The decorative value of the honeysuckle was hardly appreciated, and it only appeared on samplers of the date of 1648 (Plate III.), 1662 (Plate V.), 1668, 1701, and 1711, in the Exhibition, and the undated one reproduced in Fig. 4. [Illustration: PLATE X.--SAMPLER BY CATHERINE TWEEDALL. DATED 1775. _Mrs Arthur Severn._ The Sampler is noteworthy not only on account of its harmonious colour scheme, its symmetry of parts, and the excellence of its needlework, but as having been wrought by a young lady who afterwards became Mrs Ruskin, and the grandmother of John Ruskin. Her name, Cathrine Tweedall, is worked in the lower circle, and is illegible in the otherwise admirable reproduction, owing to its being in a faded shade of the fairest pink. The verse was probably often read by her renowned grandson, and may perchance have spurred his determination to strive in the race in which he won so "high a reward." Mrs Arthur Severn, to whom the Sampler belongs, notes that the Jean Ross whose name also appears upon it was the sister of the great Arctic explorer. The date of the Sampler is 1775.] Sampler workers were very faithful to the strawberry, which, after appearing in almost every one of the seventeenth-century long samplers, was a favourite object for the later borders, and it may be seen almost unaltered in specimens separated in date by a century at least. We give in Fig. 31 a very usual version of it. (See also Plate XIII.) [Illustration: FIG. 19.--SAMPLER BY MARY ANDERSON. 1831. _Lady Sherborne._] Other fruits and flowers which now and again find a place are the fig, which will be seen in Plate III.; the pineapple, the thistle (Fig. 21), and the tulip in samplers dated 1662, 1694, 1760, and 1825 (Plate XIII.). Although the oak tree acquired political significance after the flight of Charles II., that fact can in no way account for such prominence being attached to its fruit and its foliage as, for instance, is the case in samplers dated 1644 and 1648 (Plate III.), where varieties of these are utilised in a most decorative fashion in several of the rows of ornament, or in another of the following years (Fig. 16). But, curiously enough, after appearing in almost every seventeenth-century sampler, it disappeared entirely at the commencement of the eighteenth century. Sampler Design: Crowns, Coronets, Etc.