for the marriage and the last time he was to go before that event he took his wedding suit and left it. But he never wore it. When he appeared to claim his bride, she had married another man, who had not only stolen his bride, but his clothes. The blow evidently unbalanced his mind, for he never preached any more, but wandered around from place to place. He could never give a very clear account of those years. He had some means and when about forty, he arrived at Auburn, bought a few acres of land, built a two-roomed house and bought some cattle, sheep and chickens. He was taciturn, very unsociable, seemed to not want to make friends, but Mrs. Hyde finally, through many little unobtrusive kindnesses (he lived near the Hyde home) won his confidence and so his story came out. But the way he lived, no one could help him-just a "bunk" for a bed and buffalo skin for covering, and under and around were chickens, lambs and every thing that needed special care. Every creature about the place knew him and loved him. His way of assembling them was most peculiar. When he wanted his sheep he would go out and sing "The White Pilgrim" and every sheep would hasten to him. When he took them to the river to wash them, he would pass down through the village with his buffalo skin around his shoulders (he always wore it, winter and summer) singing "The White Pilgrim" and his sheep following him, and back the same way. To call his cattle he sang another hymn, I can't remember what, but the cattle responded as readily as the sheep and neither ever came to the tune meant for the other. He rarely went into any house but the Hydes', and not often there. We left him there when we left Auburn and I don't remember what became of him.

Another "eccentric" was "Sam Mills," not a bad looking young man, nor a bad match for any not very ambitious girl, and he wanted to marry. So when he selected a girl whom he would like to honor he would watch for her to appear in a new calico dress. Then he would go and have a suit made off the same piece. It soon came to be known what that meant, and afforded much amusement to many, and of course annoyance to the girl selected. But he succeeded finally, and the other girls were all glad when he did. It was very comical though to see a man with a pink or blue calico suit of coat, pants and vest.

Another queer fellow always wore a round hat with a striped ribbon round the crown, tied behind in a small bowknot, and streamers about a yard long hanging down the back. He had studied law and was a very bright man with a wonderful memory. He could repeat any thing after hearing it once, even a long sermon, or a poem, essay or lecture. He was tried many times but never failed. What upset his life and made it so queer and apparently of no use to any one, no one ever knew. He drifted away after awhile.

SAMPLERS THAT I HAVE READ ABOUT, SEEN AND OWNED1

BY FLORENCE S. BABBITT

The collection of samplers and specimens of pictorial embroidery exhibited here is not only representative of the skilled work of children who have passed beyond the age of great grandparents and are now dead, (for nearly all of them were made more than a century ago), but there is a peculiar beauty about the design and coloring. Many are unique specimens, pronounced by experts who have seen them, worthy of a place in any art or historical museum in the country. These samplers, taken from treasured stores in the possession of the old fami lies, are held precious as heirlooms to be handed down as evidences of work done by the youngsters who lived three and four generations ago, and these prized articles should be placed where the public may examine them at any time.

THE OBJECT OF SAMPLERS

The child of a hundred years ago was expected to devote at least one year to sewing fanciful designs on canvas, and this sort of work usually antedated the simplest mental studies of "Reading, 'Riting and 'Rithmetic," known as the "Three R's" of the public school curriculum. This accounts for so many of them bearing the information that the maker was but eight or nine years of age when it was completed on such a date, all of which formed part of the design. Even boys worked them. It was much in the nature of a kindergarten, inculcating perseverance and painstaking, and it is a fact that few of them exhibited a single false stitch. The embroidering of the alphabet a number of times, first capitals, as in illuminated texts, and then in "lower case," furnished the first lesson in reading at one and the same time-thus we had a single lesson serving to instruct in sewing, reading, as well as a moral lesson. Having become proficient to that extent the child proceeded to apply his or her knowledge by embroidering a verse and extending skill finally to the fancy stitchwork of a picture. These verses were of a nature to inspire noble sentiments and were mainly in the line with the idea "Remember thy Creator in the days of thy youth."

The fanciful patterns in which the alphabets were worked, served in latter life as samples for the housewife. Usually what a child produces in a kindergarten is discarded as soon as the child passes beyond that interesting stage when these things clutter the home of every wife 'Read at the annual meeting, June 3, 1909.

and mother who is not one of those who saves them in a treasure bag, to be stored away as souvenirs of childhood. Therefore in olden times, the girl on leaving school had on hand something which was to prove useful to her all through life. Whenever she desired a pattern to guide her in the embroibery of her fair linen she consulted her sampler hanging on the wall, and selected from the several types of alphabets the pattern which she preferred.

Those who took kindly to samplers, when at school, easily fell into the way when older grown of embroidering the more elaborate sampler, styled picture embroidery. In order to make it characteristically individual these usually took the form of a representation of the family homestead, or else memorialized a departed member of the family by showing his or her name worked in black silk upon a more or less elaborate monument of any color. Many scenes conjured from the Bible were worked. This one described is the most wonderful one I ever saw, embroidered on a canvas fifteen inches square, decorated with trees growing with wonderful symmetrical effect, and Adam and Eve appear much concerned beneath the shade of a central one, for a mammoth serpent is seen descending. Possibly this snake is twenty feet. long, because while the tip of its tail is poking out from the topmost branch, it is able to extend from the base in the direction of poor little Eve, who seems startled to be offered a fruit as large as her head, held in the jaws of the benevolent reptile. About their loins is seen a fig leaf surcingle. Two angels are hovering about the trees, interested witnesses of what Eve is likely to decide. This verse follows:

"Upon a tree divinely fair

Grew the forbidden food;

Our mother took the poison there

And tainted all the blood."

The largest and handsomest sampler exhibited here was worked in 1829 by Sophia Beckwith. Besides the usual alphabets, numerals and her name, a schoolhouse named Poplar Grove, with many poplar, elm, and maple trees surrounding it, forms the bottom panel. Sophia Beckwith Worthington lived to be ninety years old, and was the author of many children's books. Her last entitled "Under the Apple Trees," was published in 1885 by Hunt & Eaton. This sampler is in fine condition.

A sampler in the collection of Margaret R. Kearsley is made on handmade linen; alphabet in capital letters, and repeated twice in lower case, each alphabet in different colors. The alphabet is followed by Roman numerals from one to twenty, and the maker's name, which is Martha Elizabeth Door, agen seven years. Beneath this information

is a picture in cross-stitch, showing two little girls in bright colored costumes, standing in front of a beehive. A background of green trees and bright colored flowers completes the picture.

The Kimmell sampler exhibited here shows the usual alphabet, after which appears her name, Susana Kimmell, her work done in 1800. One with a religious tendency has this verse:

"Jesus permit thy gracious name to stand,
As the fair effort of an infant's hand,
And while her fingers o'er the canvas move

Engage her tender heart to seek thy love."

This pathetic verse is on a sampler in the Florence S. Babbitt collection at the State Normal School, Ypsilanti :

"This work in hand my friends may have,

When I am dead and in my grave."

One from the Nancy Babbitt Collection has the following verse on the oldest sampler:

"See how the lilies flourish white and fair

See how the ravens fed from heaven are,

Then ne'er distrust thy God for cloth and bread,
While lilies flourish and the raven fed.

-Jemima Carter, 1767."

On my Mother's Sampler and following her name, Nancy Jacques Lewis, worked in the 10th year of her age, 1832, appears this verse:

"On books, or work, or healthful play,

Let my first years be passed,

That I may give for every day

Some good account at last."

A sampler owned in my family is embroidered in memory of my great grandmother's sister and brother, who died in the early part of 1800, Lydia Stanton Rood, Asher Stanton Rood. The following appears below the names on the monument:

"In words of silk I here enroll

The names of those I love;

May we be found in Jesus fold,
In that bright world above."

List of Samplers presented by Florence S. Babbitt to the Michigan State Pioneer Society.

One sampler, finished September 30th, 1820, marked "Jane Caverhill, born October 30, 1808."

One sampler eight inches wide by fifteen long, marked "E. C." in bottom panel.

One sampler, eight by ten inches, marked "Sarah M. Queen's work, done in her 12th year."

One sampler, fifteen by twelve inches, marked "Wrought by Alice Ann Secomb Kingston."

Samplers Loaned to the Michigan Pioneer Society's Meeting, June, 1909-M. B. Ferrey Collection:

"Though in thy cheek be blended

The rose and lily's bloom

Death eer the day is ended
May call thee to thy tomb.

"Give not a sign of sadness

To joys that could not last
Prepare to live in gladness

When all these scenes are past."

Elizabeth Lee, Jan. 28, 1838. E. A. Taylor, Teacher.

"To you dear parents I return

My thanks for all your love,

Then may my heart with ardor burn

To him who reigns above.

"And to our God my pray'rs shall rise,

For blessings on our way;

Until with you I mount the skies

To realms of endless day."

Isabella McDonald, aged 12 years, 1829, Philadelphia.

Mrs. M. H. Bennett, Collector, Novi, Mich.

Lovinia M. Sprague, Sampler marked July 8, in the 12th year of her Lovinia M. Burnett, 1808.

age.

Mrs. Martha Garner, Collector:

""Tis education forms the common mind."

Martha Armstrong, born July the 17th, 1830, aged 18 years, 1848.

Mrs. Emma Many loans one containing the following verse:

"Infants whose different destinies

Are woven with threads of different size,

Break your first silence in his praise."

-Cornelia Many, aged 10, 1827.