68 
House & Garden 
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Plate 144 Deans 
“Royal” Gas Range. 
Boil, Roast, Bake and 
Toast On This Range 9 
All At One Time 
Yes, and fry too, if necessary. Occupying 
the least available amount of floor space, it 
will help you prepare a complete meal that 
ordinarily requires a range at least double 
the size. This 
is another of our many contributions to the de¬ 
mands for greater efficiency and conveniences in 
the kitchen. 
The surface, covered with corrugated removable 
bars, has six burners. The main oven, 22 inches 
wide and 19 inches deep, is plenty large enough for 
a turkey or large roast. In the shelf is a broiler 
that can be used for toasting, open-fire roasting 
and browning, and a roll or breakfast oven that is 
just the right size for a pan of muffins or even a 
small roast. 
Deane French Ranges are built of Armco rust- 
resisting iron with polished, hand-forged, wrought- 
iron trimmings. They are free from needless frills 
and bright surfaces that take time and energy to 
keep clean. They use the minimum of fuel. 
Deane “Royal ” Gas Range fills every requirement 
of the average home. 
For over half a century, we have specialized in 
designing kitchen equipment for electricity, coal 
and gas, singly or in any combination. If you wish 
a special range ask for our portfolio, “The Heart 
of the Home.” If you want more information on 
the Deane ‘'Royal” Gas Range, ask for Catalogue 34. 
Bmamihiaill, Beane Co, / 
263-265 West 36 th St, New York. N.Y L_ 
_ — - 
A Remodelled Mill in Massachusetts 
( Continued, from page 39) 
mere, blue-bordered, its cream center 
embroidered in pink, blue, pale green 
and lavender, lends a warm note to the 
room, duplicated by cretonne curtains. 
Above, the guest room facing the 
hills shimmers with harmonious tints of 
green. Cretonne curtains of pale green 
deepening into darker shades reveal pink 
water lilies among their leaves. Behind 
them are filmy curtains of palest yellow. 
Quaint furniture is painted a darker 
green, and rag carpets cover the floor. 
Another chamber, looking down on 
the stream and double terraces, being 
of necessity boyish, has hangings of wil¬ 
low design with yellow daffodils among 
grayish stems. Yellow walls panelled 
lightly with brown, and brown old fur¬ 
niture, render the room both gay and 
serviceable. But with all this simplicity 
throughout, there are porcelain tubs in 
the mill today, electricity and a modern 
range, comfortable armchairs, deep 
lounges plentifully supplied with cush¬ 
ions, and every invention which lightens 
labor and precludes dirt. 
The exterior of the mill is of equal 
importance. A garden of delight is in 
the making. Already tall hollyhocks 
blaze against the gray walls. Japanese 
iris raise pale faces to the shadowing 
trees. From beneath each window trail 
long tendrils of hanging nasturtiums. 
Ferns preen themselves among the rocks, 
and the newly made lawn grows in 
velvety softness on the slope of land 
ending among the willows. Next spring 
a tall hedge of lilacs will shelter the mill 
from the road, with a latticed arch on 
which Dorothy Perkins roses will clus¬ 
ter their blossoms. Over the great wheel 
columbine, honeysuckle and grapevines 
already throw their airy traceries of leaf 
and flower. 
Below the second terrace there wiil 
soon be built a small dam, to form a 
deep pool where one may enjoy a morn¬ 
ing bath among pink and yellow pond 
lilies, and in the further stretches of the 
land Mr. Daniel Chester French, the 
sculptor, is to lay out an informal gar¬ 
den in which shall bloom in careless 
prodigality all the old-fashioned flowers 
dear to our grandmothers’ hearts. 
Embroidered Primers of the Past 
(Continued from page 27) 
toria and Albert Museum, London, this These 17th Century samplers all ap- 
verse is worked: pear to have been embroidered on long, 
“Gay dainty flowers, go simply 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.” 
Perhaps it was such a sampler as this 
that lingered in Shakespeare’s mind 
when, in the fourth scene of the sec¬ 
ond act of Titus Andronicus, he has 
Marcus say 
“Fair Philomene, she but lost her tongue, 
And in a tedious sampler sewed her 
mind.” 
Gammer Gurton’s Needle, an early 
English drama, written by John Still, 
who became Bishop of Bath and Wells 
in 1593, suggests how rare were needles 
in the early part of the 16th Century. 
This will account for our finding no 
samplers of an earlier period extant. 
John Skelton, English poet (1460-1529), 
gives us, in his Garlande of Laurell, the 
earliest literary reference to samplers 
that I have been able to find. It runs 
as follows: 
“When that the tapettis and carpettis 
were layd 
Whereon their ladys softly myght rest, 
The saumpler to sew on, the lacis to 
embraid; 
To weve in the stoule some were full 
preste 
With slaiis, with tauellis, with hedellis 
well drest.” 
Then, perhaps, only the rich could af¬ 
ford the luxury of possessing needles. 
Old English inventories and records 
of various sorts repay a diligent search 
with bits of sampler history, as the fact 
that in July, 1502, Elizabeth of York 
“pais eightpence for an ell of linen cloth 
for samplers”; that in 1546 a lady be¬ 
queathes to “Alyes Punchbeck, my sys¬ 
tems daughter, my sampler with semes”; 
that in 1552 there existed a sampler of 
Normandy canvas wrought with green 
and black silk. But although samplers, 
as we know them, were originated in the 
reign of the first Charles, the one of 
1638, owned by Mrs. Croly, an English 
collector, and one dated 1643 in the 
Victoria and Albert Museum, appear to 
be the earliest examples that have come 
down to us. 
narrow strips of unbleached linen. An¬ 
other characteristic is their patterned 
bands, successively arranged. Occa¬ 
sionally drawnwork was introduced, 
now and then a sampler of drawnwork 
alone, or of cutwork resembling the 
Italian cutwork sufficiently to be mis¬ 
taken for it. Occasionally raised work 
was employed. As in later samplers, 
specimens of lettering were worked in 
these 17th Century samplers. These 
early samplers were, generally, in length 
three times their width. 
With the 18th Century there were 
many changes in sampler forms. By 
the end of this period the'openwork pat¬ 
tern disappears. Eighteenth Century 
samplers became pictorial, in the ma¬ 
jority of cases, and Bible texts, mot¬ 
toes and rhymed verses were introduced 
into the design. I know of no dated 
sampler of the type of 17th Century 
work later than 1704. With the begin¬ 
ning of the 18th Century a yellowish 
linen was employed. The middle of this 
century found the colors used in 
samplers reduced to more sombre hues 
than had obtained before. By 1740 
the all-around borders, introduced about 
1728 had become universal, and, of 
course, the shape of the sampler had 
also undergone changes—or more prop¬ 
erly speaking, was to be found in many 
varied forms. 
Sampler cloth, a woolen tammy, re¬ 
placed linen for sampler work in the 
mid-18th Century. This is the cloth 
which is thrice mentioned in Oliver Gold¬ 
smith's The Vicar of Wakefield, first 
published in 1766. In the early part of 
the 19th Century coarse linen for 
samplers came into vogue again. On 
such a ground a little girl worked the 
following verse in threads of bright 
colored silk: 
“Sarah Bond is my name 
And England is my nation, 
Bratby is my dwelling-place 
And Christ is my salvation.” 
“In the history of needlework,” said 
Walter Crane, “no less than in that of 
all art, one may follow the course of 
human history upon which it is the dec¬ 
orative commentary and accompani¬ 
ment.” And so may we look to the 
sampler as such a commentary and ac¬ 
companiment in that it conveys hints of 
the age which produced these embroi¬ 
dered primers of our ancestresses. 
