The foundation of all the early samplers was a coarse linen, and to this fact we owe the preservation of many of them. Those made two hundred years later, on a coarse, loose canvas, even now show signs of decay, while these ancient ones on linen are as perfect as when made, only being gently mellowed by Time to the colour of old ivory.
The earliest sampler known is dated 1643, and was worked by Elizabeth Hinde. It is only 6 inches by 6½ inches, and is entirely lacework, and apparently has been intended for part of a sampler. The worker perhaps changed her mind and considered rightfully that she had accomplished her chef d'œuvre, or as so often explains these unfinished specimens, the Reaper gathered the flower, and only this dainty piece of stitching was left to perpetuate the memory of Elizabeth Hinde.
The sampler in question is just one row of cut and drawn work and another of fine Venetian lacework, worked in "punto in aria." A lady in Court dress holds a rose to shield herself from Cupid, a dear little fellow with wings, who is shooting his dart at her heart. Perhaps poor Elizabeth Hinde died of it and this is her "swan song."
A SEVENTEENTH-CENTURY "SAMPLER" (ENGLISH), SHOWING CUT AND DRAWN WORK.
(S.K.M Collection.)
The earliest samplers appeared to have been worked only on white cotton or silk. A favourite design, apart from the lacework samplers, was the "damask pattern" sampler, a specimen of which may be noted, commencing with the fifth row, on the sampler illustrated. Sometimes the sampler was entirely composed of it, and although ineffective, remains as a marvel of skill. It was worked entirely in flat satin stitch and eyelet holes, known as the "bird's eye" pattern. In the illustration four rows of cutwork will be noted, followed by five rows of drawn threadwork, and above are patterns worked in floral and geometric designs in coloured silks. The alphabet and the date 1643 complete this monument of skill, which may be seen in the South Kensington Museum.
The succeeding illustration shows a more ambitious attempt, and is considered one of the finest specimens known. It was worked by Elizabeth Mackett, 1696. It is on white linen with ten rows of floral patterns worked with coloured silks in cross, stem, and satin stitches, with some portions worked separately and applied. Five rows of white satin stitch, two rows of alphabet letters in coloured silks, and four rows of exquisite punto in aria lace patterns are followed by the alphabet again in white stitches and the maker's name and date. The sampler is in superb preservation, the colours are particularly rich and well chosen. This sampler is also from the South Kensington Collection. Often the worker's name is followed by a verse or rhyme having a delightfully prosaic tendency. One can imagine the poor girls, in the early days we are writing of, writhing under the infliction of having slowly and painstakingly to work the solemn injunction—
"When this you see remember me
And keep me in your mind,
And be not like a weathercock
That turns at every wind.
When I am dead and laid in grave,
And all my bones are rotten,
By this you may remember me
When I should be forgotten."
And we can appreciate how little Maggie Tulliver ("The Mill on the Floss ") must have girded at the philosophy she was compelled to work into her sampler—