Susannah and the elders, 128, 130, 131. Plate XIV. Swiss samplers, 111 Talc, 154. Plate XIV. Tammy cloth, 171 Tapestry, history of, 125; stitch, 145 Tapestry pictures--see embroideries in the manner of Tent-stitch, 166 Thistle on sampler, 71. Fig. 21 Tracing, groundwork, 158. Fig. 70 Tree of knowledge on samplers, 18_n_, 62_n_, 109. Figs. 17, 18 Tulip on samplers, 78. Figs. 27, 59 Upright-stitch, 145 Verses on samplers, 27, 36-51 Vice, inscription concerning, 48 Victoria and Albert Museum, samplers in, 11, 21, 58. Fig. 7 Virtue, inscription concerning, 48 Wealth, inscription concerning, 48 _Printed at_ THE DARIEN PRESS, _Edinburgh_ FOOTNOTES: [1] The picture also shows that the principal decorations of the walls of the schoolroom were framed examples of attainments with the needle. [2] In the original all the small pieces of work in the upper corner near the initials are varieties of gold thread design, and almost all the grey colour throughout, in the reproduction, is silver thread. [3] It was claimed by its late owner, Mrs Egerton Baines, that almost every line of this sampler contains Royalist emblems. For instance, the angel in the upper part is supposed to be Margaret of Scotland wearing the Yorkist badge as a part of her chatelaine; beside her is the Tree of Life, on either side of which are Lancastrian S's, the whole row being symbolical of the descent of the Stuarts from Margaret of Scotland, daughter of Henry VII. The next row of ornament is also the Tree of Life, represented by a vine springing from an acorn, by tradition a symbolical badge of Henrietta Maria, wife of Charles I. The next two rows are made up of roses, acorns, and Stuart S's, which S's again appear in the line beneath, linked with the Tree of Life. We refer elsewhere (p. 62) to the figures in the bottom row (the whole of the sampler is not shown here), and these are supposed to be Oliver Cromwell as a tailed devil. The sampler is neither signed nor dated, but it clearly belongs to the first half of the seventeenth century. The silks employed are almost exclusively pink, green, and blue, and the work is of the open character found in that illustrated in Plate III. [4] In one by Hannah Lanting, dated 1691, the orthography is "with my nedel I rout the same," and it adds, "and Juda Hayle is my Dame." [5] The lower portion of Fig. 18 opposite introduces us to an early and crude representation of Adam and Eve and the serpent, and to the bird and fountain, and flower in vase, forms of decoration which became at a later date so very common. The name of the maker has been obliterated owing to dirt getting through a broken glass, but the date is 1742.