Whilst embroideries in imitation of tapestries deal almost entirely with the portrayal of the human figure, samplers of the same period, and that the best, for the most part avoid it. This is somewhat remarkable, for the design of the Renaissance, which was universally practised at the time upon which we are dwelling, was almost entirely given up to weaving it into other forms, and the volumes which treat of embroidery show how frequently it occurs in foreign pieces of needlework. The omission is a curious one, but the reason for it is, apparently, not far to seek. If we examine the earlier pieces we shall see that practically one type of figure only presents itself. Save in exceptional pieces, such as Mrs Longman's early piece (Plate IV.), where the figures are clearly copied from one of the small tapestry pieces so in vogue at that date (1656), or Mrs Millett's piece (Fig. 16), the figures which appear upon samplers are all cast in one mould, and in no way improve but rather mar the composition. This last-named drawn-work sampler is a specimen altogether apart for beauty of design and workmanship. Doubts have been expressed as to its English origin, but portions of the ornament, such as the acorn, and the Stuart S in the lowest row, are thoroughly English; besides, as we have seen, design in almost every one of the seventeenth-century samplers is infected with foreign motives. The uppermost panel is supposed to represent Abraham, Sarah, and the Angel. To the left is the tent, with the folds worked in relief, in a stitch so fine as to defy ordinary eyesight. Sarah, who holds up a hand in astonishment at the angel's announcement, has her head-dress, collar, and skirt in relief, the latter being sewn with microscopic fleurs-de-lis. The winged angel to the left of Abraham has a skirt composed of tiny scallops, which may represent feathers. A rabbit browses in front of the tent. The centre of the second row is occupied by a veiled mermaid, her tail covered with scalloped scale in relief. She holds in either hand a cup and a mask. The lettering in the two flanking panels is "S.I.D. 1649 A.I." The decorative motive of the outer panels is peapods in relief, some open and disclosing peas. Roses and tulips fill the larger square below, and these are followed by a row (reversed) of tulips and acorns. Four other rows complete the sampler, which only measures 18-1/2 × 6-3/4. In order to give it a larger size the lowest row is not reproduced. I have seen another drawn-work sampler which antedates that just described by a year. It is of somewhat coarse texture but is good in design, and bears in a panel at the side initials and the date. The Victoria and Albert Museum has also two somewhat similar drawn-work samplers--one by Elizabeth Wood, dated 1666, which contains the Stuart S's; the other (undated) has the arms of James I. [Illustration: FIG. 16.--DRAWN-WORK SAMPLER BY S. I. D. DATED 1649. _Mrs C. F. Millett._]