. In the lower corners are two orange trees
growing from tubs. The border consists of a wavy leafy
and floral stem, with crosses at the corners. Early 19th
century.
L. 9j in., W. I2| in. Presented by T. Frederic Wilson, Esq., in 1917.
For a sampler from Alsace, see No. 74, on p. 33.

29

IV. GERMAN.
THESE are usually of linen, and they are worked with
coloured cottons as well as silks. They are sometimes of
considerable length, the earhest one in the Museum collection
(No. 66), which is dated 1681, being about 3 ft. 6 in. (Plate
VIII). The 'pattern-books of Hans Sibmacher, of Nuremberg,
published in 1591 and 1604, with their geometrical designs, have
been foUowed continuously until the 19th century. Copies of
"these books can be seen in the Museum Library. Between 1778
and 1840 both religious and allegorical subjects seem to have
been popular, together with alphabets and numerals.1 Open
work horizontal bands filled with needlepoint laGe stitches or
drawn work were used to enrich the 17th century samplers,
as in England, and sacred emblems, small landscapes, and
heraldry were also introduced (see Nos. 67, 68, and 71). The
initials of the worker, together with the date, were placed
within a garland or smaU frame, but inscriptions are rarely
found. Darned squares, with the material completely cut
away beneath, occur on German samplers earher in the
18th century than on English ones. There is another
class of sampler dating from the first half of the 19th century,
which was produced in the Vierlande, a district on the Elbe
near Hamburg (Plate IX). Specimens are square in shape,
and they are. closely worked in black cotton with geometric
devices, birds, and conventional flowers in pots, also various
domestic articles, often represented minutely (Nos. 69 and 70).
Cross stitch is mainly used on the earlier samplers, but the
quality is sometimes coarser than on contemporary Enghsh
samplers ; at a later date a greater variety of stitches was used.
(1) Dated.
66. Linen, embroidered with coloured cottons chiefly in cross
stitch. At the top are many close narrow borders of
straight and wavy ornament, and scallops copied from
contemporary lace edgings. Below are ten horizontal
bands filled with fruit-bearing trees, carnations, and
other flowers (some growing from vases), floral devices,
angular stems with roses and pomegranates, stags and
other animals, birds, and lozenge ornament. There are
(x) See J. Brinckmann, Das Hamburgische Museum, pp. 59, 60.
30

also the letters of the alphabet, and the numerals, worked
upside down in six rows. At one side are the initials
" g e f " and the date 1681. Plate VIII.
L. 3 ft. 6$ in., W. g£ in. Acquired in 1872. Neg. No. 37632.
67. Loosely-woven unbleached canvas, closely embroidered
with brightly coloured silks partly in cross and satin
stitches. Twenty-one horizontal bands and square or
oblong compartments, filled with geometrical diapers
(including lozenges,- zig-zag stripes, overlapping squares,
and scale ornament), and also with detached or wavy
stems bearing carnations, tulips, lilies, and other flowers.
In the lower right-hand corner, upon a green ground, is
the Sacred Trigram, i.h.s., within a floral wreath, with
two coats-of-arms1 below having helmets, mantling, and
crests, and at the bottom edge the initials " D M w " and
the date 1688. .
L. 23 in., W. 9 in. Acquired with the Robinson collection in 1880.
Neg. No. 37634.
68. WooUen canvas, embroidered with coloured silks in chain
stitch. In the middle is a vase on a pedestal with parrot
above within a wreath, surrounded by various objects,
and including a tower amidst rocks and trees, a one-
masted ship, a couchant Hon, a galloping horse, also pairs
of smaU birds, cocks, a stag, dog, cat, and other animals,
flowers in pots and a basket of fruit. At the top are the
letters of the alphabet in capitals twice repeated, a crown,
the initials " t. k." and the date 1709 (apparently meant
for 1790). There is a striped blue linen selvage on each side.
The style of this sampler makes the date 1709 impossible.
iof in. square. Acquired with the Forrer collection in 1899.
69. Linen, embroidered with black cotton in cross stitch.. Five
irregular rows of circular and lozenge-shaped devices
containing geometrical patterns, also double-headed
eagles, conventional plants and pairs of stags ; above is
a row of four vases from which grow roses, lilies and
other flowers. The remaining space is closely filled with
a peacock, owls and smaUer birds, dogs, stags, smaller
geometrical and plant forms (such as stars, hearts and
rosettes), also various domestic articles — a chair, a key,
(!) Gules a man (seen to three quarters) vested sable with conical cap,
holding to the dexter with both hands a branch (?) ; crest ; a demi-man
as in the arms, full face. Or a woman (seen to three quarters) vested
sable with tall hat holding with right hand a flower gules ; crest ; a
woman as in the arms. 31

and a gridiron. At the top are the letters of the alphabet
repeated twice, the numerals, the initials t.k.Vv.b.
(also worked at the bottom edge) and the date ANNO
1807." From the Vierlande, a district on the Elbe near
Hamburg. . Plate IX"
L. 20 in., W. i6£ in. Acquired in 1899. Neg. No. 37637.
70. Linen, embroidered with black cotton in cross stitch.
The greater portion is fiUed with, rows of rosettes and
octagons of geometrical patterns, large and smaU flowering
plants growing from vases (some with conventional stags
beneath), owls and other birds, pairs of cupids with the
word " anno," and narrow fragments of borders of wavy
stem or link pattern. At the top are the letters of the
alphabet in rows repeated ten times in various types (the
last row being beneath crowns), the numerals, the name
"maria gottlich," and the date 1848. From the
Vierlande, a district on the Elbe near Hamburg.
L. 15 in., W. i6£ in. Acquired in 1899.
(2) Undated.
71. Linen, decorated with cut and drawn work and needle
point lace fiUings, and also embroidery in black or white
cotton. The upper portion consists of fifteen horizontal
bands of varying width in openwork with patterns of
rosettes and stars (some within lozenges), and tref ofls ;
below are three bands worked in white with angular
floral stems and the letters of the alphabet, also a heart
transfixed by arrows worked in black. At the botton is a
pointed compartment of geometric pattern in openwork.
From Nuremberg ; 17th century.
It is interesting to compare this with an English sampler
of the same period, see No. 4. The work in the German
sampler is not so varied and is coarser in quahty.
L. 2 ft. 8£ in., W. 8| in. Presented in 1871 by Mrs. Henry Reeve.
72. Loosely-woven muslin, decorated with drawn work and
embroidery in white cotton thread. Thirty-five smaU
squares (arranged in seven rows of five each) filled with
various diapers, including lozenges, quatrefoUs, horizontal,
diagonal and zig-zag stripes and chequer pattern. There
is a scalloped border of wavy leafy stems and floral devices
partly outlined in chain and buttonhole stitches. It is
bound with pale blue ribbon, with bows at the corners
(one missing). Probably from North Germany : first half
of 19th century. Compare with Swedish sampler, No. 138.
32

This panel resembles peasant work from Flemish settle
ments on the Elbe, see a Cap Front, No. 1190-1883, and
some of the " Tonder " drawn work, see Introduction, p. 5.
L. 10J in., W. 11J in. Pink paper backing. Acquired in 1903.
73. Squared net, decorated with needle-run embroidery,
darning (lacis), and applied cambric outlined with em
broidery. Thirty-six square compartments in six rows of
six each, fiUed with lozenges, blossoms, horizontal and
vertical stripes, interlacements and other diaper patterns.
There are three borders, varying in width, consisting of
floral devices (with elaborate fillings), hearts, crosses and
other geometrical forms. The compartment and borders
are outlined by stripes of pink floss silk, and the outer edge
is bound with silk ribbon and: corner bows of the same
colour. Probably from North Germany ; first half of
19th century.
See No. 72, and also a panel with simUar diapers from East
Prussia, No. 780-1905.
L. 18J in., W. 17^ in. Green paper backing of double thickness.
Acquired in 1903.

FROM ALSACE.
74. Loosely woven hnen, embroidered with coloured silks
chiefly in chain stitch. At the top are the letters of the
alphabet repeated twice. In the middle are the initials
" M. o. b." and the date 1718, surrounded by symmetrically
curved stems bearing flowers and fruit ; beneath is a two-
handled vase of HHes, and pots with a lemon and apple(?)
tree stand in each of the lower corners. At the sides are
four smaU square panels closely worked with various
diapers, including zig-zag Hnes, lozenges and flowers. The
remaining space is filled with detached stems of tuhps and
other flowers, a basket of fruit, also a peacock, parrot and
other birds.
L. I2j in., W. 9l in. Acquired in 1907.

33

V. ITALIAN.
ITALIAN samplers often iUustrate lace-making, but there
is only one of early date in the Museum. This specimen
is the large sampler recently acquired from the coUection of the
late Mr. Henry Wallis (No. 77) ; it belongs to the 17th century
(Plate XII). An interesting record of similar ItaHan patterns,
both for embroidery and lace, of late 16th and early 17th
century date, is illustrated in Signora Elisa Ricci's recent
book : Antiche Trine Italiane.1 It shows a square linen
panel, now in the possession of fhe Marchesa Eloisa BargagH
of Florence, divided into four equal parts, three of which are
worked in coloured silks with graceful floral borders some
what resembhng those reproduced upon contemporary Enghsh
samplers, and the fourth with geometric devices in reticella
and cut and drawn work. Another sampler of about the same
period2 is mainly composed of small horizontal bands of
reticella, with some in white work, of floral and geometrical
design. Some 19th century embroidered, samplers which
are still found in Italy, sometimes bearing the name of the
town upon them, are believed to have been worked by American
or Enghsh residents in that country3 ; others record ItaHan
names, such as " Teresa Fini " or " Maria Pagani."4 Four
specimens from Perugia (Nos. 75, 76, 79 and 80) have been
lately acquired by gift. (1) Dated.
75. Loosely-woven linen, embroidered with coloured silks in
cross stitch. At the top commencing with a floriated
cross is the alphabet in adapted Lombardic capitals,
arranged in two horizontal rows, which terminate with the
date 1820. In the middle is a vase of fruit, with a peacock
on one side and stag on the other, a carnation and other.
flowering plants. At the bottom are unfinished designs
(a scalloped band, the pedestal of a vase, and part of a
stag).L. 7£-in., W. 13 J in. Acquired at Perugia. Presented by Miss
Leonora F. M. Preston in 1916.
(J) Trine ad Ago. Vol.' I. Punto a Reticetto Tav. I"
(2) „ „ .. „ „ Tav. II«.
(3) Note supplied by Mrs. Hungerford Pollen.
(4) On samplers in the collection of Dr. J. W. Walker, of Chicago.
34

76. Lmen, > embroidered with coloured silks in cross stitch.
At the top commencing with a cross terminating in
crowns are two alphabets in cursive and Roman capitals
of varying size, and the numerals up to io, and by tens
up to ioo, arranged in four horizontal rows. In the
middle is a band with the inscription : " vittoria x
luchetti x fece x lanno x 1855 x ," and at the bottom
an unfinished row consisting of a basket of fruit, with
pairs of birds perched on vases of flowers, cypress trees,
and dogs on each side, and also four small panels of
lozenge diaper. The vertical side borders are fiUed with
two-handled vases from which grow flowering plants ; at
the top is a horizontal band of interlacing key ornament.
L. 8 in., W. I3J in. Acquired at Perugia. Presented by Miss
Leonora F. M. Preston in 1916.
(2) Undated.
77. Linen, with needlepoint lace, cut and drawn work, and
embroidery in sUver and white Hnen thread. The upper half
consists of horizontal lace bands of varying width, filled
with large and smaU rosettes, stars and other geometrical
devices, and flowering stems. In the left corner, beneath
the name " gvllia piccolomini,"1 is the figure of a lady
in a wide striped skirt holding a flower. The lower half
has broad and narrow bands of white embroidery and
openwork, with lozenges, geometrical ornament, the
•Sacred Trigram i.h.s. within rays, and various floral
devices. 17th century. Plate XII.
L. 2 ft. 7J in., W. 17 in. Acquired in 19 19. Formerly the property
of the late Mr. Henry Wallis. Neg. No. 50108.
78. Linen, embroidered with coloured silks chiefly in cross
stitch. The pattern is arranged in two horizontal compart
ments ; the upper one fiUed with smaU buildings, crowned
monograms, conventional trees, floral devices and a wavy
stem bearing acorns, the lower with a woman dressed in a
pale red bodice, blue skirt and black hat, a doorway and
an iron gate, two windows (open and closed), birds perched
on a railing, and another upon a tree with a fox beneath
(perhaps representing ^Esop's fable of the Fox and the
(J) The name Giulia was borne in several branches of the Pidfcolomini
family of Siena : e.g., Giulia (b. 1549), who married Alessandro d'Elci
in 1579 ; Giulia (b. 1655), daughter of Count Francesca Piccolomini,
wife of Sigismondo Trapp, baron of Biseno, and Giulia (b. 1647), wife
of Girolamo Cerretani, in 1668. Cf. A. Lisini and A. Liberati: Genealogia
dei Piccolomini di Siena, Tav. Ill, V, VI, 1900. 35

Crow). There is a narrow border of a wavy, stem with
-blossoms. Said to have been acquired in Florence. ' Late
18th or early 19th century. Plate X.
g| in. by g£ in. Presented by Miss Baxter in 1912, on behalf of her
late sister, Miss Kate Baxter. Neg, No. 37638.
79. Linen, embroidered with coloured silks in cross and eyelet
stitches, At the top are two alphabets in capitals of varying
size arranged in two horizontal rows, and at the sides are
two. further alphabets and the numerals up to 9- within
rectangular compartments. In the middle is a bouquet of
flowers, surrounded by stems bearing - flowers and fruit,
floral sprigs, birds, butterflies, a vase and basket of flowers
or fruit, a ewer, and ruins and other buildings ; beneath is
the name " Virginia rocchi." In the lower corners are
represented a woman with a rake in a field, and a man
fishing out of a boat. There is a narrow border all round'
of repeating stems of roses and other flowers, partly of
wavy character. First half of 19th century.
L. 13I in., W. 20 in. Acquired at Perugia. Presented by Miss
Leonora F. M. Preston in 1916.
80. Cotton, embroidered with red cotton, chiefly in cross
stitch. At the top are three alphabets in Roman and cursive
capitals of varying size each commencing with a cross (the
first terminating with the initials A g), and the -Arabic and
Roman numerals up to 9, arranged in four horizontal rows.
Below are the foUowing Sacred Emblems : a Heart with
the Sacred Trigram I H S above, a lUy growing from a pot,
a chaHce and paten (?) ; also a crown, a cat, birds, a cypress
tree, and other objects, besides wavy floral and leafy stems.
The border consists of key and cable ornament, and
detached straight or wavy stems bearing flowers, fruit
and leaves. About middle of 19th century.
L. 8J in., W. 20 in. Acquired at Perugia. Presented by Miss .
Leonora F. M. Preston in 1916.

36

VI. SPANISH.
THESE are distinguished by their vivacious colouring and
variety of design. They are usually of large size, some
times about 24 in. square, or of oblong shape. They are entirely
covered with numerous border patterns, chiefly of graceful floral
character. In the square samplers these are worked round the
four sides, and the centre is fiUed with Sacred Emblems, double-
headed eagles (part of the insignia of the Hapsburg kings of
Spain), or.monograms. In the oblong samplers the borders are
arranged in two vertical rows with a join resembling a seam
down the middle. The edges are often decorated with small
tassels of floss silks or bows of coloured silk ribbon. Satin and
cross stitches are used, as weU as drawn work bound over with
coloured silks, Alphabets rarely occur, but the name of the
worker is usually recorded in fuU, together with the date, and
on six specimens in the Museum collection the teacher's name
is added (Nos. 83, 84, 92, 105, 116 and 125). The earliest dated
sampler of Spanish origin in the Museum (Plate XI.) bears the
year 1756 (No. 81) . The coUection has been greatly strengthened
by the gifts of Dr. W. L. Hildburgh, F.S.A., who obtained many
samplers in embroidery and drawn work during his recent
travels in Spain. Samplers made in Mexico are generally
smaUer , and show similar design to the traditional patterns upon
those from Spain, although dated examples are generaUy of the
19th century (Nos. 89 and 90) .**-
(1) Dated.
81. Linen, embroidered with coloured silks in a great variety
of stitches (including satin and chain stitch), and further
decorated' with drawn work. The greater part is divided
into seven rectangular compartments, six of which are fiUed
with horizontal bands of varying Width, containing lozenges,
floral devices, wavy and scroUing steins, and other orna
ment. The middle compartment has two winged kneeling
figures, between which is a monogram formed of the. letters
b V R (?), a pyramidal building with columns and hanging
lamps, a conventional female figure holding leafy blanches
on each side, pairs of birds, and detached flowers. Round
three sides runs the foUowing inscription : " dona isabel
(!) See English Illustrated Magazine, XXXII, 1904-5. illustration on
p. 446. 37

EVLOGIA DE LA ESPADA LOACAVO. ANO DE 1756." (Dona
Isabel Eulogia de la Espada finished it in the year 1756.)
There are also two narrow panels of drawn work at the
sides, with patterns in green and pale red silk, of a double-
headed eagle between two lions (?), and geometrical devices.
Wide borders surround the whole sampler, consisting of
oblique and zig-zag bands," lozenge-shaped and other
geometrical figures, and floral designs. It is edged with pink
sUk ribbon. Plate XI.
L. 2 ft. 5^ in., W. 2 ft. 4J in. Acquired in 1909. Neg. Nos. 37630, 37631-
82. Linen, embroidered with brightly coloured silks (green,
blue, and shades of yellow and red), in a great variety of
stitches (including satin, chain, and cross stitch), and
further decorated with drawn work In the centre is a
double-headed eagle with a Maltese cross on its breast and
a crown above, also the name " theresa casares " and the
date " ano de 1762 " below, surrounded by bands of
rosettes, stars and other geometrical devices. Between this
central compartment and the outer border are further bands
of drawn work in zig-zag and diagonal stripes, lozenges and
lattice-work patterns. The outer border is broad, and is
fiUed with rows, varying in width, of conventional plant-
forms, angular floral stems and ornamental bars. In each
corner is a square compartment enclosing an angular plant
surrounded by small birds and detached blossoms. There
¦ are small tassels of blue and yellow sUks at the corners (one
missing), and a straight drawn-work edging-
L. 2 ft. 7 in., W. 2 ft. 3^ in. Presented by Lady Stern in 1911.
Reproduced in Review of the Principal Acquisitions, 1911, p. 51,
fig. 33- Neg. No. 35238.
83. Linen, embroidered with coloured silks chiefly in cross
stitch. In the middle is a large rectangular compartment
filled with a variety of objects, including a carnation' plant
growing out of a two-handled vase, flowering plants in
smaller vases, a fountain with birds and animals on either ,
side, chairs, ships, etc. ; around is the inscription : "me
IZO TIBVRCIA DE LARAONA DISCIPVLA DE NICOLA SA MONTES,,
ano de mil [si] etecientos noventa i nveve." (Tiburcia
de Laraona, pupil of Nicola sa Montes, made mein the year
one thousand seven hundred and ninety nine.) The borders
consist of a narrow one with key ornament between two
broad ones with geometrical patterns of lozenges containing
stars or crosses, treble stripes and a row of vases (?).
L. 23^ in,, W. 21 i in. Acquired at Burgos. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
38

84. Linen, embroidered with coloured silks m a great variety
of stitches (including cross and satin stitch). The patterns
are very numerous, and consist of a lady carrying a flower,
accompanied by four dogs, a man and a lizard, a shepherd
with his sheep, a double-headed eagle and smaller birds,
flowering plants growing from vases, the sun and moon, the
Sacred Tngram I.H.S. and various religious emblems, and
many bands of geometrical diapers, blossoms and angular
floral stems. The middle panel is surrounded by the
foUowing inscription, worked in black : " meizo dona
RAMONA X ERIZARDE X SIENDO SU MAESTRA DONA XUISA DE
TOROCA II EDELHORNO DE SAN MATIAS ANO DE l8l2(?).
(Dona Ramona Erizarde made me, her teacher being Dona
Luisa de Toroca y(?) Edelhorn de San Matias, in the year
1812.) The edges are bound over with blue and buff
coloured silk, and at each corner is a bow of coloured silk
ribbon (blue, pink, green and yellow).
2 ft. 4 in. by 2 ft. 3 in. Acquired in 1884.
85. Linen, embroidered with coloured silks in chain stitch. In
the centre is the date 1832, surrounded by a miscellaneous
arrangement of landscapes with trees and houses, birds
perched on branches or flying, sprigs of roses, tulips and
other flowers, wavy floral stems, and baskets of fruit or
flowers. The inner border is fiUed with two repetitions (and
portion of a third) of the letters of the alphabet in capitals,
and the numerals up to 10. The narrower outer border
consists of a row of smaU squares.
14 J in. by 14^ in. Acquired at Toledo. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
86. Linen, embroidered with coloured silks, partly in cross
stitch. Divided in the length by a central vertical line. The
left half contains a monstrance beneath a red valance with
tasseUed cords, the inscription in capitals : " lohizo jose.
fa alonso ano de 1832 " (Josef a Alonso made it in the
year 1832), a pot of carnations, floral borders and key
ornament. The right half has the arms of Castile and Leon
between the pillars of Hercules, a chair, two ships, and
seven horizontal bands of geometrical and floral pattern
(lozenges, hexagons, crosses and zig-zag stripes).
L. 9| in., W. 8 in. Acquired at Toledo. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1919.
87. Linen, embroidered with coloured silks in cross stitch. In
the middle is the inscription : " lohizo dionisia guzman
en soria ano de 1844 (Dionisia Guzman made it in the
39

year 1844)-; above are trees, flowering plants in vases, a
house, a smaU key, and the letters of the alphabet in
_ capitals ; below are two stags beside a fountain, small
birds, pots of flowering plants, and a row of slender two-
handled vases containing flowers. There is a variety of
borders aU round, consisting of floral sprigs, straight and
wavy floral stems, lozenge diaper, and a row of pots with
flowers, leaves and fruit.
L. 12 in., W. 14I in. Acquired at Burgos. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
88. Linen, embroidered with coloured sUks chiefly in cross
stitch. Round the middle is the foUowing inscription:.
" ABECEDARIO . ECHO . DE LAMANO . DE FLORENTYNA .
ldpez . encalera . ano . de . 1848." (Alphabet made by
the hand of Florentyna Lopez at Calera in the year 1848.)
Within is a carnation plant growing from a basket, sur
rounded by a transfixed heart, small birds and dogs, a ship,
a ladder, a high-backed chair, and pots of flowers. There
are borders aU round of floral and geometrical patterns
(interlaced hexagons, lozenges, and dentated ornament),
with scroUwork arcading and stripes.
14J in. by 14J in. Acquired at Burgos. Presented -by Dr. W. L.
Hildburgh, F.S.A., in 1917.
89. Linen, embroidered with brightly coloured sUks (partly in
cross and satin stitch) and copper-gUt thread, and further
decorated with drawn work. Twelve bands fiUed with
lozenges, zig-zag stripes, angular floral stems, double-
headed eagles and masks. There is also a stag holding a
flower in its mouth (within a squarish compartment), two
symmetrical stems bearing flowers and fruit, a rose and a
carnation plant growing from vases, the Sacred Trigram
I.H.S., a pehcan and smaller birds, monkeys and other
animals. At one side is the foUowing inscription, worked in
black : " lo hiso ma de jesus baleria lara, se acabo el
dia 8 de enero. de 1651." (Maria de Jesus Baleria Lara
made it, finished the 8 day of January 1651.) Probably
meant for 1851. From Mexico.
L. 2 ft. 7 in., W. 15J in. Acquired in 1899. The date is probably
a mistake, as another Spanish sampler, dated 1850, shows workman
ship and design almost precisely similar. See photograph at
Catalogue Stall, No. 25574 ; and the following Sampler, No. 90. .
90. Linen, embroidered with brightly coloured silks (partly in
cross and satin stitch) and copper-gilt thread, and further
decorated with drawn work. Fifteen horizontal bands
40

arranged in groups of three, fiUed with lozenges, diagonal
and. zig-zag stripes, angular and wavy floral stems and
S-shaped scrolls, aU on an open ground. There are also ten
bands with geometrical patterns, and angular and scroUing
stems bearing conventional flowers and pomegranates in
embroidery, and in the upper right-hand corner is worked
a symmetrical floral stem, with a smaU house and vase at
the edge. In one drawn-work compartment the following
letters and numerals are left in the linen : —
" e. d. lo. i
F. L. E. E. A. 52."
Probably meant for 1852. From Mexico.
23 in. by 22j in. Acquired in 1899. See preceding sampler, No. 89.
91. Linen, embroidered with coloured silks and wools in cross
stitch. Various detached designs, including two black and
white dogs, an ox, a basket of fruit, a scroUwork device, the
letters of the alphabet in large capitals, the initials "op"
and the date 1854.
L. 23 in., W. 10J in. Acquired at Burgos. Presented by Dr. W.-L.
Hildburgh, F.S.A., in 1917. (2) Undated.
92. Linen, embroidered with coloured linen threads (green,
blue, pink and buff) and green silk in cross stitch. Twelve
horizontal bands of varying width, fiUed with eight-pointed
stars, lozenges, crosses, zig-zag stripes, and conventional
flowers. The border has a closely repeating row of finial
devices in alternating groups of blue, yellow, green and
pink. Towards the lower end is the foUowing incomplete
inscription in green silk ¦—
" LOHiZG MARIA DE LAO
GVZMAN i BERGARA Dis
ciPVLA DE FRANCiSCA DE . . ."
(Maria De Lao Guzman y Bergara made it. pupU of
Francesca de . . .) 17th or 18th century.
L. 2 ft. 2 in., W. 14 in. Acquired in 1891. Neg. No. 39083.
03 Linen embroidered with coloured linen threads (green,
blue, pink and buff) in cross and satin stitch. Twenty-one
horizontal bands of varying width filled WHth lozenges,
rosettes, angular stems, cupids holding scrolls stags horses,
birds, vases of flowers and floral devices. Along the two
sides is an inner border consisting of a row of scallops, and
all round is an outer border of repeating S-shaped floriated 41

scrolls in blue. There are small tassels of coloured hnen
threads at the corners and at the middle of each side.
17th or 18th century.
L. 3 ft. 4 in., W. 22 in. Acquired in 1891. Neg. No. 39084.
94. Linen, embroidered with white linen thread and blue
cotton. The surface is divided into twelve horizontal bands
of varying width, filled with angular leafy stems, floral
sprigs, detached blossoms and different geometrical patterns
(lozenges, stars, crosses and zig-zag stripes). There is a
narrow repeating border of striped ornament all round.
17th or 18th century.
L. 2 ft. 3 in., greatest W. 13 in. Acquired at Toledo. 'Presented by
Dr. W. L. Hildburgh, F.S.A., in 1917.
95. Linen, embroidered with coloured silks in satin and other
stitches. In the middle are two winged figures supporting
a monogram formed of the letters V P R (?), a pyramidal
building with columns and hanging lamps, a conventional
female figure richly dressed and holding a leafy branch on
each side, pairs of birds, animals and floral devices. Above
is the inscription : " lo hizo ana maria leal." (Anna
Maria Leal made it.) The remaining space is fiUed with
many horizontal bands and vertical borders, varying in
width, consisting of scroUing floral stems and geometrical
devices (including hexagons, lozenges, diagonal stripes and
rosettes). In each corner is a square compartment fiUed
with an angular plant. There is a repeating border of
rosettes, detached flowers and zig-zag stems, and a narrow
edging of fringed pink sUk. Middle of 18th century.
The middle compartment resembles No. 79, and the corners
are like those of No. 61.
L. 2 ft. io£ in., W. 2 ft. 2 in. Acquired in 1897. Neg. No. 44718.
96. Linen, embroidered with coloured silks, chiefly in coarse
, cross stitch. Long and narrow in shape. Ten horizontal
bands varying in width, filled with lozenge, zig-zag, chequer,
octagon and other geometrical patterns, and linked leafy
stems. There are twelve small tassels round the edges of'
coloured silks, in yeUow, brown and blue. 18th century!
L. 2 ft. ij in., W. 8f in., including tassels. Acquired in 1912.
97. Linen, embroidered with coloured silks (chiefly yellow,
green, blue and shades of red) in a variety of stitches,
including satin, chain and darning stitches. In the middle
is an' oblong compartment containing a floral device
enclosing the arms of the Carmelite Order1; it is
(!) Cf. Woodward's Ecclesiastical Heraldry — Carmelites.
42

surrounded by the foUowing inscription: dona . micaela
. vsebia .i.v.a.n.ovr. (Dona Micaela Usebia
Juano . . .), with narrow floral borders all round.
The surrounding space is worked with a wide repeating
border consisting of symmetrical plants, some growing
from baskets, alternating with pairs of oxen and birds.
Long and short borders arranged both verticaUy and
horizontaUy, with squares at the corners, fill the rest
of the sampler; they are worked with various floral
and geometrical patterns, some of lozenge and' chevron
character. 18th century.
L. 2 ft. i in., W. i6£ in. Acquired in 1893.
98. Linen, with cut and drawn work bound over with cotton
thread. There is also shght embroidery in coloured cotton.
Divided in the width by a central vertical Hne. The left
half is divided into seven horizontal bands and the right
into four bands of varying width, aU with geometrical
patterns (lozenges, zig-zag stripes, S-forms, angular or leaf
devices, etc.). The embroidery is on the lower part of the
right side, and chiefly consists of a lozenge diaper in blue
and red. Probably 18th century.
L. 7iin., W. 21 J in. Acquired at Toledo. Presented by Dr. W. L.
v Hildburgh, F.S.A., in 1917.
99. Linen, embroidered with red and blue cottons. Divided
in the width by vertical hnes into five divisions, which are
worked with thirty horizontal bands, of varying width,
containing a number of geometrical diapers (lozenges and
crosses), S and X-shaped devices, floral and dentated lace
like edging, also smaU plants, finial devices and birds.
18th century (?).
L. 9 J in., W. 24 m. Acquired at Toledo. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
100. Linen, embroidered partly in cross stitch with coloured
silks, blue cotton and white Hnen. In the middle is a tall,
slender, two-handled vase surmounted by a large crown,
and surrounded by pairs of lions, birds, small plants and
the two Sacred Monograms; floral devices are in the corners.
Around this compartment is the inscription : " lehiso
DIONISIA GOMEZ DE A . GVERO DE ED AD DE IIAN0S."
(Dionisia Gomez de Aguero made it at the age of eleven
years.) There are two broad borders all round consisting
of a double row of plant forms and large lozenges
containing four or eight petaUed-flowers. 18th century.
L. 2 ft. 6 in., W. 23jin. Acquired at Toledo. Presented by
Dr. W. L. Hildburgh, F.S.A., in 1917- 43
(6651) D

i oi. Linen, with cut and drawn work bound over with white
and light brown cotton thread. The name " raimvnda
martinia " is worked with red cotton in cross stitch.
Divided in the width by a central vertical line. The left
half is divided into eight horizontal bands and the right
half into seven bands of varying width, with geometrical
patterns (lozenges, zig-zag stripes, and S-forms), leaf
devices and a wavy stem. Probably 18th century.
L. io$in., W. 17 in. Acquired at Toledo. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
102. Linen, with cut and drawn work, bound over with brown
and white linen thread. There is also slight embroidery in
red cotton and brown Hnen thread. Divided in the width
by a central vertical Une. The left half is divided into
twelve horizontal bands, and the right half into ten bands,
of varying width, containing different geometrical patterns
(lozenges, S-forms, X-shaped and rectangular devices).
Probably 18th century.
L. 13 £ in., greatest W. 2 ft. 5j in. Acquired at Toledo. Presented
by Dr. W. L. Hildburgh, F.S.A., in 1917.
103. Linen, with cut and drawn work bound over with white
cotton thread and green, red and blue sUks. Divided in
the width by a central vertical line. The left half is divided
into five horizontal bands and the right half into twelve
bands of varying width, containing different geometrical
and floral patterns (lozenges, zig-zag bands, S-forms,
X-devices, pointed leaves and eight-petaUed flowers).
Probably 18th century.
L. 14 J in., greatest W. 20 in. Acquired at Toledo. Presented by
Dr. W. L. Hildburgh, F.S.A., in 1917.
104. Linen, embroidered with coloured linen and cotton
threads (red, blue and shades of brown). Divided in the
length and width by vertical and horizontal lines. The
right-hand top quarter has five horizontal bands, of varying
width, fiUed with geometrical ornament (lozenges, angular
devices, X-shaped crosses and quatrefoils) ; the remaining
quarters are worked with a variety of geometrical diapers
(lozenges enclosing crosses, zig-zag stripes and S-forms)
and also with dentated lace-like edgings, plant forms,
and pairs of birds. 18th century (?).
L. 18£ in., W. 19 in. Acquired at Toledo. Presented bv Dr
W. L. Hildburgh, F.S.A., in 1917.
44

105. Linen, embroidered with coloured silks, chiefly in cross
stitch. In the middle is a fountain with double bowls upon
which birds are perched, surrounded by smaU baskets of
fruit, a vase of flowers and an animal, within a dentated
edging. The border has the letters of the alphabet in
capitals, and the inscription : " loico petra Fernandez
enlaefse nanca degeferina . arias." (Petra Fer
nandez made it under the teaching (enseiianza) of
Geferina Arias.) 18th century.
6J in. by 6J in. Acquired at Toledo. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
106. Linen, embroidered with coloured silks and blue linen
thread in cross stitch. In the middle is a large double
cross with pyramidal base, surrounded by smaUer crosses,
birds and lions, and three bands of lozenge pattern. There
. are four borders aU round fiUed with lions, and geometrical
ornament (lozenges, dentations, etc.). 18th century.
21 J in. by 21 in. Acquired at Toledo. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1919.
107. Linen, with cut and drawn work bound over with brown
and white cotton, and embroidery in red cotton. Divided
in the width by a central vertical Hne. The left half is
worked in the upper part with dentated lace-Hke edgings
and floral borders, below are four horizontal bands with
geometrical ornament in openwork (lozenges, circles,
quatrefoils, etc.). The right half has four horizontal
bands of varying width, with angular carnation stems,
pairs of dogs, sprigs, leaf . and hexagonal ornament.
Probably 18th century.
L. 22J in., W. ioJ in. Acquired at Burgos. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
108. Linen, with cut and drawn work partly bound over with
red and buff-coloured cotton. Divided in the width by a
central vertical Hne. The two halves are fiUed with seven
teen horizontal and paraUel bands of varying width.
They contain detached leaves and blossoms, wavy floral
stems, four-petalled flowers within large lozenges, and
geometrical patterns — chiefly variations of a lozenge
diaper. Probably 18th century.
L. 2o| in., W. 24 in. Acquired at Burgos. Presentee* by Dr. W. L.
Hildburgh, F.S.A., in 1917-
109. Linen, embroidered with brown Hnen thread and red and
blue cotton. The left half is covered with five horizontal
bands of varying width fiUed with star-like flowers, large
45

lozenge and X-shaped devices; the right has many
portions of narrower bands with various geometrical
diapers (lozenges, crosses, zig-zag stripes, etc.), and at the
bottom detached plant devices. 18th century.
L. 15 in., W. i6| in. Acquired at Burgos. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
no. Linert, with cut and drawn work, bound with white cotton
and partly with red and blue silk. Divided in the length
and width by vertical and horizontal lines. The lower
quarters and the left upper one have each four bands,
and the. right upper one nine bands, of varying width,
filled with angular devices, S-forms, and lozenge diapers
(sometimes enclosing crosses or stars) and other geometrical
patterns. Probably 18th century.
L. 16 in., W. 17 in. Acquired at Burgos. Presented by Dr. W. L.
Hildburgh in 1917.
in. Linen, with cut and drawn work, bound over with white
cotton, and partly with pale red and blue sUk. Divided in
the width by vertical lines into three parts, which are
covered with twenty-four horizontal bands, of varying
width, containing, eight-petalled flowers within large
lozenge-shaped compartments, and different geometrical
patterns (lozenges, some enclosing crosses and stars,
zig-zag stripes, etc.). Probably 18th century.
L. 14 J in., W. 22 J in. Acquired at Burgos. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
112. Linen, with embroidery in red and blue cotton and cut and
drawn work partly bound over with buff-coloured cotton.
It bears the inscription " dorote erero p." (Dorothy
Erero.) Divided by two lines into quarters. The upper
quarters and part of one of the lower are closely worked
with a variety of geometrical diapers (lozenges, S-forms
and key pattern) and floral designs of detached plant
forms and wavy stems. The remaining portions of the
lower quarters have eleven horizontal bands in openwork
of similar geometrical character. Probably 18th century,
L. 13J in., W. about 14I in. Acquired at Burgos. Presented by
Dr. W. L. Hildburgh in 1917.
113. Linen, with cut and drawn work bound over with cotton
thread. Divided vertically in the width into three parts,
which are filled with twenty-five horizontal bands, of
varying width, containing geometrical patterns (lozenges,
46

rosettes, zig-zag stripes and S-forms. On one side is the
inscription : " loizo lorenza mor " (Lorenza Mor
made it) embroidered in red. Probably 18th century.
L. 14 in., W. 18 in. Acquired at Burgos. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
114. Linen, embroidered with cotton in red and shades of
brown. It is closely covered with plant forms, rectangular
and lozenge-shaped floral devices, rows of sprigs, pairs of
birds and narrow ornamental stripes. 18th century (?).
L. 94 in., W. 10J in. Acquired at Burgos. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
115. Linen, embroidered with coloured silks, chiefly in cross
stitch. In the middle there are four horizontal hands of
varying width, filled with lozenges, zig-zag stripes and
conventional carnation stems, also a small female figure
and a chair ; there are broad and narrow borders of
geometrical ornament. 18th century.
L. 15 in., greatest W. 16J in. Acquired at Burgos. Presented by
Dr. W. L. Hildburgh, F.S.A., in 1917.
116. Linen, embroidered with coloured silks, partly in cross
stitch. In the middle is a squarish compartment filled with
a large carnation plant with angular stems growing from
a vase, and surrounded by detached blossoms, stars and
keys; around the compartment is the inscription:
" LOHIZO MARIA DEL PILAR SAEZ DISCIPULA DE DONA ROSA
Garcia . viva . JESV." (Maria del Pilar Saez made it,
pupil of Dona Rosa Garcia. Hail Jesu!). The outer
borders are of varying width, and consist of geometrical
ornament (lozenges and crosses), with dentated and
chequer patterns. 18th century.
15 in. by I5i in. Acquired at Burgos. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917-
117. Linen, embroidered with coloured silks in cross stitch. In
the middle is a squarish compartment with the letters of
the alphabet in capitals at the top, and below flowering
plants in vases, the Agnus Dei, birds, gridirons, a basket
of fruit, a ship, and other objects. The outer borders vary
in width, and consist of geometrical ornamerit (hexagons,
crosses, zig-zag stripes) with scroll and chequer patterns.
18th century.
L. i2j in., W. 13 in. Acquired at Burgos. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917- ' 47.:

1 1 8. Linen, embroidered with coloured silks and red, white and
blue cotton. There are also slight traces of drawn work.
Closely covered' with various borders, both broad and
narrow, and detached sprigs, arranged horizontaUy. The
borders consist of wavy and zig-zag floral stems, S-forms,
lozenges, and star-shaped blossoms. The drawn work is
in a lozenge pattern. Probably 18th century.
L. 17 in., W. 9J in. Acquired at Burgos. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
119. Linen, with cut and drawn work and embroidery in
coloured silks. Divided verticaUy in the width into three
parts, which are fiUed with twenty-eight horizontal bands
of varying width (four of them in openwork), containing
geometrical patterns (lozenges, hexagons, diagonal, zig-zag
and straight stripes), blossoms and floral devices, pairs of
birdsand a row of slender columns. Probably 18th century.
L. 15J in., W. 2 ft. 2£ in. Acquired at Seville. Presented by
Dr. W. L. Hildburgh, F.S.A., in 19.21.
120. Linen, embroidered with coloured sUks partly in cross
stitch. The upper part is worked with a two-masted ship,
two pots with flowering plants, a basket of fruit, a smaU
cross on a mound, and various letters of the alphabet.
Below are the consecutive letters of the alphabet in
capitals, repeated twice. The borders consist of lozenges
enclosing crosses, a zig-zag stripe and a straight floral
stem. Late 18th century.
L. 15^ in., W. 17 in. Acquired at Burgos. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
121. Linen, embroidered with red and blue cotton thread.
Divided in the width by a central vertical Hne into six
horizontal bands in each half, of varying width, closely
filled with lozenges, S-forms, X-shaped devices, interlacing
and leaf ornament. 18th or early 19th century.
L. 8f in., W. 21 in. Acquired at Toledo. Presented bv Dr W L "
Hildburgh, F.S. A., in 1917. ' ' '
122. Linen, embroidered with coloured silks in cross stitch. In
the middle compartment is the inscription: "lohizo
VICENTA MORENO PARA DONA PETRA SALAMANCA EN-
lamaestrad . m.s." (Vicenta Moreno made it for Dona
Petra Salamanca during the mistress-ship . xx.) Above
is a band of rosettes within hexagons, and below a row of
lanterns and conventional plants. There are three borders
48

of varying width, the outer one of key pattern in blue, and
the inner two of diagonal ornament and carnation plants.
Second half of 18th or early 19th century.
L. 13 in., W. 17 in. Acquired at Toledo. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1919.
123. Linen, embroidered with coloured wools chiefly in cross
stitch. In the middle is a square-shaped compartment
fiUed with a large star device, the letters " G . . .
Nyape . . ," a two-headed eagle, the Agnus Dei, and
floral patterns. The remaining surface has geometrical
ornament (lozenges and crosses) and plant forms, with a
border of lions all round. 18th or early 19th century.
L. 2 ft. 4J in., W. 19 in. Acquired at Toledo. Presented by Dr.
W. L. Hildburgh, F.S.A., in 1919.
124. Linen, embroidered with brown Hnen thread, and blue and
red cotton. Divided in the width by a central vertical line.
The left half is worked towards the top with, a variety of
geometrical diapers (lozenges, crosses and key pattern),
and below with dentated lace-like edgings, detached plants
and flowers, an animal, birds and a heart device ; the
right half is fiUed with nine horizontal bands of varying
width containing S and X-forms, lozenges, rosettes and
key pattern. 18th or 19th century.
L. 14J in., W. 22J in. Acquired at Burgos. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
125. Linen, embroidered with coloured silks chiefly in cross
stitch. In the middle is a drooping tree, a ship, a basket of
fruit, birds and floral sprigs. Around are several borders
of varying width containing rows of vases, stems of
carnations and other flowers, and lozenge diaper enclosing
crosses. The innermost border is filled with the inscription :
" LOHIZO JOSE FADIEZ . DISIPULA DE DA MANVELA LOPEZ
mtra de la encn." (Jose Fadiez made it pupil of Dona
Manuela Lopez— of the Incarnation.) Late 18th or early
19th century.
About 13 J in. square. Acquired at Burgos. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
126. Linen, embroidered with red cotton in cross stitch and
coloured sUks. Seven repetitions in horizontal rows of the
letters of the alphabet, chiefly in capitals. In the top left-
hand corner is a floral medalhon suspended from a bow of
ribbons above a scaUoped edge, on the right is a crowned
double-headed eagle, and at the bottom is a smaU basket
of fruit. First half of 19th century.
L. 7$ in., W. 21 in. Acquired at Toledo. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917- 49

127. Linen, embroidered with coloured silks in cross stitch. A
medley of straight and wavy floral stems, a rose tree
growing out of a vase, two baskets of fruit, and birds.
First half of 19th century.
L. 7 in., W. iof in. Acquired at Toledo. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
128. Linen, embroidered with coloured silks in cross stitch. A
medley of patterns, including large and smaU figures of
men (one on horseback), a goat, a stag, a pair of doves and
other birds, ships, carnation and other plants growing
from vases, a "basket of fruit, sprigs of flowers, a smaU key,
and narrow bands of lozenge or chequer diapers. First half
of 19th century.
L. 8J in,, W. 9j in. Acquired at Toledo. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
129. Linen, embroidered with coloured silks chiefly in cross
stitch. In the middle is an oblong compartment, with the
initials " j.m.a.m." surrounded by small lozenges in red,
green and light blue. There are borders of geometrical
ornament (lozenges, dentations, and stripes) partly in
mauve and yellow. First half of 19th century.
L. 7 J in., W. n| in. Acquired at Toledo. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1919.
130. Linen, embroidered with coloured silks in cross stitch. In
the middle is a basket with a carnation plant and two rose
buds, and two small birds perched on the handles, a smaU
dog, and floral sprigs, and the initials " t.h." and " b.p."
The remaining space is fiUed with finial devices and geo
metrical ornament (hexagons, lozenges, and diagonal
stripes). It is bound with linen braid, with linen bows at
the corners. . First half of 19th century.
L. 11 \ in., W. 6 J in. Acquired at Toledo. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1919.
131. Canvas, embroidered with coloured silks in cross stitch.
In the middle are standing figures of a peasant woman
carrying a basket, and a man with a stick ; the inscription
" por teresa ferndz " (By Teresa Fernandez), is worked
below. There are two borders aU round, the inner one
fiUed with star devices, and the outer with rose-stems.
First half of 19th century.
L. 22J in., W. about 24 in. Acquired at Burgos. Presented by
Dr. W. L. Hildburgh, F.S.A., in 1917.
50

132. Linen, embroidered with coloured silks and red and blue
cotton in cross and eyelet stitches. At the top are eleven
narrow stripes of straight or zig-zag character, together
with various letters of the alphabet in capitals. At the
bottom are four baskets of fruit and several birds. The
remaining surface is unworked. First half of 19th century.
L. 1 1 J in., W. I6J in. Acquired at Burgos. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
133. Linen, embroidered with coloured sUks in cross stitch. In
the middle is a carnation plant in a large basket, together
with birds, vases of flowers, baskets of fruit, and wavy
floral stems. Above are the letters of the alphabet in
capitals, the numerals up to 9, and the inscription " la 3
de mayo la cruz." (The Third of May [Feast of the
Finding of] the Cross.) The borders consist of angular
vine-stems with grapes, wavy stems bearing roses, and
other flowers, and a row of vases of flowers and baskets of
fruit with rabbits between. First half of 19th century.
L. 1 1 in., W. 18 in. Acquired at Burgos. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
134. Linen, embroidered . with coloured silks, chiefly in cross
stitch. At the bottom a man in red and blue costume is
riding a grey horse towards a house on the left ; behind
him is a pyramidal object or cypress tree (?). At the top
left-hand corner is part of a row of large eight-petaUed
rosettes in pink and Hght blue, with floral ornament
between. First half of 19th century.
L. 18 in., W. 20 in. Acquired at Burgos. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
135. Linen, embroidered with coloured silks partly in cross and
chain stitch. At the bottom is a two-handled vase from
which grows a flowering plant, with a basket of fruit on
each side ; above is a tabernacle (?), and two pots of
flowers. The remaining space is fiUed with a pair of smaU
dogs, butterflies, vases, and ewers. There is a narrow
border of zig-zag and diagonal Hnes. First half of 19th
century.
L. 7f in., W. 11 in. Acquired at Burgos. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
136. Linen, embroidered with coloured silks partly in cross
stitch. In the middle is a stag standing upon grass, the
background is worked in white with a small lozenge diaper
(unfinished). There are three borders, a broad one filled
5i

with floral sprigs, lozenges and hexagons, between two
narrow ones of squares and dentated ornament. First half
of 19th century.
L. 10 in., W. nf in. Acquired at Burgos. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1917.
137. Canvas, embroidered with coloured wools in cross stitch.
In the middle are represented the emblems of the Passion,
the Sacred Trigram I.H.S., roses and other flowers, leafy
stems, human figures, trees, ships, and the initials " e.r."
There are a number of borders of varying width, composed
of geometrical ornament (lozenges, crosses, zig-zag and
wavy stripes). Middle of 19th century.
L. 14J in., W. 21 J in. Acquired at Toledo. Presented by Dr. W. L.
Hildburgh, F.S.A., in 1919.

52

VII. SCANDINAVIAN.
SAMPLERS from Sweden and Denmark are not very
numerous, but some are found with patterns in white
embroidery and cut and drawn work corresponding to the
decoration on articles of costume produced in the 18th and 19th
centuries (No. 138). An important specimen has been acquired
lately (No. 139) ; the donor obtained it in Copenhagen about
fifteen years ago.
SWEDISH. 138. Linen, with cut and drawn work and embroidery in
coloured cottons. The middle has five horizontal bands, of
varying width, fiUed with geometrical ornament (crosses,
stars, lozenges, etc.). The central band is worked in red
with the letters ska and the date 1863, flanked by two
birds. There are three borders, the inner and outer ones
of drawn work, and the middle one in green and brown,
aU of geometric patterns. In each corner is a sprig bearing
tuhp-like flowers and leaves, with a smaU red cross at
the edge. Worked by peasants at Ska in the province
of Uppland, Sweden. Compare with North German (?)
sampler, No. 72.
L. I5f in., W. 15^ in. Presented by Mrs. Bury Palliser in 1869.
DANISH.
139. Canvas, embroidered with coloured silks, partly in petit
point. At the top is a horizontal band of geometrical
ornament (stars and crosses within lozenges), with a
landscape showing a river, a church, a windmiU and other
buUdings, flanked by the letters of the alphabet in capitals
and smaller type, and the numerals up to 21. The middle
is fiUed with a wreath of roses, carnations and other
flowers containing initial^wi|h a flying angel on each side
blowing a trumpet, surrounded by smaUer wreaths, a vase
of flowers, a basket of fruit/ a melon, birds, a ship, the
initials A.H.H. and M.K.E./beneath. crowns, the Sacred
Trigram I.H.S., and th<f date 1798. At the bottom is
represented the Crucifixion and the Temptation in the
Garden of Eden, wi)K a basket of pears between. Probably
Danish.Sight measure, id by 13I in. In black and gold frame, glazed.
Acquired in Conenhagen. Presented by Mrs. Grove in 1921. 53

LIST OF USEFUL WORKS ON SAMPLERS IN
THE LIBRARY OF THE MUSEUM.
All of these, except Mr. Lediard's article, have numerous
iUustrations. Mr. Huish's book contains many coloured repro
ductions and is an exhaustive study of the subject.
Bolton, Ethel Stanwood and Coe, Eva Johnston.
American Samplers. 1921.
Brinckmann, J. Das Hamburgische Museum fiir Kunst und
Gewerbe. Die Stickmustertucher. Pp. 59-63. 1894.
Christie, Mrs. Archibald H. Embroidery and Tapestry
Weaving, ch. vii, p. 148., 1906.
Fothergill, G. A. Notes on Scottish Samplers. (In : Pro
ceedings of the Society of Antiquaries of Scotland, Vol.
XLIII, pp. 180-205. 1908-9.)
Head, Rachel E. A CoUection of English Samplers. (In : The
Connoisseur, Vol. II, pp. 164-170. 1902.)
The Sampler : Its Development and Decay. (In : The
Reliquary, Vol. VIII, pp. 11-20. 1902.)
The Stitchery of Samplers, with a note on their materials.
(In : Samplers and Tapestry Embroideries, by Marcus B.
Huish, pp. 161-171. 1913.)
The Lace and Embroidery Collector, ch. xix, pp.
212-232. 1922.
Huish, Marcus B. Samplers and Tapestry Embroideries.
Second edition, 1913.
The Samplers of our lovely Ancestresses. (In : Art in
America, Vol. Ill, pp. 124-133. April, 1915.)
Jourdain, M. Some English Samplers. (In : The Art-
Workers' Quarterly, Vol. IV, pp. 59-62. 1905.)
Samplers. (In : The History of Enghsh Secular Em
broidery, ch. xi. 1910.)
Kendrick, A. F. Enghsh Embroidery, pp. 96-98, 103-5. I9°4-
Lediard, H. A. On Samplers. (In : The Archaeological
Journal, Vol. LVII, pp. 241-247. 1900.)
54

Lewer, Florence. The Sampler. (In : The Essex Review,
Vol. XVII, pp. 146-157. 1908.)
Nuttall, G. Clarke and Sloane, M. S. Samplers. (In : The
English Illustrated Magazine, Vol. XXXII, pp. 438-446.
1904-5.)
Palliser, Mrs. Bury. History of Lace. Footnotes to p. 9,
also p. 23. 4th edition. 1902.
Peacock, Florence. Samplers. (In : fhe Reliquary, Vol. IV,
pp. 174-182, 1898, and The Architectural Review, Vol. VII,
pp. 71-81, i960.)
Ricci, Elisa. Antiche Trine Itahane. Trine ad Ago. Vol. I.
Punto a ReticeUo, Tav. Ia and IIs 1908.
Tuer, Andrew W. History of the Horn Book. Vol. II.
ch. xii, pp. 239-259. 1896.
White, Gleeson, The Sampler : an Appreciation and a Plea
for its Revival. (In : The Studio, Winter Number, 1896-7,
pp. 58-71-)
For references to Sampler Poesy, see Notes and Queries,
Vols. VI and VII, 4th Series.

55

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NUMERICAL

INDEX

II — cont.

Catalogue Registered
No. No.

Page.

Catalogue Registered
No. No.

Page

79 ¦

T.23-1916 .

• 36

no .

¦ T.153-1917 .

. 46

80 .
O _

. T.26-1916 .

• 36

in .

. T.154-1917 .

. 46

81 .

T. 129-1909 .

¦ 37

112 .

. T.155-1917 .

. 46

82 .

T.209-I911 .

• 38

"3 •

. T.156-1917 .

. 46

83 •

T.166-I917 .

• 38

114 .

. T.160-1917 .

47

84 .

609-1884 .

¦ 39

"5 •

. T.162-1917 .

• 47

85 •

T.181-I917 .

¦ 39

116 .

. T.163-1917 .

• 47

86 .

T.944-I919 .

• 39

117 .

. T.164-1917 .

• 47

87 •

T.I47-I917 .

• 39

118 .

. T.165-1917 .

. 48

88 .

T.150-I917 .

. 40

119 .

. T.97-1921 .

. 48

89 •

792-1899 .

. 40

120 .

. T.167-1917 .

. 48

90 .

791-1899 .

. 40

121 .

. T.176-1917 .

. 48

9i ¦

T.168-I917 .

• 4i

122 .

. T.942-1919 .

. 48

92 •

' 24O-189I .

• 41 •

123 .

• T.945-1919 .

• 49

93 •

241-1891 .

• 4i

124 .

¦ T.157-1917 .

• 49

94 •

T.182-I917 .

. 42

125 ¦

. T.161-1917 .

• 49

95 •

476-1897 .

. 42

126 .

• T.173-1917 .

• 49

96 .

T.I2I-I9I2 .

. 42

127 .

• T.177-1917 .

• 50

97 •

435-1893 •

. 42

128 .

. T.180-1917 .

• 50

98 .

T.169-I917 .

¦ 43

129 .

. T.946-1919 .

• 50

99 •

X.I70-I917 .

• 43

130 .

• T.947-1919 .

• 50

100 .

T.I7I-I917 .

¦ 43

131 •

. T.146-1917 .

• 50

101 .

T.I72-I917 .

• 44

132 •

. t. 148-19^ .

• 5i

102 .

T.174-1917 .

• 44

133 ¦

• T.149-1917 .

• 5i

103 .

T.175-I917 .

• 44

134 •

. T.151-1917 .

• 5i

104 .

T.I78-I917 .

• 44

135 •

. T.158-1917 .

• 5i

105 •

T.I79-I917 .

• 45

136 •

• T.159-1917 .

¦ 5i

106 .

T.948-I9I9 .

• 45

137 ¦

• T.943-1919 .

¦ 52

107 .

T.144-I-917 .

• 45

138 ¦

. 234-1869 .

• 53

108 .

T.I45-I917 .

• 45

139 •

. T.184-1921 .

• 53

109 . .

T.I52-I917 .

• 45

59
(6651)
GENERAL INDEX.

PAGE
Adam and Eve on sam
plers . . . . . . 4
Age, earliest record in
Museum collection of
child's.  7
Aguero, Dionisia Gomez
de  43
Alonso, Josefa . . • • 39
Alphabets on samplers . . 4
Alsace, sampler from . . 33
Altars represented on
samplers . . 28, 29
American samplers . . 3
Amsterdam, Arms of
City of . . . . 27
Antrobus, Mrs. (donor) . . 18
Arias, Geferina . . • • 45
Bargagli, panel belong
ing to the Marchesa
Eloisa . . • • 34
Barnes, Amy , . . . 21
Baxter, Miss (donor) . . 36
Beach, Miss F. M. (donor) 15, 18, 20
Blackford, Hannah . . 22
Body, Mary Ann . . 18
Borders of samplers . . 7
" Boxers " on samplers 4
Brobks, mention of sam
plers by Thomas ... 2
Burgos, samplers from . . 40
Burrowes, Mary . . 9
Calera . . . . . . 40
Cann, Mary Ann . . 20
Casares, Theresa . . 38
Castile and Leon, Arms
of  39
60

PAGE
Chapman, Mary . . 15
Copenhagen, sampler
from  53
Costume oh samplers . . 5
Countries producing
samplers . . . . 3
Creed, the Apostles' . . 7
Cridland, Elizabeth . . 16
Cross stitch . . . . 6
Cushion, Mrs. (donor) . . 22
Cut and drawn work . . 6
Cutler, Elisabeth . . 15
Damask stitch . . 6
Danish samplers . .5, 53
Darning stitches . . 6
De la Espada, Isabel
Eulogia . . . . 38
Denmark, panel in Mu
seum from . . . . 3
Derivation of name sam
pler . . . . . . 1
Dixon, Miss A. L. (donor) 10
Documents, references in
historical or legal . . 2
Dutch samplers . . 6, 27
Earliest dated sampler in
Museum collection . . 3
Earhest record of child's
age in Museum collec
tion . . . . . . 7
Earliest record of worker's
name in Museum col
lection . . . . 7
Earthenware, representa
tion of contemporary 7
Edmands, Miss (donor) 16, 17

GENERAL INDEX— cont.

.PAGE
Edward VI's property,
inventory of : . . . 2
Eeles, Esq., F. C. (donor) 12
Elizabeth of York,
household accounts of,
Queen . . . . 2
Emblems of the Passion 11, 28
Enghsh samplers 7-26
" Epistle " samplers . . 4
Erero, Dorothy . . 46
Erizarde, Ramona . . 39
Eyelet stitch . . . . 6
Eyton, Miss (donor) 15, 19

492545 50 2 2
36 4 5
31 35

Fadiez, Jose
Father," " This is my
dear
Fernandez, Petra
Fernandez, Teresa
Fescue, meaning of
Fissch, Thomas. .
Florence, sampler from
Flowers on samplers
Foreign samplers
Forrer collection
Fox and the crow, fable
of the . .
French knots . .
French samplers 28, 29
Garcia, Rosa . . ¦ • 47
Gardiner, Ann . . . . 18
German samplers 3°"33
Gottlich, Maria . . 32
Grant, Miss (donor) . . 18
Grove, Mrs. (donor) 27, 53
Guzman, Dionisia . . 39
Guzman y Bergara,
Maria De Lao . . 41
-Harris, Esq., MP., F.
Leverton (donor) . . n
Harris, Jane . - . . 10
Harrison, Jane . . . . 18

PAGE
Hawkins, mention of
samplers by William . . 2
Heath, Lucy . . • . 23
Heraldry on samplers
TT . , 27> 30, 39
Herrick, mention of
samplers by Robert . . 2
Hildburgh, F.S.A., Dr.,
W. L. (donor) . . . . 37
Holland, sampler from . . 27
Houses on samplers . . 4
Hulton, Jacobean panel
in Museum worked by
Mary  3
Human figures on sam
plers . . . . . . 4
Hunt, Ann . . . . 17
Ingelbye.Anne . . 11
Insignia of Spanish Kings 37
Italian influence on sam
pler patterns . . 3, 7
Italian samplers 34-36
Johnson, mention of
samplers by Dr. Samuel 2
Jones, Miss H. J. (donor) 24
Juano, Micaela Usebia 43
Kyd, mention of sam
plers by Thomas . . 1
Lace scallops, embroid
ered copy of . . .*. 7
Lace stitches, needlepoint 6
Lancon in Provence . . 28
Landscapes on samplers 4
Lao Guzman y Bergara,
Maria De .* . . 41
Lara, Maria de Jesus
Baleria . . . . 40
Laraona, Tiburcia de . . 38
Leal, Anna Maria . . 42
61

GENERAL INDEX— cont.

PAGE
Leggatt, Mrs. (donor) . . 16
Lettering on samplers . . 6
Linstead, Charlotte . . 25
Linstead, Mrs. (donor) . . 25
Linstead, R. (donor) 23, 26
Literature, references in
Enghsh . . . . 1, 2
London Museum, sampler
in the  3
Longhurst, Miss (donor) 25
Lopez, Florentyna . . 40
Lopez, Manuela . . 49
Lord's Prayer, the . . 7
Luchetti, Vittoria . . 35
Lucus(?), Margreet . . 10
Mackett, Elizabeth . . 11
Map samplers . . . . 5, 7
Martinia, Raimunda . . 44
Materials used in working 5
May, Margreet . . 9
Mayne, mention of sam
plers by Jasper . . 2
Maxims on samplers . . 4
Methodism, influence of 4
Mexico, samplers from . . 37
Miller, Mrs. (donor) . . 9
Milles, mention of sam
plers by Thomas . . 2
Milton, mention of sam
plers by John . . 2
Montes, Nicola sa . . 38
Mor, Lorenza . . • • 47
Moreno, Vicenta . . 48
Morland, sampler shown
in picture by George . . 8
Names of workers . . 5, 7
„ „ teachers .-5.37
Nicholls, Phebe. . . . 19
Numerals on samplers . . 4
Nuremburg, sampler from 32
62

PAGE
Osmond, Mrs. (donor) .. 23
Palliser, Mrs. Bury (donor) 53
Paris, sampler from . . 29
Patterns on samplers . . 4
Pattern books, Venetian
lace . . . . • • 4
Perugia, samplers from 34-36
Petit point . . . ¦ 6
Pether, Mary . . . . 23
Piccolomini, Gullia . . 35
Pickling, Catherine . . 17
Pittman, Hannah . . 12
Pluckrose, the late Miss 19
Pope, Rebeckah . . 8
Preston, Miss L. F. M.
(donor) . . 34"36
Purpose of samplers, ori
ginal . . . . . . 1
Pynchebeck, Alys . . 3
Reeve,Mrs.Henry(ionor) 32
Reticella . . . . . . 6
Rhodes, Ann . . . . 17
Robinson collection . . 31
Rocchi, Virginia . . 36
Sacred Trigram, the
28, 31, 36, 39, 5347 48 8 6
53 3
48
1,2 19 5
4
30

Saez, Maria del Pilar
Salamanca, Petra
Salter, Martha
Satin stitch
Scandinavian samplers
Sequence of samplers
Museum
Seville, sampler from
Shakespeare, mention
samplers by William
Sharman, M.
Shapes of samplers
Shorleyker, Richard
Sibmacher of Nuremburg,
Hans . . 

in

of

GENERAL INDEX— cow*!.

PAGE

PAGE

Sidney, mention of sam-

Tykell, apron in Museum

piers by Sir Philip . .
Simmons, Ann

1
23

worked by Mary

4

Ska, Uppland, Sweden,

Verses on samplers, reli

sampler from
53
gious
4
Skelton, mention of sam
Vierlande, near Ham
plers by John . .
1
burg, samplers from
Smith, Maria . . 20
,21
the . . . . 30, 12
Smith, Mary
15
Smith, Matilda
24
Wakeling, Mary
16
Smith, Susanna
21
Walker's collection of
Spanish Samplers 37-52
. samplers, Dr. J. W. . .
34
Starling, Sophia
22
Wallace Collection, pic
Stern, Lady (donor)
38
ture in the
8
Stitches on samplers . .
6
Wallis, the late Henry . .
35
"Stump-work "
6
Wesley's hymns
4
Swedish samplers 5, 53
Wheatley, R.A., sampler
shown in picture by
" Tammy " cloth
5
Francis
8
Taylor, Harriot. .
24
Wheeler, Martha
14
Texts on samplers, Scrip
" White work "
6
tural
4
Williamson, Rev. J.
Tiffany
5
(donor)
17
Tipper, Esq., Harry
Wilson, T. Frederic
(donor)
15
(donor)
29
Toledo, samplers from . .
39
Wood, Elizabeth
9
Tomson, Margaret
3
Wyman, Mrs. (donor) . .
17
" Tonder " drawn work
5
,
Toroca y Edelhorn de
Youngest workers, record
San Matias, Luisa de. .
39
in Museum collection
Tullett, Harriot
22
of
7
63
s

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Contents. Part I. (3 plates ; jn half-tone) . (1) English, 17 /18th
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Part II. (3 plates; in collotype). English, 17th century.
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65

Plate I.

13. English; first half of 17th century, (p. n.)

Plate II.

""•i? '.TV.

"SSS1

M«

18L
I j*sS3a-s*se*is'wass«"jiiB*s*aB
M* -~M--.fi. ^.. A, - .-y-^~y. r-L*"*1*r"j
ISSWws»®*BiE*88»*aiiiBfS
I ipa 4rc.cs*':- jr -,- «£ " J
|i|a@e.-is^si-|a^.*»|,-«-3gai0

i and ii. English; dated 1643 and 1696. (pp. 8, 10.)

Plate III.

g. English; dated 1661. (p. 9-)

Plate IV.

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• CK *6 Q a** M ¦ .¦.'-::'
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:";-:»'m-;«8Ii8JS:: •::,'¦;«::¦»*»•»¦':'¦*'¦;:-¦'•»'¦•,••: a
ft*»»i ¦¦•::-.-*ftett*B>:r-:'.,'.-eiDe»o*!S"..--r;-fi*8*»ar- ;:-
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»:. ¦"¦¦'¦.'-,*«'»r. S"^m*|fj:a;T ;«»»¦.¦¦•¦••"-.¦: ";;: » »•;.:-'-:* ¦>"*
.;;-¦.-;¦¦->;-: 'V ;*•**. «;.;:.-;-; ;*»«». ¦:. ¦«B«:--. ;¦:»: *;', :.-;-;.".¦;•
'* ;;**B*fcaeeS*&&096*8»ft»o*aaa*»««aoa«»^ -iV'.'**v \v*V^ .'i,?;,'i'! '' S("' ¦»'¦''« VX '* '', ,"'vl'",V>,i y,.,-'t'\'"»'-'/--,.k,i'.v'' ''• V" ' u'r't*; I' ">» V,/*' ¦*
, % V f"'.:V A.w'' /»«*.»« .? -! j0J/JmV."" y%®mhMJ,fi%
21. English; second half of 17th century, (p. 14.)
Plate V.

' "i*x--"1&fes

¦^I'^ySif^S

jfe
--.¦* <r^ „» '*""*********

f./i\% " #/^V^"

.?a
^Ofi
;r^y-2r> ^SvnSn£\S\-?n?n3n5,n5vSn^
20. English ; second half of 17th century, (p. 13-)
27. English; dated 1731. (p. 15 •)
Plate VI.

¥rdl?z?ntwii:f-tmc%iz. time's }Atsf,rs. ?os E.uUrt.,
AiU GHttHMH t str-lct account Fot- £V*i*->* *ffiig.?«^t tsav-. tf^*'
SM'fiia «arlr«f «t4a^ of. Utt.Ard sm& it; fmpttt tfiii..

¦*-*. W* w~* >«;*^I. vW^» "Srf**

49. English; dated 1826. (p. 22.)

Plate VII.

*y * ~"~ *"I-5?5':f:Bt " " - -
:: *
-;-¦-¦.

* : ¦
f « 1 It 1

-r ..* I # i i I j *$i

§h -^ *..*»*¦ *^f ^»%%*NI^^^^'*1

62. Dutch; dated 1798. (p. 27.)
Plate VIII.

!#' ¦ '*--*.*- 45?-.^ *&L- '* ss^ * ¦' > ^ "*srm:f-** - *^ ^k -

{wW*^*WWIIfW

M ;*5mi riSt*r*T***tm**&«eaim '. '.««» « .

•s-pjfe*-

g-si-i

-**?£?

' :-3**rS*f^JfeTN^^^

j*3& i i i^g-sfc- 1 #. lisp

r-W# W

- - ¦ ¦¦¦¦¦* l^sSfc «*
3© a^ llsT-a^ 3s£

— litii . ^tr *t— 3;**" *¦* -*--¦

** fe":

;---*§e..

-S^D*-

se *"*¦- *YlL-' -§|1,^l;a.,w' ¦.. *"- .»; *§Vs *r* "' - --¦

I"

¦*¦¦ ' .A^ai-afc -^gi- J ¦-aa ..¦¦*v*:--fnth

66. German ; dated 1681. (p. 30.)

Plate IX.

1 _.*^^^^^*^fi^^^^i^i^^»^r,M^K». -

69. German; dated 1807. (p. 31.)

Plate X.

37. English or Dutch ; dated 1799. (p. 19.)
78. From Florence; late 18th or early 19th century, (p. 35.)

Plate XI.

ms
13 T3FJ3fc*ir«rtT*PTTnn'n{C,^.r

81. Spanish; dated 1756. (p. 37-)

Plate XII.

: ¦:•:- : •&• " ! -* ! ¦'•iv .' 'v'

togfei

*|i«
¦fcJS kg

wi

K

tal »• if i' ••• *." ,11"
1 is ".,::¦'£** ;?*/•*' £?j ;&' ?9
¦il'.-f" »i<.:i>';. »!*.;f-V it1**
if
&9 sa «a »*ft ««> -"^ *& g* *?* PS. '
m >;s
».:  : ..t
n*tj
77. Italian ; 17th century, (p. 35.)
.. ¦ . . ¦;:¦;....