The sampler has six rows of alphabets separated by differing narrow and decorative crossbands. At the periphery of the top, left and right margins of the sampler is a flower and vine border. The signature reads:
Elizabeth A White. s sampler wrought
In her 12th Year while under the tuition
Of Mrs Lotspeich Sept 24th 18

Let virtue be
A guide to thee

Given her birth in 1836 and the fact the sampler was “…wrought In her 12th Year…”, the missing numerals in the date 18_ _are thought to be “48” [1848], and were presumably removed by Elizabeth Ann later in life in a moment of vanity regarding her age; a not uncommon occurrence among sampler makers as they aged.

Below the signature is a large, stately, single door building with sixteen windows. The greenery suggesting plantings and or grass with a front lawn having uncertain motifs left and right of the word “Arcadia”. While Arcadia conceivably may reflect the “house name”, AKS suggests that it much more likely refers to the Greek vision of pastoralism and harmony with nature; the poetic shaped space associated with bountiful natural splendor and harmony. The term is derived from the Greek province of the same name with the province's mountainous topography and sparse population of pastoralists later caused the word Arcadia to develop into a poetic byword for an idyllic vision of unspoiled wilderness. (Wikipedia)
There was an "Academy of Arcadia", an Italian Literary Academy founded in Rome in 1690. "Arcadia" in the samplers may well have been a reference to this institution since it was the first in Italy to admit women and it fostered and promoted the poetic output of its female members. Arcadian women produced at least eight percent of the literature printed in the organization’s official publications. Even after the mid-eighteenth century, when the Academy’s prestige and presence in Italian society had waned, some of the shepherdesses or pastorelle, as the female members were called, were well known in literary circles. There were a considerable number of female Arcadians and they had significant professional accomplishments. It was primarily a literary academy whose tenets called for a rejection of baroque conceits in favor of clear language, simple form, and an unexaggerated content. The women who were admitted were expected to be poets committed to this mode of writing. (https://muse.jhu.edu)
Alternatively, since there are two samplers with the same representation, it may be they were simply copying this image from a book, periodical, or journal.

The sampler of Jane Ellen Gant is in the collection of the Museum of Early Southern Decorative Arts (MESDA) as well as in the AKS Collection. It is almost identical to the sampler stitched by Elizabeth Ann White, was also stitched in 1848, and both samplers mention Nancy Western Lotspeich as the teacher.
Two other samplers related to the Elizabeth Ann White and Jane Ellen Gant samplers are the Margaretta Waller Gant and Mary Magdalene Lotspeich (1832-1904) samplers, both in the AKS Collection and all having Nancy Western Lotspeich as the teacher.
Nancy Western married David Lotspeich in Christian County, Kentucky in 1819. She was widowed in 1832 with six children to support. She continued to teach in Kentucky for more than thirty years. Nancy is noted in the 1880 census living in Amite City, Louisiana with her daughter, also widowed and teaching school. Nancy Western Lotspeich died on December 13, 1889 and is buried in Louisiana. Please see Mary Magdalene Lotspeich in the AKS Collection for further details.

According to the donor, family lore suggests the Gant, Lotspeich and White families lived in close proximity to one another on 13th Street in Hopkinsville. (verbal communication with the donor).
In a donor family Bible, there is a newspaper clipping of a Gant funeral service.

The descent of the sampler is as follows: from the sampler maker to the sampler maker’s youngest daughter, Leigh (who lost an unnamed twin sibling at birth, never married and is the donor’s great-aunt), to Sarah Ann Overshiner (1913-?) who was Leigh’s niece and the donor’s mother, and thence the sampler passed to the donor. The donor’s grandfather was Thomas Edward Overshiner, the sampler maker’s brother and the father of Sarah Ann Overshiner. The sampler maker is the great grandmother of the donor.

Elizabeth Ann “Bettie” White was born on November 27, 1836, in Hopkinsville, Christian County, Kentucky, the daughter of Martha Jane Valentine White (1817-1901), and Thomas Edward Calvin White (1810-1850). She married Alexander C. Overshiner (1819-1903) on June 6, 1865, in her hometown. They had seven children in fourteen years including Barbary (son) (1866-1880), Leslie (daughter) (1869-1880), Alexander C. Jr. (1873-1955), Martha (Mattie)(1875-1941), Thomas Edward. (1875-1947), Leigh (1880-1970) and Leigh’s unnamed twin who died at birth.
Elizabeth Ann White died on August 11, 1918, in Hopkinsville, Christian County, Kentucky, at the age of eighty-one. She was buried alongside her husband in the Overshiner plot at the Riverside Cemetery, Section OC, Hopkinsville, Kentucky (see ancillary images).