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Digitized by the Internet Archive 
 in 2011 with funding from 
 The Library of Congress 
 
 http://www.archive.org/details/laceguideformakeOOwhit 
 
A LACE GUIDE 
 
 for 
 MAKERS AND COLLECTORS 
 
 WITH BIBLIOGRAPHY AND 
 FIVE-LANGUAGE NOMENCLATURE 
 
 Profusely illustrated with halftone plates a?id key designs 
 
 By 
 
 GERTRUDE WHITING 
 
 Graduated as Professor by the Institut Professional N euchatelois de Dentelles : Founder and 
 President of the Needle and Bobbin Club: Lace specialist on the Committee 
 on Occupation of the Department of Public 
 Charities, New York City. 
 
 NEW YORK 
 
 E. P. DUTTON & COMPANY 
 681 FIFTH AVENUE 
 

 Copyright 1920 
 By E. P. Dutton & Company 
 
 All Rights Reserved 
 
 JAN 25 1920 
 
 Printed in the United States of America 
 
 
 
 ©CI A559583 
 
 /\A9 
 
 I 
 
 6 
 
DEDICATION 
 
 Minnewaska, New Yoek, August 31st, 1917. 
 
 My Dear Miss Burt : 
 
 Most of us must put aside costly pleasures now that America is fighting by 
 the side and under the tutelage of the fine, old, lace-making countries ; offering 
 them willing hands, keen eyes, and much besides ; ready to succor and nurse 
 them until they can again clothe fair lands with rich artistic skill ; ready among 
 other things to bring home something of the old world's mellow charm, that the 
 joy of beauty as well as practical ability and high morale may be instilled in 
 American boys and girls. America is eager indeed to encourage art ; that is, the 
 harmony of the material, a link drawing the physical towards the spiritual, and 
 adding to the utilitarian a simple grace, an uplifting charm. 
 
 But in spite of the sacrifices necessary to aid and save our elder sisters and 
 to develop the best that is in us, we shall not have to forego love and friendly 
 fellowship and gratitude. So the costs of war (and doctors) cannot take from 
 me either the pleasure of association with you or gratitude for your freely given 
 afternoons, helping me to mount these illustrations for the printer when my 
 arms were too lame to work, and for your unselfish patience and encourage- 
 ment. Having unruly arms and other ailments, is truly worth while when it 
 points the way to generous hearts and kind, new friends ! 
 
 Sincerely, 
 
 Gertrude Whiting. 
 
 To Miss Juliet Burt, 
 Cincinnati, Ohio. 
 
CONTENTS 
 
 PAGE 
 
 Diageam of Samplee Iii back cover pocket 
 
 Dedication 5 
 
 Chaptee I — By Way of Introduction 13 
 
 Poem — The Lace Maker 19 
 
 Chaptee II — Suggestions 22 
 
 Chaptee III — Explanations and Nomenclature 35 
 
 NOMENCLATURE 37 
 
 Chaptee IV — Eules 69 
 
 Chaptee V — Bibliography 243 
 
 Index op Bobbin Lace Grounds and Fillings 403 
 
LIST OF ILLUSTRATIONS 
 
 PAGE 
 
 The Lace Maker, by Pieter van den Bosch 18 
 
 Old Bobbin (From the Author's Collection) 21 
 
 Adjustable Easel-like Stand for Spanish Lace Pillow 24 
 
 Long, Spiral Spring in Place 25 
 
 Showing Bobbins Couched Between Bands of Bibbon 27 
 
 Placing One End of Skein Over the Left Thumb 30 
 
 Laying the Other End of the Skein Around the Little Finger 31 
 
 Bobbins Can Be Easily and Quickly Wound 32 
 
 Old Ehode Island Whale-Ivory, Reel, Winder, or "Swift" (From the 
 
 Author's Collection) 34 
 
A LACE GUIDE 
 
 for 
 
 MAKERS and COLLECTORS 
 
CHAPTER I 
 
 BY WAY OF INTRODUCTION 
 
 " 'In time of war prepare for peace.' For there will be a 
 
 future. And in that future there will be emulation, if not rivalry, among the 
 peoples of the earth. And the victor's wreath, as well as more substantial fruits 
 will be given to those who can produce most cunningly the things that peaceful 
 people desire — such as chairs, tables, beds, clothing, utensils, adornments, jew- 
 elry, and all things of use or ornament that make men comfortable and tend to 
 to make them joyous. 
 
 "Then . . . the nations whose workers in dusty factories transform 
 earths into clumsy dishes for common use will get ... a modest or a 
 decent living; but the nations whose skilled artisans, guided by gifted and trained 
 artists, turn those same materials into forms of grace adorned with lines of 
 beauty, will receive fame and fortune, and set their childen's feet on those 
 broad plateaus where knowledge and power and enjoyment are to be had." 
 
 — Bulletin of the Metropolitan Museum of Art. 
 
 This little manual is the outcome of six summers' work under the encour- 
 agement of the lace director of the Metropolitan Museum. Eealization of the 
 fact that in 1912 the museum had few examples of meshes except such as ap- 
 peared in scattered bits throughout the delightful collection of berthas, trains, 
 fichus, et cetera, that it was difficult to compare the effects of these stitches 
 worked in different sized threads, in designs and spaces of varying forms, and 
 at different ends of the rooms, and that the few mesh specimens the galleries 
 had, were more or less scantily named, the suggestion arose that a comparative, 
 indexed sampler of bobbin lace grounds and fillings be made. It is hoped that 
 it may prove of use to students of stitchery in general, — or of bobbin lace in 
 particular, — to see how certain meshes are woven; that it may aid those planning 
 to produce lace, either by hand or machine, in comparing and judging effects, 
 in advance, and that it may assist collectors and classifiers to identify lace: 
 for after all, it is the actual stitch which finally determines a variety, only 
 certain meshes being used in a lace of pure type. As different authors and 
 localities use diverse names for the same thing, several appelations have been 
 indicated for many of the samples. The index down the two sides of the sampler 
 should be used as one given with a map : — tracing down from the number noted 
 at the top, and inwards from the letter at the side : the point of junction showing 
 the lace in question. 
 
 At first an attempt was made to grade and assort the different kinds of 
 stitches ; but this was found impracticable, for as the work grew, meshes found 
 here and there, in the country, in the city, on a gown, in a book, were incor- 
 
 13 
 
14 BY WAY OF INTltODUCTION 
 
 porated. Nor were all by any means exhausted : but some limit had to be chosen, 
 so it was decided to stop when an even gross of samples, or a half-dozen seasons' 
 work had been completed. The two extra meshes illustrated over and above 
 the twelve dozen, are the bobbin-made bands which frame and connect the whole, 
 and one little sample made at the very end for fun, partly because the extra 
 pattern was already drawn, and partly because of a dislike to show preference 
 to one little mite, consigning the other to the waste pape'r basket — though many 
 ought doubtless to be there. 
 
 Perhaps a word of explanation should be said about the twenty Trude 
 Grounds. They are fancies of the maker's imagination, thrown in for what- 
 ever they may be worth; perhaps out of pique, just to show that, rudimentary 
 as they may be, America has at least the beginnings of an ability to originate 
 her own lace. 
 
 A. Penderel Moody writes, "Fillings should be to the lace-maker what a 
 jewel is to the goldsmith. The choice of each for its particular setting will call 
 for the exercise of equal taste and discretion. These stitches are known as 
 'modes,' or 'jours,' in the great outside world, of which the village worker 
 knows so little; needless to say such terms are unknown in the West Country, 
 where as often as not, we talk of them as 'villins.' 
 
 "The fillings enrich the work, and also by judicious arrangement break up 
 the monotony of a repeating design. 
 
 "The individuality, if one may so express it, of a piece of lace, is enhanced 
 by these small changes, and while the foundation remains unaltered, each repeat 
 is slightly different, emphasizing the fact that it is not machine-made. 
 
 ' ' The space to be filled will often vary greatly in shape and size. Here it 
 rests with the worker to decide which is the most suitable stitch to use, and the 
 best point at which to hang on. 
 
 "It will often happen that by starting at one particular point, some bobbins 
 may be cut off on the one side in time to allow their being used again for the 
 widening of the pattern elsewhere. Naturally, this is a saving of trouble, but 
 the worker must bear in mind when pricking her filling that if, to avoid the 
 use of extra bobbins, she works at a wrong angle, the effect of her work is 
 spoilt. ' ' 
 
 The illustrations of stitches in this book are taken from the sampler, the 
 patterns or prickings are the ones made and used in connection with it, and 
 the text is an attempt to describe how to weave these nets and modes. Arch- 
 itects' tracing-cloth can be laid over the designs in the book, the cloth moved 
 along two inches at a time until as long a pattern as desired has been traced. 
 Black, waterproof ink is the best for this purpose. The tracing need not be 
 mounted, but can be laid upon Bristol or press-board for greater strength, the 
 same pins holding both board and tracing-paper in place. 
 
 At first glance the mesh-making instructions will seem bewildering: but if 
 each one is read entirely through just before using it, and then is followed step 
 by step, the making of the lace will unfold without real difficulty. Several of 
 the fillings are complicated and one is apt at the start to forget some detail and 
 have to undo ; but after about one inch of lace has been successfully made, these 
 
BY WAY OF INTRODUCTION 15 
 
 tricky points will have become impressed upon the mind, and thereafter cause 
 no annoyance. The descriptions are not intended for the absolute beginner; 
 but, on the contrary, presuppose a little knowledge of how to handle the bob- 
 bins ; and of how to adapt or transfer a coveted groundwork to the lace in which 
 it is to be used, or to make of it a plain, solid, insertion by simply adding an ap- 
 propriate edge or finish. However, the privilege has been taken of adding a 
 few general remarks and instructions that it is hoped may not be considered too 
 irrelevant; particularly as they are the result of only limited, personal ex- 
 perience. The more the author studies, the deeper she inquires, the better she 
 realizes the possibilities and complexities of her subject, and the likelihood of 
 error and confusion. There are several books of manual instruction for bobbin- 
 lace beginners, among them : — 
 
 "The Priscilla Bobbin Lace Book." 
 
 "Pillow Lace" by Elizabeth Mineoff and Margaret S. Marriage. 
 "The Art of Bobbin Lace" by L. and B. Tebbs. 
 "La Dentelle" by Mme. Marguerite de Brieuvres. 
 "Manuel de Dentelles aux Fuseaux" by Mme. H. H. de Juillien. 
 "D. M. C. Library Encyclopedia of Needlework" (translated into all prin- 
 cipal languages) by Therese de Dillmont. 
 
 "Bibliothek D. M. C— die Kloppelspitzen, lte Serie." 
 
 A book giving elementary instruction, unexplained by cuts: but also ad- 
 vanced rules and stitches with illustrations : and one that is recommended in 
 connection with "A Lace Guide for Makers and Collectors" is: — 
 
 "Devon Pillow Lace, Its History and How to Make It" by A. Penderel 
 Moody. 
 
 In an article written some years ago, Mrs. Florence G. Weber says, "At 
 Burano in the Royal Lace School under Queen Margherita's patronage, I found 
 splendid conditions. The girls work from nine to twelve, and from two to four. 
 The patterns are all dark colors. They wear clean cotton dresses and dark 
 cotton aprons. Take note, feminine reader, you who put on a dazzling white 
 apron when you sit down to fine work ! It was my good fortune to see the girls 
 come out at noon. They wear a cotton kerchief pinned over the head to keep 
 their hair clean. Their shoes are simply a sole of wood held on by a leather 
 strap over the instep. At every step, the wooden sole clicks on the street. As 
 the girls poured out of the shop, the noise of their shoes reached us a block away, 
 until the whole three hundred pairs of wooden soles clicking over the stone pave- 
 ment produced in me much the same feeling as the musical rattle of hundreds of 
 lace-bobbins. When I hear it blended with the soft voices of my girls, it suggests 
 at once the combination of industry and the joy of youthful content. I was full 
 of theories when I went to Europe : my experience with the girls in our shop 
 had been that lace-making first of all is a joy to the worker. It is a pursuit so 
 refined, so ennobling, that this fact alone is a plea for our industry in Boston. In 
 Europe, my theories proved true. In the lace-making villages, the women are 
 of superior type. They are never idle. Their manners and voices are gentle. 
 Their work is a constant joy. Never did I find one who admitted it a strain 
 
16 BY WAY OF INTRODUCTION 
 
 upon the eyes. Do not believe all the constantly published paragraphs about 
 lace-makers going blind in factories ! The lace is no longer made under painful 
 conditions — in damp cellars. Good lace-makers are valuable to their employers 
 and skill is to be treasured, not abused. They do not work in dark rooms at all, 
 but in upper stories of well-lighted and well-ventilated buildings. Personal 
 cleanliness is essential at all times." 
 
 The following paragraph from "Lace-Making in the Midlands" by C. C. 
 Channer and M. E. Roberts gives us another glimpse into the life of the lace- 
 maker, showing us that in England as in Italy "there is a freemasonry between 
 lace workers which, once formed, is very strong; a feeling of kinship which is 
 not easily understood by those outside" — the "spell that lace seldom fails to 
 throw over its devotees. ' ' 
 
 ' ' There are hundreds of women between sixty and ninety years of age quite 
 unfit for any other kind of work who keep themselves by it in independence; 
 any lace-buyer can count up a large number who keep their husbands as well — 
 husbands past work, crippled, or blind, or bedridden. The old mother living in 
 the son's or daughter's house, past being any assistance in the housework, feels 
 the delight of not being a burden on the hard-pressed children. She can sit at 
 her pillow part of the day and earn the four or five shillings a week which keeps 
 her. Perhaps to the aged the occupation is almost as great a boon as the earn- 
 ings, and this accounts for the intense pleasure with which the work is almost 
 always spoken of. When sons and daughters are all grown up and gone away, 
 the long days may be unspeakably dull to the old couple, but the wife can always 
 make herself happy turning over the bobbins. We went to see a widow, over 
 eighty years old, living all alone, and tried to buy some of her beautiful lace. 
 'When my husband was alive,' she said, 'he didn't care for me working at it, so 
 I put it on one side; but now he's dead, I couldn't do without it, I should be so 
 dull.' She could not sell us any of her work, she had orders that would keep her 
 busy for months to come. 
 
 "But it is not only the aged who are glad of the work; .the mother of the 
 family finds it a great help. When the housework is done, and the children are 
 all away at school, she can sit down and work for a couple of hours, and the 
 week's earnings will be a comfortable addition to her man's wages, especially 
 when there is a large family. There is no other industry so convenient for the 
 home. It is clean work and needs cleanliness, for lace must be spotlessly white 
 if the worker is to get her full price. It creates no litter and no untidiness. The 
 pillow stands by the window with a cloth thrown over it and the chair ready 
 before it. When baby is put to sleep, the mother has but to lift the cloth and 
 begin her work : there is no getting out of material and implements, and no put- 
 ting away and clearing up when the children come home to tea. Where certain 
 other work is taken at home, the littered floor and whirring machine make an 
 unpleasant contrast to the tidiness and quietness of the bobbins with their little 
 subdued rattle so pleasant to the ear. Lace-making is not tiring, nor in any 
 way trying ; given suitable spectacles for the old women, it is not at all trying 
 to the eyes — indeed, an expert worker on a lace she knows well, looks at it no 
 more than a needlewoman looks at a long seam. 'I could do it with my eyes 
 shut' is a phrase one often hears of lace-making, but we take that statement for 
 
BY WAT OF INTRODUCTION 17 
 
 what it is worth. It is not monotonous work, for even in the simplest lace the 
 pattern creates a variety of motion and sufficient occupation for the mind. 'My 
 mother always said that to sit down to her pillow was the best rest she could have 
 after her work, ' we have been told by the daughter of a famous lace-maker. ' ' 
 
 "Art gracieux, travail bienfaisant", wrote M. Engerand. "Sa nature meme 
 se concilie avec les obligations de la vie rurale; on le quitte et reprend sans 
 dommage. C'est 1 'ideal d'un travail feminin, peu fatigant, presque recreatif, 
 distingue, s'exergant a la maison; dans la belle saison, en plein air ou sous les 
 pommiers ; procurant aux enf ants un salaire presque immediat, permettant aux 
 vieilles de gagner quelque argent jusqu'a la mort. Est-il vraiment beaucoup 
 d'industries plus touchantes, plus interessantes, mieux adaptees aux necessites 
 de la vie des champs?" 
 
18 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 THE LACE MAKER. 
 By Pieter van den Bosch. 
 
TEE LACE-MAKER 19 
 
 THE LACE-MAKER. 
 
 When in doubt, when in dread, 
 When her sky's overblown, 
 
 To the plier of thread- 
 Gentle artist unknown — 
 
 Comes the blessing of work, 
 
 Of her fine, quiet work. 
 
 Her poor form can relax 
 As with pillow she sits, 
 
 Deftly weaving the flax 
 
 That is wound on her sticks, 
 
 On her bobbins is wound, 
 
 To their spindles is bound. 
 
 Oh, such merry tools these, 
 Quaintly carved and turned, 
 
 Tinkling, trying to please 
 With the lullabies, learned 
 
 As they twist, mingle, toss 
 
 In life's take, give and cross! 
 
 As the rhythmic repeat 
 Of their come and their go 
 
 Soon becalms by its beat, 
 By its cadences, so 
 
 Her resistance it smoothes, 
 
 It uplifts and it soothes. 
 
 From her fingers is shed 
 
 By the exercise light 
 All the nerve-poison bred 
 
 Through her worrisome plight ; 
 It unconsciously slips, 
 As it were, from their tips. 
 
20 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 Not, perhaps, sensing how : 
 Yet her sore troubled mind 
 
 "By the sweat of the brow" — 
 
 The work's light though in kind — 
 
 Has ceased fretting, grown clear, 
 
 Forgot self, forgot fear. 
 
 Unpreoccupied, free 
 
 And receptive at last, 
 Like the heart of a wee 
 
 Little child, unharrassed, 
 Is the thread worker's soul, 
 Ay, her patient-grown soul. 
 
 She can now hear the voice — ■ 
 That "still small voice" of God's— 
 
 That leads all to rejoice, 
 
 Fills their souls with the Lord's 
 
 Inexpressible peace; 
 
 Peace which never need cease 
 
 E'en midst tumult and war, 
 
 If our part therein's just 
 And we seek nothing more 
 
 Than the duty we must 
 Carry out and with cheer, 
 Carry on without fear. 
 
 Thus her struggle so true 
 That her heart's very beat 
 
 Has rung upward and through 
 To the Heavenly Feet : 
 
 Yea, her effort sincere 
 
 To do right, persevere, 
 
TEE LACE-MAKER 
 
 21 
 
 Has brought insight and cheer, 
 Taught her lace-maker's skill — 
 
 Skill so oft without peer — 
 Taught her faltering will, 
 
 To work on, not to slack, 
 
 To "look forward, not back": 
 
 That God helps us to cope 
 With our troubles, if we 
 
 Will keep on and but hope, 
 Will but lowlier be, 
 
 Not obsessed by dismay, 
 
 Not obstructing the way: 
 
 Taught her hands and her mind 
 Nimbly forward to fly, 
 
 Spinning each in its kind, 
 And with patience to ply, 
 
 Weaving fabrics of worth, 
 
 Adding grace to the Earth. 
 
 OLD LACE BOBBIN. 
 
 (From the Author's collection.) 
 
CHAPTEE II 
 
 SUGGESTIONS 
 
 "Who would believe/' said the weaver of braid one day to his neighbor 
 the lace-maker, "that 1 ell of thy lace should be worth more francs than 10 
 ells of 2 carat gold galloon?" 
 
 "Thou oughtest not be surprised," she answered, "that my merchandise 
 should have a value so greatly above thine; that is because Art is worth more 
 than Matter." 
 
 — From Thomas de Yriarte, 1750. Teneriffe. 
 
 In the chapter on Tools in "Pillow Lace" by Elizabeth Mincoff and Margaret 
 S. Marriage, the writer says : — 
 
 "Here I should like to protest against the hide-bound conservatism that 
 rules — sad to say — especially in women 's handicrafts. Why should we so illib- 
 erally cling to some traditional way of holding the hands in our work as the 
 only correct one ? Why cannot we recognize the fact that our hands are shaped 
 differently, the strength of our muscles balanced differently, that some are 
 stronger in the wrist, some in the fingers, and so can never use their force 
 to best advantage by all trying to pose themselves in some one accepted tra- 
 ditional way? 
 
 "In many parts it is traditionally correct to hold a great number of bob- 
 bins in the hands while working. It is possible in this way for some to econo- 
 mize the time they would spend in taking up and setting down the pairs in 
 use. But that is no reason why the beginner should feel herself clumsy and 
 amateurish because she can work better with only two pair in hand at a time. 
 This is much less confusing, and I have known a fairly experienced worker to 
 waste more than the time she gained in having the bobbins so close at hand, 
 by being obliged to undo a good part of her work because she had got hold of 
 the wrong pairs. The Flemish lace-makers, who work very fast indeed, retain 
 no bobbins in the hands, but let them all lie in a row on a stiff card fastened 
 across the pillow, lifting each bobbin in turn over the next. 
 
 "Work in the way that comes natural to you. There is no need to follow 
 slavishly the rules laid down in this or in any other book, in order to become 
 expert. If the instructions given here appear precise and dogmatic, it is be- 
 cause to give a choice of methods confuses and worries the beginner, not that 
 only one road 'leads to Borne.' Later on, the worker, gaining experience, will 
 find short cuts and ways of her own. 
 
 "Take pains to find the most comfortable pose for working, the best 
 heights for table, stand, and chair, so that you do not have to bend over your 
 work, nor fatigue your arms with raising them unduly. These details, un- 
 
 22 
 
SUGGESTIONS 23 
 
 noticed at first through, absorption in the work, afterwards make themselves 
 most unpleasantly apparent in stiff neck or arms. 
 
 "Do not hurry because you have heard professional workers clicking their 
 bobbins at a great rate ; remember that they mostly make one pattern day after 
 day. The amateur has no need to turn herself into a machine, and cannot ex- 
 pect to work as fast as if she did so. Lace-making is a pleasant and soothing 
 employment; if it 'excites the nerves,' as I have heard German ladies com- 
 plain, it is because the worker does not take it in the right spirit, either re- 
 garding it as a task to be finished quickly, or as an opportunity of 'showing 
 off.' " 
 
 The advantages of the Spanish, lace pillow are many. This upright, cylin- 
 drical pillow, used also by the revivors of Swiss lace-making, can be placed in 
 an adjustable easel-like stand, or its lower end put upon the worker's knees, while 
 the upper end leans upon a chair-back, against a table-edge or wall ; or should the 
 lace-maker be outdoors, a tape or ribbon can be secured behind the pillow by a 
 pin, then this band can be crossed over and behind the worker's shoulders, 
 brought forward and tied around the waist. The disadvantage of this last method 
 is that when one leans forward to inspect a certain point, the pillow tips for- 
 ward with one. Should the chair-backs available be rounded up instead of being 
 scooped, a soft pillow, or a divided air-cushion placed between cushion and chair 
 will keep the former from rolling or sliding. No basket, box, table or foot-stool 
 is necessary. The work is level with the eyes, avoiding a bent-necked, stoop- 
 ing, hollow-chested position, making it unnecessary to hold the arms in a tire- 
 some, spread-eagle way above the work, but allowing the elbows to fall naturally, 
 for the bobbins hang down into the hands, making it possible to manipulate six- 
 teen at once, instead of lifting one slowly above another ; or in an effort to hurry, 
 throwing one out of place too far beyond the other. The hanging of the bobbins 
 keeps the threads taut and the lace smooth, without ugly loops. Suspended bob- 
 bins do not slip out of their nooses as do those lying on a horizontal pillow, nor 
 can they roll sideways and backwards out of place, but naturally remain on the 
 front of the cushion. 
 
 Brass pins bend and steel ones rust, so that nickel-plated tin seem to be the 
 most all-around. The heads should be small, so as not to obstruct the view of 
 the work beneath them, and so as not easily to catch threads when one is making 
 a serpentine or tape-like design, when, of course, the pins are supposed to be 
 pushed all the way into the pillow. For this reason pins should not be too long, 
 and on account of fine laces, the shanks should be slim. The ordinary pin found 
 in nearly all large American department stores that seems best to fulfil all 
 these requirements, is Kirby, Beard and Company's S.W. Ne Plus Ultra, Solid 
 Head, Smooth, Adamantine Points, % of an inch long. However, special lace- 
 makers ' pins can be bought in Europe. A long fine pin is very useful in reach- 
 ing in among the others to push something into place, or to assist in untying a 
 knot. 
 
 Long, spiral, steel springs can be obtained, pinned to stand out straight hori- 
 zontally against the cushion, or wrapped around it and hooked behind, at a height 
 or level just above the heads of the bobbins, so the threads will fall between its 
 meshes and remain in place. To prevent having to lift each thread out from 
 
24 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 ADJUSTABLE BASEL-LIKE STAND FOE SPANISH LACE PILLOW. 
 
SUGGESTIONS 
 
 25 
 
 LONG, SPIRAL SPRING IN PLACE. 
 
26 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 a deep cleft between spirals, the spring should be of small diameter ; say a quar- 
 ter of an inch. If it is not brass or nickel plate, it should be kept carefully free 
 of rust. 
 
 One can conveniently couch hundreds of bobbins or sticks in the order in 
 which they are used by laying a broad tape or ribbon between superimposed lay- 
 ers of them, thus keeping an upper layer from falling into those beneath. A 
 long tape is pinned at its centre to the middle of the pillow, and the right-hand 
 end forms a zigzag back and forth from the centre to the right-hand edge. The 
 left end zigzags back and forth between the left-hand layers of bobbins. Of 
 course, a large supporting pin has to be placed in the middle and at each end 
 to turn or wrap the tape around. The outer edge bobbins should be placed first, 
 the left-hand ones way to the left, the right-hand ones way to the right. Then 
 both sides are filled up to the centre pin, pair by pair. Now the tape, starting at 
 the middle, is laid flatly over this first layer of bobbins, each end of the tape in 
 its own direction over the big end pins. Starting at the centre from where one 
 left off, adhering to respective sides, another layer of bobbins is couched until 
 one reaches the two outer pins ; when the tape going around these pins, returns 
 to be folded around the centre support, so that more bobbins can be added; and 
 so on. When the lace-maker is using the bottommost bobbins at the left of the 
 lace, the other left edge bobbins are laid in the same orderly fashion upon the 
 right-hand ones — with tape between, of course. Thus, first the left is laid upon 
 the right-hand pile, then vice versa ; and if done regularly, the bobbin next wanted 
 will generally be the next to hand. Long stiff pins can be ranged fan-like to sep- 
 arate pairs, or to hang successive pairs upon. This avoids confusion, broken 
 threads, knots, eye-strain and loss of time. Some schools teach that it is advis- 
 able to adhere to a fixed, orderly method of starting lace, and on account of the 
 securing of cutworks, the left 'side has proved the more advantageous to begin 
 from. Therefore, by first couching the right-hand bobbins, the left-hand ones 
 come nearer the top. In many cases, however, it is just as easy to begin weav- 
 ing at the centre without first unpiling the bobbins. To unpile, one lays the top 
 left-hand layer of bobbins upon the top right-hand layer, doubles back the right- 
 hand tape once more, and so forth until the bottom or edge left-hand bobbins are 
 exposed, ready for working. One then works layer by layer towards the centre. 
 A pillow should never be put aside without first securing a ribbon firmly over 
 even the top layer of bobbins and pinning it down tightly, so nothing can slip and 
 no one can inadvertently upset the work. Time is not then lost in recommencing 
 later on. And the pillow, first swathed in a roll of clean, washable linen or silk, 
 can be safely taken about in a shawl-strap or steamer-rug roll. 
 
 This inside cover should be kept around the pillow even at home, to prevent 
 dust or insects from settling upon the lace, and to lay under and behind the cush- 
 ion when in use, to keep pins on the back of it from scratching wall or furni- 
 ture. Cover and bobbins should be scrubbed before starting a new piece of work ; 
 but bobbins ought not to be soaked, as they are liable to warp. Should a creamy 
 lace be desired, it would be better to rely upon unbleached linen, than upon the 
 discoloration that comes from careless handling, for this of course, rots the thread 
 and lessens the value of the product. Moreover, should the work become more 
 tawny than intended and so require washing, there is risk of spoiling the original 
 
SUGGESTIONS 
 
 27 
 
 SHOWING BOBBINS COUCHED BETWEEN BANDS OF RIBBON. 
 
28 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 charm of its delicate and perishable web. A damp washcloth can be kept in a rub- 
 ber sponge bag or pocket at one's side and used whenever the hands feel sticky. Or 
 those who suffer from moist hands, can use some of the various toilet prepara- 
 tions on the market; keeping the hands soft, nevertheless, by the use of some 
 soothing balm or lotion. 
 
 When tape laces are made on the Spanish or Mexican pillow, a stiff felt not 
 quite half an inch thick and about ten inches square, is attached to the pillow by 
 one or two pins and turned or tipped from side to side as the serpentine design 
 progresses. The bobbins therefore, always bang in the normal position and do 
 not entangle themselves helter-skelter by catching in pins behind them in the 
 work already completed. Such felt can be procured at a harness shop ; or better 
 still, at a felt manufacturer's. 
 
 In making long continuous strips of lace, when the lower part of the modern 
 Swiss pillow is reached, a ribbon is laid under all the bobbins, and in tying, the 
 outer bobbins are lifted upward and inward. This bunch is held in one hand 
 while the last incb of work and pins are removed from the pattern. These pins 
 should be laid over the corresponding part of the pattern on the upper part of 
 the cushion, the bobbins so supported that the threads will not pull, and the pins 
 pushed into their new places, thus firmly securing an inch of lace from which to 
 work. In moving, the pins ought not to be pulled out of the lace, but only out of 
 the pricking. The ribbon can now be removed and weaving continued. 
 
 Art needlework departments and fancy work shops keep pointed and blunt 
 ended tweezers, which save one's nails and fingers a good deal of damage in re- 
 moving pins. 
 
 The cylindrical pillow is about 26 inches long by 7 inches in diameter. Long 
 clean straw is tightly tied together, some of the heads of the straw placed along- 
 side some of the stalk ends to assure even thickness. If the cushion is thin and 
 slight in diameter, there is less width of surface upon which to spread the bob- 
 bins. When the desired diameter has been obtained, the ends of the straw are 
 chopped off to the correct length. A heavy roll of ticking or denham is sewed 
 tightly over the straw and two circular ends are sewed on. 
 
 Short or long pattern-prickings canbe used upon this upright pillow, and 
 two or three different pieces of lace can be in the making at once on different 
 sides of the cushion, thus varying the work and relieving possible monotony. 
 Two exactly similar, short patterns can be used on no matter what type of cush- 
 ion, by placing one alternately below the other, and when the first one is all 
 worked and the pins removed, placing that in turn below the one which was pre- 
 viously below it. It is easier to see and work on a dark pattern with light lines 
 than on a light pricking with black lines, as white threads stand out more dis- 
 tinctly against a dark background. 
 
 Bahrenburg, 401 Lafayette Street, New York City, sells a soft, light green 
 "Mytho" Bristol board No. 533, 20 by 32 inches, that is light enough to show ink 
 marks clearly, dull enough to rest the eyes, and is interlined with muslin to pre- 
 vent tearing; an excellent material for bobbin lace prickings. 
 
 If one sits with a window or lamp directly to the right or left, one side of the 
 thread is in the lig'ht, the other in the shadow, thus showing more plainly than 
 when the light comes over the shoulder making all the threads dead white, not 
 
SUGGESTIONS 29 
 
 outlining one against the other. Splendid adjustable lamps now come, throw- 
 ing their light in four directions. The three direction lamps are not fully ade- 
 quate, and the addition of a movable blinder is a great help. The three direc- 
 tions in which many lamps move, are a sliding up and down motion, a swinging to 
 the right and left, and a tilting to the right and left. They should also tilt or 
 turn up and down as well as slide, just as a snake-necked lamp will ; for the light 
 should not shine downwards through the lace pins, casting shadows onto the 
 working space, but upwards through the working place in among the pins, so the 
 work just finished can also be observed. And the light beams should not flare 
 out sideways into one's eyes. There is a modern theory that one should not look 
 through a layer of darkness into a band of light, as this might cause a contra- 
 dictory contraction and expansion of the pupil of the eye. But to execute lace 
 in a diffused light is certainly very trying. The happy medium might be to 
 place oneself in a broad, general light and then add a concentrated light directed 
 solely upon the work. In this connection it may be interesting to note that in 
 European lace-making communities, each worker has a bottle or jar of water 
 tinted blue which she places in front of a candle or lamp to concentrate yet soften 
 the light thrown upon her pillow. 
 
 In weaving wide lace, also in using fine thread, or for the so-called Italian 
 method (that is, sewing or crochetage), slim, pointed Devonshire bobbins will be 
 found to take up much less room, and their pointedness and lack of protruding 
 flanges (the thread space is indented) allow them to slip easily through a loop. 
 See the illustration in the lower right-hand corner of the sampler diagram. 
 
 A reel or yarn winder, though convenient, can be dispensed with, as a skein 
 of thread can be held around the left hand and wound onto a spool or bit of card- 
 board in the right hand, by just placing one end of the skein over the left thumb, 
 bringing the skein across the inside of the hand and around, across the back; 
 again over the palm and around the back a second time ; then across the inside 
 of the fingers, a third time, laying the other end of the skein around the little fin- 
 ger. The fingers and thumb should then be stretched apart to keep the thread 
 from slipping off. Care should be taken not to twist one strand of the skein 
 over the other, but to keep the two sides parallel. 
 
 Some people prefer to shrink each skein before using it. 
 
 A bobbin winder is an unnecessary article for a lace-maker to store or carry 
 about with her, as the bobbins can be easily and quickly wound by tying a heavy 
 white thread, preferably a tightly twisted or glazed one, single or doubled, to a 
 long pin, and sticking the pin firmly into one's pillow or the upholstered arm of a 
 convenient chair. The point of the pin in this case should be slanted towards one 
 to anchor the work, as in hemming. Here it might be parenthetically said, that 
 in bobbin lace-making, pins should always be placed somewhat at this angle in 
 order that they may not give and allow threads to slip out of place; but they 
 should, however, all slant at the same angle. The heavy white thread referred 
 to in a previous sentence is called a cable. A cable should be, roughly speaking, 
 about eighteen inches long: but many workers prefer a very much shorter one. 
 The loose, lower part, not necessarily the very end, of the cable is customarily 
 held firmly by the left thumb twice around the forefinger of the left hand, com- 
 ing up in front of it. To secure the lace thread to the bobbin, an end should 
 
so 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 PLACING ONE END OF SKEIN OVER THE LEFT THUMB. 
 
SUGGESTIONS 
 
 31 
 
 LAYING THE OTHER END OF THE SKEIN AROUND THE LITTLE FINGER. 
 
32 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 BOBBINS CAN BE EASILY AND QUICKLY WOUND. 
 
SUGGESTIONS 33 
 
 be placed towards the right across the handle flange at the lower end of the 
 spindle and held there for a moment by the right forefinger. Then winding the 
 thread twice down behind the back and up around the front of the spindle, one 
 turns the thread end back towards the left across these two twists, using the left 
 thumb and forefinger, replacing the right-hand finger to secure the reversed end, 
 while one continues to wind three or four rounds of thread on top of it. The 
 worker can then begin using the cable, in the meantime replacing the first right- 
 hand finger by the second if necessary. The lace spool or thread holder is laid in 
 one's lap or somewhere else just below the left hand, and the lace thread comes 
 up to the bobbin on which it is to be wound, behind the little and forefingers, in 
 front of the two center ones of the left hand. This permits of an adjustable ten- 
 sion. The bobbin is held horizontally in the light hand with its head towards the 
 left, the handle sloped slightly to the right to make the thread wind nearer the 
 handle end than the cable end of the spindle. The thread groove around the head 
 of the bobbin or upper end of its spindle just nest to the spreading head flange, 
 is laid in front of and against the cable. The lower end of the cable is then 
 brought up in front of, over the bobbin, and down behind it, making one loop 
 around — without a knot. The bobbin should slip or slide up and down in this 
 loop, so the loop ought not to be kept too tight or the bobbin cannot move. If, 
 however, the cable is too loose, the bobbin will slip out. Practically the whole 
 trick lies in this tension : but that this is easily and quickly mastered, is shown by 
 the fact that some little four-year-old, meningitis patients learned it without dif- 
 ficulty. The cable must be around the stick only, not in with the thread, or the 
 bobbin cannot turn. The two first fingers of the right hand are placed above 
 and down behind the bobbin to the left of its handle-flange, the other two right- 
 hand fingers are similarly placed: but to the light of the flange: the forefinger 
 to the left of the cable, the other three to the right, one over the thread or spin- 
 dle part, two over the handle. This keeps the bobbin properly centered, and 
 these fingers are used to push or slide the bobbin down the cable, allowing the 
 stick to roll. The thumb of the right hand is placed below the bobbin to the right 
 of the cable and handle-flange, in what is the slender part of most bobbin han- 
 dles, thus leaving a clear view of whether the thread is winding smoothly; and 
 pushing the stick upwards on the return movement without the bobbin's rolling. 
 To prevent its rolling, the thumb, of course, grips it more tightly for the mo- 
 ment. Once this simple trick is mastered, it seems very easy and is great fun ; in 
 fact, one feels as though one were playing a game rather than really working. 
 
 If the bobbins are wound on the two ends of the same thread, winding the 
 first from the spool or ball, then measuring and cutting off what one wants for 
 the second stick, no knot appears at the beginning of the lace. Knots, of course, 
 have to be avoided in the midst of fine w ork, when one is adding an extra pair 
 astride the weavers right in the middle, where there is no seam or pin. Begin- 
 ners find it easier to knot two threads together around a pin at the start of a 
 new piece : for otherwise until a little lace has been woven, securing the threads, 
 one bobbin of a pair, when pulled, pulls up its mate on the other end of the thread. 
 To wind sticks in advance and keep them until needed without tangling, one can 
 
34 
 
 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 wind each bobbin rigbt up to the middle of the thread, there making the usual 
 slip-noose, bringing the second stick close up to the first, with not more than a 
 half inch of loose thread between them. Should one wish, an elastic band can 
 then be slipped over the two handles. 
 
 OLD EHODE ISLAND WHALE-IVORY REEL, WINDER OR "SWIFT." 
 (From the Author's collection.) 
 
CHAPTER III 
 
 EXPLANATIONS AND NOMENCLATURE 
 
 "The most perfect must by reason of its very perfection lack the impression 
 of life which the very faults and irregularities of human handiwork can alone 
 produce." 
 
 There are two general definitions of lace : — one, that it is any fancy work 
 which consists of more or about as mnch open space as solid part, including such 
 products as drawn-work, reticello, cutwork, punched-work, darned net or tam- 
 bour work, and Carrickmacross, which is the application of muslin onto net; — 
 the other, that lace is evolved entirely from a simple length of thread, without the 
 foundation or addition of linen, net or any other fabric. Such laces are netting, 
 macrame, needle-point, bobbin lace, knitting, crochet and tatting. 
 
 Carita says : ' ' The following words of Charles Blanc very graphically con- 
 vey the pleasure that will assuredly result from attempting to work out the many 
 intricate and clever stitches handed down to us through the ages. 
 
 " 'When we see these traceries so skilfully plaited in which straight lines 
 and curves intermingle, cross, branch out, disappear and recur, we experience a 
 high pleasure in unravelling a puzzle which at first perhaps appeared to be un- 
 decipherable, and in acknowledging that a latent arrangement may be recognized 
 in what at first and at a distance seems an inextricable confusion. ' ' ' 
 
 TERMS 
 
 By twisting is meant, placing the right-hand bobbin over the left of the same 
 pair. 
 
 By crossing is meant, placing the left-hand bobbin of the right-hand pair un- 
 der the right-hand bobbin of the left pair. 
 
 By sewing, raccrochage or crochetage is meant, hooking one thread of a pair 
 through a small opening, usually a pin hole, by means of a fine crochet hook or 
 pin : then passing the other bobbin of the pair through this loop, and closing the 
 loop by pulling up the first bobbin. 
 
 By closing is meant making the same stitch after placing a pin, as one made 
 just prior to placing it. 
 
 By half-stitch is meant twisting, crossing. 
 
 By cloth or linen stitch is meant crossing, twisting, crossing. 
 
 By whole or double stitch is meant the half-stitch repeated. 
 
 By Winkie Pin is meant an edge where the weaver comes out (sometimes 
 twisted, sometimes not) around a pin and returns to its former work. This edge 
 is made up of many tiny loops. ■ 
 
 By Bohemian Edge is meant an edge where the weaver comes out from its 
 work and (generally after being twisted) is woven through an outside, hanging, 
 
 35 
 
36 
 
 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 waiting pair; which then becomes the new weaver, going around a pin back into 
 the work proper, while the former weaver hangs idly awaiting the next similar 
 edge operation. The pin is not closed. In this way an extra pair is required, 
 as the weavers alternate in their work. The edge formed has a solid outline. 
 
 "Wincken" is the Dutch word for a quick movement, hence the English 
 word "wink." A winkie pin edge can be made in less time and with fewer pairs 
 than a Bohemian edge with its outside couples and e*xtra twisting. 
 
 Just here it should perhaps be added that different authors use various 
 terms for the same stitch or instrument, as indicated in the following five-lan- 
 guage, lace nomenclature. Moreover, teachers vary in their instruction for form- 
 ing even the elementary half, linen and whole stitches. For example: — 
 The "Priscilla Bobbin Lace Book "says: 
 
 Half throw — twist, cross. Whole throw — twist, cross, twist, cross. 
 The "D. M. C. Library Encyclopedia of Needlework" says: 
 
 Half passing — twist, cross. Double passing — twist, cross, twist, 
 cross. 
 "Pillow Lace" says: 
 
 Half stitch — twist, cross. Cloth or whole stitch — cross, twist, cross. 
 "Die Kloppelspitzen" says : 
 
 Halbschlag — twist, cross. Granzschlag — twist, cross, twist, cross. 
 "A Text Book on Cliray and Torchon Laces" by M. E. Woodward, says: 
 Half point — cross, twist. A point — repeat the preceding. 
 Point matte — cross, twist cross. 
 "The Art of Bobbin Lace" says: 
 
 Half stitch — cross, twist. Cloth stitch — cross, twist, cross. 
 ' ' Devon Pillow Lace ' ' says : 
 
 Half stitch — cross, twist. Whole stitch — cross, twist, cross. 
 The Torchon Cooperative Lace Company, formerly of Chicago, says : 
 
 Half throw — cross, twist. Linen ground — cross, twist, cross. Whole 
 throw — cross, twist, cross, twist. 
 The "Manuel de Dentelles aux Fuseaux" says: 
 
 Demi-point — twist, cross. Point entier — cross, twist, cross. 
 
 I have, therefore, chosen the system which appealed to me as the more logi- 
 cal and thorough, although either method uniformly and consistently followed, 
 will give the same result. 
 
 jM 
 
EXPLANATIONS AND NOMENCLATURE 37 
 
 In describing the following meshes, the author has often stated that it re- 
 quires so and so many bobbins for the making of a certain stitch. In this case, 
 however, for the sake of making the explanation clear, the stitch has been iso- 
 lated and described as though it were going to be woven all by itself. Should the 
 maker wish to have several continuous lines or columns of any such mesh, not 
 so many bobbins would be required as might at first appear. That is, if the de- 
 scription says that one mesh requires eight bobbins and one is about to make six 
 such stitches side by side, it will not be necessary to use six times eight bob- 
 bins, for there is more or less give and take between pairs; that is, the strand 
 which forms the left edge of one mesh also forms the right-hand border of an 
 adjoining stitch. 
 
 A LACE STUDENT'S NOMENCLATURE 
 
 "A small thing may make Beauty, 
 Yet Beauty is no small thing." 
 
 — Michelangelo. 
 
 The following lace vocabulary or, more correctly speaking, nomenclature, 
 can be largely supplemented and improved by readers who are linguists or who 
 have studied abroad. There are spaces where missing or more appropriate 
 words can be inserted, giving to each volume an added and individual value. In 
 addition to the knowledge of terms gained by the author in studying lace-making 
 and its history in different European countries, many — very many — diction- 
 aries and technical books have been used in checking and counter-checking, and 
 a number of foreign authorities consulted. 
 
 The names of stitches and varieties of lace are not included. See the index 
 for a partial list of these: but the nomenclature applies to knotted, knitted, cro- 
 cheted, needle, bobbin, run, applied and mixed lace : not, however, to the machine- 
 made. Designing, laundering and historical terms also are given ; as well as the 
 names of those articles frequently made of lace or trimmed with it, and the tools, 
 materials, et cetera, used in making it. 
 
38 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 ENGLISH 
 
 FRENCH 
 
 ITALIAN 
 
 1'intelligente 
 
 SPANISH 
 
 GERMAN 
 
 Ability, dexterity, 
 
 l'habilete, la dex- 
 
 la desteridad, la ha- 
 
 die Fahigkeit, die 
 
 deftness 
 
 terity, l'adresse 
 
 
 bilitad 
 
 Fertigkeit, die 
 Geschicklichkeit 
 
 Adapt, to, recon- 
 
 adapter, ajuster, re- 
 
 adattare 
 
 adaptar, ajustar 
 
 anpassen 
 
 struct, to 
 
 construire 
 
 
 
 
 Admirer : see Ama- 
 
 
 
 * 
 
 
 teur 
 
 
 
 
 
 Agate : see Puff 
 
 
 
 
 
 iron 
 
 
 
 
 
 Agent, commission 
 
 la factrice, le fac- 
 
 l'agente, il fattore 
 
 el factor, el agente 
 
 die Kauferin, die 
 
 agent, middle- 
 
 teur, la koop- 
 
 
 
 Kommissionarin, 
 
 man, collector, 
 
 vrouw, la facto- 
 
 
 
 der Geschaftstra- 
 
 buyer, factor 
 
 resse, l'interme- 
 diaire 
 
 
 
 ger 
 
 Alb 
 
 l'aube 
 
 il camice 
 
 el alba 
 
 das Chorhemd 
 
 Album 
 
 l'album 
 
 l'album, il libretto 
 dei ricordi 
 
 el album 
 
 das Musterbuch 
 
 Aloe (tree) 
 
 l'aloes 
 
 1'aloe 
 
 el aloe 
 
 die Aloe 
 
 Alpaca : see Mohair 
 
 
 
 
 
 Altar-cloth, cere- 
 
 la nappe d'autel 
 
 l'altare 
 
 la sabanilla 
 
 das Altartuch, die 
 
 cloth 
 
 
 
 
 Altardecke 
 
 Altar-hangings, al- 
 
 le parement d'autel 
 
 il paramento 
 
 la colgadura de al- 
 
 der Altarbehang 
 
 tar-curtain 
 
 
 
 tar 
 
 
 Amateur (beginner, 
 
 le commencant, la 
 
 1'incominciatore 
 
 el aficionado 
 
 der Anfanger 
 
 not professional- 
 
 commencante 
 
 
 
 
 ly trained) 
 
 
 
 
 
 Amateur (lover, 
 
 l'amateur, l'ama- 
 
 il dilettante 
 
 el aficionado 
 
 der Amateur 
 
 fancier, admirer) 
 
 trice 
 
 
 
 
 Amber 
 
 l'ambre 
 
 l'ambra 
 
 el ambar 
 
 der Bernstein 
 
 American (adj.) 
 
 americain -e 
 
 americano 
 
 americano 
 
 amerikanisch 
 
 Angel 
 
 1'ange 
 
 l'angelo 
 
 el angel 
 
 der Engel 
 
 Aniline, anilin : see 
 
 l'aniline 
 
 l'anilino 
 
 la anilina 
 
 die Anilin 
 
 Dyestuff 
 
 
 
 
 
 Antimacassar : see 
 
 l'antimacassar, la 
 
 l'antimacassar 
 
 el antimacassar 
 
 der Schorner, die 
 
 Tidy 
 
 pommadiere, le 
 dessus de fau- 
 teuil 
 
 
 
 Schutzdecke, die 
 Sofadecke zum 
 Schutze gegen 
 Haarolflecke 
 
 Antique (adj.) 
 
 antique 
 
 antico, vetusto, an- 
 ticho 
 
 antiguo 
 
 alt, antik 
 
 Apparatus : see 
 
 l'appareil, l'usten- 
 
 l'apparecchio 
 
 el aparato 
 
 der Apparat 
 
 Tool 
 
 sile, l'outil 
 
 
 
 
 Applier (of lace) 
 
 1'appliqueuse 
 
 l'applicatrice 
 
 la aplicadora 
 
 die Auflegerin 
 
 Apply, to, onlay, 
 
 appliquer 
 
 applicare 
 
 aplicar 
 
 auflegen 
 
 to : see Setting 
 
 
 
 
 
 Apprentice 
 
 l'apprentie 
 
 l'apprendista 
 
 el aprendiz 
 
 der Lehrling, das 
 Lehrmiidchen 
 
 Apprenticeship 
 
 l'apprentissage 
 
 il tirocinio 
 
 el aprendizaje 
 
 die Lehrzeit 
 
 Apron 
 
 le tablier 
 
 il grembiale 
 
 el delantal 
 
 die Schurze 
 
 Arabesque 
 
 l'arabesque 
 
 l'arabesco 
 
 lo arabesco 
 
 die Arabeske 
 
 Arrangement, dis- 
 
 l'arrangement, 
 
 l'ordine 
 
 la disposition 
 
 die Anordnung 
 
 position 
 
 l'agencement, 
 l'ordonnance 
 
 
 
 
 Artist 
 
 1'artiste 
 
 l'artista 
 
 el artista 
 
 der Kiinstler 
 
 Asbestos, amian- 
 
 l'amiante 
 
 9 
 
 el asbestos 
 
 der Asbest 
 
 thus, amianth 
 
 
 
 
 
 Assemblage 
 
 l'assemblage, le 
 
 il redunamento, la 
 
 el conjunto 
 
 das Zusammenset- 
 
 
 point de raccroe, 
 
 commessura 
 
 
 zen 
 
 
 le rucroc 
 
 
 
 
 attach, to : see Tie, 
 
 to 
 Auction, sale : see 
 
 
 
 
 
 la vente, l'enchere 
 
 la vendita 
 
 la subasta publica, 
 
 die Versteigerung, 
 
 Fair 
 
 
 
 la almoncda 
 
 die Auction, die 
 Gant 
 
 Authority : 
 
 l'autorite 
 
 l'autorita 
 
 la autoridad 
 
 dii Autoritat 
 
 see Connoisseur : 
 
 
 
 
 
 see Expert 
 
 
 
 
 
ENGLISH 
 
 Backed (cloth or 
 linen) (adj.) 
 
 Background : see 
 Ground 
 
 Back-stitch 
 
 Backwards, the 
 wrong way, 
 against the grain 
 
 Ball, clew : see 
 Bottom 
 
 Band : see Stripe : 
 see Roii> 
 
 Band (for cap) 
 
 Bangle : see Yarn- 
 holder 
 
 Bar, rod : see 
 Pearl-tie : see 
 Stripe 
 
 Barker, decoy 
 
 Baste, to, tack, to 
 Bath - mantle, bath 
 set 
 
 Bead 
 
 Bead edge, beading, 
 narrow edge fin- 
 ish : see Edging 
 
 Beading, seaming, 
 spacing : see In- 
 sertion 
 
 Beautiful (adj.) : 
 see Pretty 
 
 Bedspread, count- 
 erpane, quilt 
 
 Bee 
 
 Beginner : see Ama- 
 teur 
 Belgian (adj.) 
 Bertha, fall 
 
 Bib 
 
 Binding off : see 
 
 Casting off 
 Black (adj.) 
 Blade 
 
 Blind pin : see Fal- 
 se stitch 
 
 EXPLANATIONS AND NOMENCLATURE 
 FRENCH ITALIAN SPANISH 
 
 39 
 
 monte -e 
 
 le point arriere 
 a rebours 
 
 le sac 
 
 la boule, la pelote, 
 
 le peloton 
 la bande 
 
 la passe 
 
 la barre 
 
 le raccoleur 
 
 le trou-trou, l'entre- 
 lac, l'entrelas 
 
 beau, bel-le 
 
 le couvre-lit, la 
 courte-pointe, le 
 couvre-pied, la 
 couverture, la 
 couverte de para- 
 de 
 
 l'avette, l'abeille, 1' 
 apette 
 
 beige 
 
 la berthe, le godet 
 
 Bias, on the bias en biais 
 
 la bavette, le ba- 
 voir 
 
 noir 
 la lame 
 
 ITALIAN SPANISH GERMAN 
 
 B 
 
 montato apoyado, sostenido verstarkt 
 
 il punto in dietro 
 in dietro 
 
 il sacco 
 
 il gomitolo, la go- 
 
 mita 
 la striscia, la lista, 
 
 la benda 
 l'ala 
 
 el punto-atras, el 
 
 pespunto 
 contra pelo, al re- 
 
 ves 
 
 el saquito, la bolsa 
 
 de mano 
 el ovillo 
 
 la venda 
 
 el ala, la banda 
 
 faufiler, batir 
 
 l'£quipage de bain 
 (descente de 
 bain, sac a o- 
 deurs, serviettes, 
 peignoirs, garni- 
 tures de bain 
 avec volant) 
 
 la perle la perla 
 
 la dentelle gtroite il orlo 
 
 imbastire 
 l'equipage di bagno 
 
 el reclamo 
 
 hilvanar 
 
 el equipo de bafio 
 
 la passa nastri 
 
 bello 
 
 il coltre, la coperta 
 
 il circolo di cucire 
 
 el borde, la pestana 
 
 bello, hermoso 
 
 la colcha, la sobre- 
 cama, el cobertor 
 
 la colmena 
 
 belgica bglgico 
 
 la ciotola, il sco- la berta 
 
 dellino 
 
 sbieco, sghembo al sesgo 
 
 il bavaglio 
 
 el babero 
 
 nero negro 
 
 la lastra, la lama, la hoja 
 la laminetta 
 
 der Steppstich 
 riickwarts 
 
 der Beutel, der 
 
 Sack 
 der Knauel, der 
 
 Ball 
 das Band 
 
 das Haubenband 
 
 la barra, la stanga la barra, la varilla der Stift 
 
 der Marktschreier, 
 der Werber, der 
 Schreier 
 reihen, bastan 
 
 der Bade-mantel 
 
 el abalorio die Perle 
 
 el encaje estrecho ? 
 
 der Kettenzug, der 
 Einsatz 
 
 schon 
 
 die Bettdecke 
 
 das Nahkr'anzchen 
 
 belgisch 
 
 der Spitzenkragen 
 
 die schiefe Rich- 
 tung, in schiefer 
 Richtung, schrag 
 
 das Latzchen 
 
 schwarz 
 die Klinge 
 
40 
 
 A LACE GUIDE FOE MAKERS AND COLLECTORS 
 
 ENGLISH 
 
 FRENCH 
 
 ITALIAN 
 
 SPANISH 
 
 GERMAN 
 
 Blonde, flaxen, silk- 
 
 la blonde, la biset- 
 
 il merletto di seta 
 
 el encaje o la blon- 
 
 die Blonden 
 
 en : see Silk : see 
 
 te 
 
 
 da, hecho de se- 
 
 
 Cream colored : 
 
 
 
 da 
 
 
 see Ecru 
 
 
 
 
 
 Blue (adj.) 
 
 bleu -e 
 
 turchino, azzurro, 
 cilestro 
 
 azul 
 
 blau 
 
 Blunt, obtuge 
 
 gmousse, gpointe, 
 
 ottuso, grossolano 
 
 embotado 
 
 stumpf 
 
 (adj.) 
 
 contondant 
 
 
 s 
 
 
 Blunt (needle) 
 
 ? 
 
 l'ago contundente 
 
 la aguja embotada 
 
 1 
 
 (sub.) 
 
 
 
 
 
 Bob : see Crown 
 
 
 
 
 
 Bobbin, stick 
 
 le fuseau 
 
 i fuselli, i piombini, 
 i piombi, il maz- 
 zette 
 
 los palillos 
 
 der Kloppel, der 
 Spitzenkloppel 
 
 Bobbin lace, bob- 
 
 la dentelle aux fu- 
 
 la trina a fuselli, 
 
 el encaje hecho con 
 
 die Kloppelspitze, 
 
 bin work, pillow 
 
 seaux, le plat 
 
 il merletto a 
 
 palillos 
 
 die gekloppelte 
 
 lace, bonelace, 
 
 
 piombini 
 
 
 Spitze 
 
 pinwork 
 
 
 
 
 
 Bobbin winder : see 
 
 
 
 
 
 Winding machine 
 
 
 
 
 
 Bodkin : see Stil- 
 
 le passe-lacet, l'ai- 
 
 l'argi per passe 
 
 la agujeta 6 aguja 
 
 die Durchzienadel 
 
 etto 
 
 guille a passer 
 
 nastro, l'infila- 
 guaine 
 
 de jareta 
 
 
 Bone (fish) (ani- 
 
 l'arete, 1'os 
 
 l'osso, la spina 
 
 la raspa 6 espina, 
 
 die Grate, der Kno- 
 
 mal) 
 
 
 
 el hueso 
 
 chen 
 
 Bonnet : see Hood 
 
 le bonnet, la calot- 
 te, la cornette 
 
 la berretta 
 
 la gorra, el gorro 
 
 die Haube 
 
 Book 
 
 le livre 
 
 il libro 
 
 el libro 
 
 das Buch 
 
 Boot-tops, knee- 
 
 les canons, les bas? 
 
 la sorta d'ornamen- 
 
 parte alta de las 
 
 das Spitzenbesatz 
 
 scarfs 
 
 de bottes 
 
 to a merletti che 
 si metteva ai 
 gambali delle 
 brache sotto Lui- 
 gi XIV 
 
 botas 
 
 am Knie, das 
 Schenkelstrumpf, 
 das Hosenbein 
 
 Borax 
 
 le borax 
 
 il borace 
 
 el borax 
 
 der Bor 
 
 Border : see Edg- 
 
 
 
 fell )i II IS [! . 
 
 
 ing 
 
 
 
 
 
 Bottom, foot 
 
 le bas 
 
 il fondo 
 
 el fondo 
 
 das Ende 
 
 Bottom (of thread) 
 
 le peloton 
 
 la pelot, la gomita 
 
 el globo, la pelota 
 
 der Knauel 
 
 see Ball 
 
 
 
 
 
 Boudoir cap 
 
 la cornette 
 
 la cufSa da notte 
 
 la gorra 6 el gorro 
 de gabinete 
 
 die Morgen-haube 
 
 Bout (knitting), 
 
 le tour 
 
 la turna 
 
 la vuelta 
 
 1 
 
 round 
 
 
 
 
 
 Bracelet : see Yarn- 
 
 
 
 
 
 liolder 
 
 
 
 
 
 Braid : see Plait : 
 
 
 
 
 
 see Tape 
 
 
 
 
 
 Bran : see Excel- 
 
 le son 
 
 la crusca, la simola 
 
 el salvado 
 
 die Kleie 
 
 Branch, flower 
 
 le ramage, le rin- 
 ceau 
 
 il ramo 
 
 la rama, el ramo 
 
 der Zweig 
 
 Brass, latten 
 
 le cuivre jaune, l'ai- 
 
 il rame, il bronzo 
 
 la calamina, el la- 
 
 das Messing, das 
 
 
 rain, le laiton 
 
 
 ton 
 
 Erz 
 
 Bridal (adj.) 
 
 nuptial 
 
 nuziale 
 
 nupcial 
 
 hochzeitlich 
 
 Bride : see Pearl- 
 
 
 
 
 
 tie 
 
 
 
 
 
 Bristol-board, pas- 
 
 le carton fin 
 
 il cartone 
 
 la cartulina 
 
 die Pappe 
 
 teboard, press- 
 
 
 
 
 
 board, cartridge 
 
 
 
 
 
 paper 
 
 
 
 
 
 Bronze 
 
 le bronze 
 
 il bronze 
 
 el bronce 
 
 die Bronze, die 
 Glockenspeise 
 
 Brush 
 
 le pinceau 
 
 •> 
 
 el cepello 
 
 der Pinsel 
 
 Bud 
 
 le bouton 
 
 il bottone, il ger- 
 moglio 
 
 el boton, el capullo 
 
 die Knospe, der 
 Keim 
 
 Bullion 
 
 la cannetille, la fri- 
 
 la canutiglia, il or- 
 
 el canutillo 
 
 der gakrauselte 
 
 
 sure, la bisette, 
 
 pello 
 
 
 Goldfaden, das 
 
 
 le clinquant 
 
 
 
 Rauschgold 
 
EXPLANATIONS AND NOMENCLATURE 
 
 41 
 
 ENGLISH 
 
 FRENCH 
 
 ITALIAN 
 
 SPANISH 
 
 GERMAN 
 
 Burl, to 
 
 gbouler, rabattre, 
 corriger les infi- 
 galitfis 
 
 appianare, spianare 
 
 desnudar 
 
 noppen 
 
 Burler 
 
 l'fibouleuse 
 
 1 
 
 el que quita los nu- 
 dos en el paflo 
 
 die Nopperin 
 
 Burling, flattening 
 
 l'6boulage, l'affais- 
 sement 
 
 •> 
 
 la desmotaci6n 
 
 das Noppin 
 
 Burnisher : see Puff 
 
 
 
 
 
 iron. 
 
 
 
 
 
 Butterfly 
 
 le papillon 
 
 la parafalla 
 
 la mariposa 
 
 der Schmetterling 
 
 Buttonhole, to 
 
 faire le point noue, 
 de boutonniere, 
 de feston 
 
 fare la festone 
 
 ojalar, hacer ojales 
 
 m i t Knopfloch- 
 Stich ausbogen 
 
 Buttonhole stitch, 
 
 le point de bouton- 
 
 l'occiello, il punto 
 
 el punto de ojal 
 
 der Knopflochstich 
 
 close stitch 
 
 niere, le point de 
 feston, le point 
 nouS 
 
 a feston, il punto 
 serrato, il pun- 
 to a festone 
 
 
 
 Buttonholing (rais- 
 
 la brode 
 
 9 
 
 el bordeado o el ri- 
 
 Art Alengonner 
 
 ed,) outlining: 
 
 
 
 beteado con pun- 
 
 Spitze 
 
 see Gimp : see 
 
 
 
 to de ojales 
 
 
 Outlining thread, 
 
 
 
 
 
 see Finishing 
 
 
 
 
 
 Buy, to, purchase, 
 
 to 
 Buyer 
 
 acheter 
 
 comprare 
 
 comprar 
 
 kaufen 
 
 l'acheteur, l'ache- 
 
 il compratore 
 
 el comprador 
 
 die Kauferin, der 
 
 
 teuse 
 
 il gabinetto 
 
 
 Einkaufer 
 
 Cabinet 
 
 le cabinet 
 
 el gabinete 
 
 das Sammlungsca- 
 
 
 
 
 
 binet 
 
 Cable 
 
 le cable, le grelin 
 
 la gomena, il gher- 
 lino 
 
 el cable, el cordfin 
 
 die Schnur 
 
 Candle-board, pole- 
 
 le gu^ridon 
 
 il candelabro 
 
 el portavela 
 
 der Leuchterstuhl, 
 
 board, candle- 
 
 
 
 
 das Leuchterges- 
 
 block 
 
 
 
 
 tell 
 
 Canopy, tester, ceil- 
 
 le baldaquin 
 
 il baldacchino del 
 
 el cielo de cama 
 
 der Baldachin, der 
 
 ing 
 
 
 letto, il baldac- 
 chino 
 
 
 Betthimmel 
 
 Canvas, scrim 
 
 le canevas 
 
 il canavaccio, il ca- 
 
 la lona, el canama- 
 
 die Stickgaze, die 
 
 
 
 novaccio 
 
 zo 
 
 Gitterleinwand, 
 der Kanevas 
 
 Cape 
 
 la pelerine, le man- 
 
 il mante, la pelle- 
 
 la manteleta 
 
 der Rad-mantel, 
 
 
 teau 
 
 grina 
 
 
 der Kragen 
 
 Cap-string 
 
 la bride 
 
 la legaccie, la nas- 
 tria d'una cuffia, 
 d'un cappellino 
 
 la cinta 
 
 das Bindeband 
 
 Carbon, autogra- 
 
 le papier autogra- 
 
 la carta azzurro 
 
 el calco, la copia 
 
 das Kopierpapier, 
 
 phic, transfer pa- 
 
 phique, le papier 
 
 
 hecha en papel 
 
 das Kohlenpa- 
 
 per, colored trac- 
 
 bleu de caique, le 
 
 
 transparente 
 
 pier, das Lom- 
 
 ing paper : see 
 
 papier lombard 
 
 
 
 bardpapier 
 
 Tracing cloth 
 
 
 
 
 
 Care cloth 
 
 •> 
 
 ? nuziale 
 
 ? 
 
 eine Deeke, die der 
 
 Carnation 
 Cartoon 
 
 l'oeillet, l'oeillet- il garofano 
 
 girofl£e 
 le carton il cartone 
 
 Case : see Needle- l'gtui 
 
 case: see Sheath 
 Cassock, cloak la cotte, la casaque 
 
 ( worn over a 
 
 cuirasse) 
 Casting off, binding la chaine de mailles 
 
 off, chain of 
 
 stitches 
 
 1'astuccio, la busta, 
 
 la custodia 
 la casacca 
 
 el clavel 
 
 el cart6n 
 
 el estuche 
 
 la cota de armas 
 
 el ribete de costura, 
 la c a d e n a de 
 mallas 
 
 Braut wiihrend 
 der Trauung 
 iiber der Kopf 
 gehalten wurde 
 die Nelke 
 
 d i s Muster - Vor- 
 
 zeichnung 
 das Etui 
 
 der Waffenrock 
 
 das Abnehmen 
 
42 
 
 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 ENGLISH 
 
 FRENCH 
 
 ITALIAN 
 
 SPANISH 
 
 GERMAN 
 
 Casting on 
 
 le montage, monter 
 la chaine, ourdir 
 
 rimontare 
 
 tramar 
 
 anzetteln 
 
 Caul : see Filet 
 
 
 
 
 
 Celebration, jubi- 
 
 la c616bration 
 
 la festa 
 
 la celebracton 
 
 die Feier 
 
 lee : see Fair 
 
 
 
 
 
 Celluloid 
 
 le celluloid, le cel- 
 luloi'de 
 
 il celluloide 
 
 el celuloide 
 • 
 
 das Celluloid 
 
 Centre, middle 
 
 el centre, le milieu 
 
 il centro 
 
 el centro 
 
 der Mittelpunkt 
 
 Centrepiece 
 
 le centre de table 
 
 il centro di tavola 
 
 el centro de mesa 
 
 das Mittelstiick 
 
 Century : see Peri- 
 od 
 
 le siecle 
 
 il secolo 
 
 la centuria, el siglo 
 
 das Jahrhundert 
 
 Chain stitch 
 
 le point de chafn- 
 ette, la maille en 
 l'air, la maille 
 chainette 
 
 il punto a catenella 
 
 el punto de cadena 
 
 der Kettenstich 
 
 Chalice cover, 
 
 la pale, la palle, la 
 
 la patena 
 
 la cubierta de 
 
 der Kelchdeckel 
 
 paten cover : see 
 
 voile de bene- 
 
 
 plato, la cubierta 
 
 
 Pall 
 
 diction 
 
 
 de caliz 
 
 
 Chasuble 
 
 la chasuble 
 
 la pianeta 
 
 la casulla 
 
 das Messgewand - 
 
 Cheap (adj.) 
 
 bon marche 
 
 buon' mercato 
 
 barato 
 
 wohlfeil, billig 
 
 Chemical, chymical 
 
 chimique 
 
 chimico 
 
 quimico 
 
 chymisch 
 
 (adj.) 
 
 
 
 
 
 Chemise, shift 
 
 la chemise 
 
 la camicia, il ca- 
 misciole 
 
 la camisa de mujer 
 
 das Hemd 
 
 Chenille 
 
 la chenille 
 
 la ciniglia 
 
 la felpilla 
 
 die Chenille 
 
 Chest, linen chest 
 
 le coffre, le coffret 
 
 la cassa, la forziere 
 
 el area 
 
 die Truhe, die Lade 
 
 Chinese (adj.) 
 
 chinois -e 
 
 Chinese 
 
 chinesco 
 
 chinesisch 
 
 Christening, bap- 
 
 les robes de bap- 
 
 la gonneletta di 
 
 el vestido bautis- 
 
 die Taufkleidung 
 
 tismal clothes, 
 
 teme 
 
 battesimo, la ves- 
 
 mal 
 
 
 bearing cloths 
 
 
 ta di battesimo 
 
 
 
 Chronogram 
 
 le chronogramme 
 
 la cronogramma 
 
 el cronSgrama 
 
 das Chronogram, 
 die Zahlbuchsta- 
 beninschrift 
 
 Chronological, 
 
 chronologique 
 
 cronologico 
 
 cronolOgico 
 
 chronologisch 
 
 chronologic 
 
 
 
 
 
 (adj.) 
 
 
 
 
 
 Church 
 
 Peglise 
 
 la chiesa 
 
 la iglesia 
 
 die Kirche 
 
 Circular (adj.) 
 
 circulaire 
 
 circolare 
 
 circular 
 
 kreisrund, kreisfor- 
 
 Clamp, vise, hem- 
 
 le crampon, la 
 
 il rampone 
 
 el tornillo 
 
 mig 
 die Schraubzwinge, 
 
 ming-bird, clip : 
 
 clampe, le pince- 
 
 
 
 der Papierhalter, 
 
 see Weight : see 
 
 notes 
 
 
 
 die Klammer, 
 
 Screw 
 
 
 
 ' 
 
 der Schraubstock 
 
 Class 
 
 la classe 
 
 la classe 
 
 la elase 
 
 die Classe 
 
 Cleaning, cleansing 
 
 le nettoyage, le 
 nettoiement 
 
 il nettamento 
 
 la limpiadura 
 
 das Reinigen 
 
 Clew : see Ball : see 
 
 
 
 
 
 Bottom 
 
 
 
 
 
 Close, to, cover, to, 
 
 fermer 
 
 fermare, chiudere, 
 
 cubrir 
 
 nadelschliessen 
 
 shut, to, repeat, 
 
 
 serrare 
 
 
 
 to : see Closing 
 
 
 
 
 
 stitch 
 
 
 
 
 
 Closing stitch : see 
 
 le point final, le 
 
 il punto di ferma 
 
 el punto de remate 
 
 der Schlusschlag 
 
 Close, to 
 
 dernier point 
 
 
 
 
 Cloth stitch, linen 
 
 le point de toile, le 
 
 la punta tela 
 
 el punto de tela 
 
 der Leinenschlag 
 
 stitch, clothing 
 
 point matte, le 
 
 
 
 
 work 
 
 mat, le toils 
 
 
 
 
 Coarse (adj.) 
 
 gros -se, grossier -e 
 
 grosso, grossolano 
 
 grosero, basto 
 
 grob, rauh 
 
 Coffee 
 
 le cafS 
 
 il caffe 
 
 el cafe 
 
 der Kaffee 
 
 Coffin 
 
 le cercueil 
 
 la bara, il cataletto 
 
 el atafld 
 
 der Sarg 
 
 Cogwheel, notched 
 
 la roue dentee, la 
 roue a crans, le 
 tournant 
 
 'i 
 
 la rueda dentada 
 
 das Zahnrad 
 
 Coif, cap 
 
 la calotte, la coiffe 
 
 la souffia, il cap- 
 pellino, il berret- 
 tino, la scazzetta 
 
 la cofia 
 
 die Haube 
 
 Cold (adj.) 
 
 froid -e 
 
 freddo 
 
 frio 
 
 kalt 
 
EXPLANATIONS AND NOMENCLATURE 
 
 43 
 
 ENGLISH 
 
 C ol 1 a r , wimple, 
 gorget, whisk : 
 see Falling col- 
 lar : see Standing 
 collar: see Yoke 
 
 Collecting (stitch) 
 
 Collection : see Mu- 
 seum 
 
 Colored, coloured 
 (adj.) : see Dye- 
 stuff 
 
 Combing cloth : see 
 Razor-cloth 
 
 Companion piece : 
 see Mate 
 
 Company, corpora- 
 tion 
 
 Compass 
 
 Connoisseur : see 
 Expert : see Au- 
 thority 
 
 Contraband 
 
 Contrast 
 Convent, nunnery 
 
 Conventionalized 
 
 Cope (choir) 
 
 Copper 
 
 Coptic (adj.) 
 
 Copy 
 
 Copy, to 
 
 Cord (fancy) , 
 draw - string, 
 band, string : see 
 Gimp 
 
 Cork : see Excel- 
 sior 
 
 Corner 
 
 Cotta 
 
 Cottage (work) 
 
 Cotton, gossypium 
 Couch, to, tack, to 
 
 catch down, to : 
 
 see Baste, to : 
 
 see Outlining 
 
 thread 
 Couple, to : see 
 
 Join, to : see Tie 
 
 together, to 
 Court 
 Covering cloth : see 
 
 Sheath 
 Cravat, Steinkirk : 
 
 see Frill : see 
 
 Jabot 
 Cream (colored) : 
 
 see Blonde: see 
 
 Ecru : see Isabel 
 Crease, pucker 
 
 FRENCH 
 
 ITALIAN 
 
 le col, le collet, le il collare 
 collier 
 
 la collection 
 colons' 
 
 le peignoir 
 
 la compagnie, la 
 
 corporation 
 le compas 
 le connaisseur, la 
 
 connaisseuse 
 
 la contrebande 
 
 le contraste 
 le couvent 
 
 rendu -e, conven- 
 tional -le 
 la chape 
 
 le cuivre 
 
 cophte, copte, coph- 
 tique. coptique 
 
 la copie 
 
 copier 
 
 la ganse, la corde, 
 le lacet 
 
 le liege 
 
 le coin 
 le rochet 
 
 a domicile 
 
 le coton 
 coucher, batir 
 
 la collezione 
 die colore 
 
 il accappatoio, il 
 mantellino 
 
 la compagnia 
 
 il compasso 
 il conoscitore, il es- 
 perto, il istrutto 
 
 il proibito 
 
 il contrasto 
 il convento 
 
 la pianeta, la 
 cappa, il piviale 
 
 il rame, il calde- 
 rone 
 
 coptico, cofto 
 
 la copia 
 copiare 
 
 la corda, la stringa, 
 il lacciuolo 
 
 la sughera 
 
 il cantone, l'angolo 
 il rochetto 
 
 a domicilio, in casa 
 
 sua 
 il cotone 
 posare, collocare, 
 
 coricare 
 
 accoupler, coupler accoppiare 
 
 la cour 
 la housse 
 
 la corte 
 la coperta 
 
 la cravate 
 
 couleur cafe au lait beige, crema 
 
 la cravatta, il faz- 
 zoletto 
 
 SPANISH 
 el cuello 
 
 el punto de reco- 
 
 gida 
 la coleccion 
 
 GERMAN 
 
 der Kragen 
 
 le pli, le godet, le la piega, la cattiva 
 faux-pli 
 
 Colorado 
 
 el peinador 
 
 la compania 
 
 el compas 
 el perito, el cono- 
 cedor 
 
 el contrabando 
 
 el contraste 
 el convento 
 
 hecho convencional 
 
 la capa pluvial 
 
 el cobre 
 
 coptico 
 
 la copia 
 copiar 
 
 el cordon, la pre- 
 silla 
 
 el corcho 
 
 el angulo 
 
 la cota, el sobre- 
 pelliz 
 
 trabajo hecho a do- 
 micilio 
 
 el algodon 
 
 ribetear 
 
 parear, juntar 
 
 la corte 
 
 la cobertura, la 
 
 funda 
 la corbata 
 
 el pliegue, la plega- 
 dura 
 
 die Sammlung 
 farbig 
 
 der Puder-mantel 
 
 die Gesellschaft 
 
 der Kirkle 
 der Kenner 
 
 die verbotenen 
 W a a r e n , die 
 Schmuggehvaare 
 
 der Contrast 
 
 der Convent, das 
 Kloster 
 
 stilisirt 
 
 der Chorrock 
 
 das Kupfer 
 
 Koptisch 
 
 die Copie 
 
 copiren, abzeichnen 
 die Schnur, das 
 Schniirchen 
 
 der Kork 
 
 die Ecke 
 
 das kurze Chor- 
 
 hemd 
 das man n a c h 
 
 Hause nimmt 
 die Baumwolle 
 aufniilien, flach 
 
 niihen 
 
 zusammenkuppeln 
 
 der Hof 
 die Decke 
 
 die Halsbinde, die 
 Kravatte 
 
 die Rahmfarbe 
 
 die Falte 
 
44 
 
 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 ENGLISH 
 
 Crescent 
 Crochet, to 
 
 Onchet-hook, 
 Shepherd's Hook 
 
 Crochet - knitting, 
 Tunisian knit- 
 ting, Victorian 
 knitting 
 
 Crochet thimble : 
 see Thimble for 
 crochet work 
 
 Cross, to 
 
 Cross-section paper, 
 point paper 
 
 Cross-stitch 
 
 Crown 
 
 Crown (of a bon- 
 net), bob 
 
 Crowns, pin work, 
 spines, thorns : 
 see Rosettes 
 
 Cuff, wristband : 
 see Ruffle 
 
 Curtain : see Win- 
 dow shade 
 Curve 
 
 Cushion (sofa) : see 
 
 Pillow 
 Cut, to 
 
 Cutwork 
 
 Cutworks, lead- 
 works, lerd 
 works : see Tuft 
 
 Cylinder 
 
 ITALIAN 
 
 la luna crescente 
 ricamare a unci- 
 
 netto 
 l'uncinetto 
 
 FRENCH 
 
 le croissant 
 crocheter 
 
 le guipoir, le cro- 
 chet 
 
 le crochet-tricot, le 
 crochet tunisien 
 
 croiser mcrociare 
 
 le papier quadrille ? 
 
 le point croise\ le il punto croceato, 
 gros point il punto lungo, il 
 
 punto croce 
 
 la couronne la corona 
 
 le fond de bonnet la forma 
 
 les couronnes 
 
 la manchette, le 
 parament, le 
 parement (turn- 
 over) 
 
 le rideau 
 
 la ligne courbe 
 
 le coussin, le car- 
 
 reau 
 couper 
 
 1 ornamenti 
 
 il manichetto 
 
 la cortina, il cor- 
 
 tinaggio 
 la linea curva 
 
 SPANISH 
 
 el creciente 
 hacer crochet 
 
 GERMAN 
 
 der halbe Mond 
 hiikeln 
 
 la aguja de gancho die Hiikelnadel 
 
 el crochet de Tflnez 
 
 der tunische 
 Hakelstich 
 
 cruzar kreuzen 
 
 el papel con lineas das rechnen Papier 
 
 cruzadas 
 
 el punto cruzado der Kreuzstich 
 
 la corona 
 la coronilla 
 
 el ornamento 
 
 el puno, la boca- 
 manga 
 
 la cortina 
 la curva 
 
 il cuscino, il guan- el cojin, el almo- 
 
 ciale had6n 
 
 tagliare cortar 
 
 le point coupe 1 il punto tagliato la obra de bordado 
 
 les points d'esprits le punta armeletta ? 
 
 le cylindre, le rou- 
 leau, la b o u 1 e 
 tournante 
 
 il cilindro 
 
 el cilindro 
 
 die Krone 
 der Boden 
 
 das Kronenwerk 
 
 die Manchette, die 
 Handkrause 
 
 der Vorhang, die 
 
 Gardine 
 die Kriimme Linie, 
 
 die Kriimmung 
 das Kissen 
 
 schneiden, 
 
 abschneiden 
 die durchbrochene 
 
 Arbeit 
 die Karos im For- 
 
 menschlag, der 
 
 getupfte Tiill 
 der Zylinder 
 
 D 
 
 Dalmatic 
 
 la dalmatique 
 
 la tonicelle, la 
 matica 
 
 dal- 
 
 la dalmatiea 
 
 die Dalmatika 
 
 Damask 
 
 la toile damassee, 
 le damassg, le 
 damas 
 
 il damasco 
 
 
 el damasco de hilo 
 
 der Damast 
 
 Dampen, to, mois- 
 
 humecter 
 
 umettere 
 
 
 mojar 
 
 befeuchten 
 
 ten, to : see Wet 
 
 
 
 
 
 
 Danish (adj.) 
 
 danois -e 
 
 danese 
 
 
 dinamarques, danfe 
 
 danisch 
 
 Darn, to 
 
 broder en reprise, 
 repriser, passe- 
 filer 
 
 rammendare, 
 supra punto 
 
 filo 
 
 zurcir 
 
 stopfen 
 
 Darner (needle) 
 
 l'aiguille a passer 
 
 l'infila cappio 
 
 
 la aguja de zurcir 
 
 die Stopfnadel 
 
 Date 
 
 la date 
 
 il giorno 
 
 
 la data 
 
 das Datum 
 
 Dealer, trader 
 
 le commercant 
 
 il mercante 
 
 
 el interventor, el 
 comerciante 
 
 der Handler 
 
 Decorative 
 
 decoratif -ve 
 
 decorativo 
 
 
 decorativo 
 
 decorativ, zieren 
 
 Decrease, to, in- 
 
 diminuer, relrecier 
 
 diminuire, scemare 
 
 decrecer, disminuir 
 
 vermindern, abneh 
 
 take, to, dimin- 
 
 
 
 
 
 men 
 
 ish, to, take in, 
 
 
 
 
 
 
 to, narrow, to : 
 
 
 
 
 
 
 see Reduce, to 
 
 
 
 
 
 
EXPLANATIONS AND NOMENCLATURE 
 
 45 
 
 ENGLISH 
 
 FRENCH 
 
 ITALIAN 
 
 SPANISH 
 
 GERMAN 
 
 Decree, mandate, 
 
 le decret, l'gdict 
 
 il mandate 
 
 el mandate, el de- 
 
 das Decret, das Ge- 
 
 ordinance, edict 
 
 
 
 creto, el edicto 
 
 setz, die Verord- 
 nung 
 
 Denim, denham 
 
 9 
 
 ? 
 
 la tela basta y re- 
 sistente de al- 
 godon 
 
 eine Art g r o b e s 
 Baumwollenzeug 
 
 Design : see Sub- 
 
 le dessin 
 
 il disegno 
 
 el dibujo, el trazo, 
 
 die Zeichnung 
 
 ject 
 
 
 
 el diseiio 
 
 
 Designer 
 
 le dessinateur, la 
 dessinatrice 
 
 il disegnatore 
 
 el dibujante, el di- 
 senador 
 
 der Zeichner 
 
 Devil's Broth : see 
 
 
 
 
 
 Starch, to 
 
 
 
 
 
 Dexterity: see 
 
 
 
 
 
 Skill : see Exe- 
 
 
 
 
 
 cution 
 
 
 
 
 
 Diagonal : see 
 
 diagonal -e, oblique 
 
 diagonale 
 
 diagonal 
 
 schrag 
 
 Oblique : see 
 
 
 
 
 
 Slanting 
 
 
 
 
 
 Diagram : see 
 
 le plan, !a figure 
 
 il piano, la pianta 
 
 el diagrama 
 
 das Diagram, der 
 
 Draft 
 
 
 
 
 Abriss 
 
 Diamond : see Lo- 
 
 
 
 
 
 zenge 
 
 
 
 
 
 Diamond shaped 
 
 en earreau, en lo- 
 sange 
 
 a rombo, romboide 
 
 de figura romboide 
 
 rautenformig, 
 rhombus 
 
 Dicky-pot 
 
 V 
 
 ■> 
 
 •> 
 
 9 
 
 Difficult 
 
 difficile 
 
 difficile 
 
 diffcil, dificultoso 
 
 schwer, schwierig 
 
 Dilettante : see 
 
 
 
 
 
 Amateur 
 
 
 
 
 
 Dimension : see 
 
 
 
 
 
 Size 
 
 
 
 
 
 Dip, to, soak, to 
 
 plonger, tremper 
 
 bagnare, tuffare, 
 immergere 
 
 sumergir, baflar 
 
 eintauchen, e i n - 
 weichen, tunken 
 
 Discoloration 
 
 la decoloration 
 
 il scoloramento 
 
 el descoloramiento 
 
 das Verschiessen, 
 die Verfiirbung 
 
 Disengaging, de- 
 
 le degagement 
 
 lo scioglimento dis- 
 
 la desatadura, la 
 
 die Ablosung, die 
 
 taching, loosen- 
 
 
 tacco 
 
 separacion 
 
 Trennung 
 
 ing, releasing 
 
 
 
 
 
 Disentangle, to, 
 
 demeler 
 
 strigare 
 
 desenredar, desen- 
 
 entwirren 
 
 untangle, to : see 
 
 
 
 lazar 
 
 
 Undo, to 
 
 
 
 
 
 Doilie, d'Oyley 
 
 le sous-bol, le des- 
 
 la tovagliuola, 
 
 la servilleta pe- 
 
 das Deckchen 
 
 
 sous de vase, la 
 
 mautilette 
 
 quena 
 
 
 
 petite nappe, le 
 
 
 
 
 
 napperon, la ser- 
 
 
 
 
 
 viette de dessert 
 
 
 
 
 Dollar 
 
 l'ecu 
 
 '? dollare, l'ecu 
 
 moneda de los Es- 
 tados Unidos y 
 el Canada, el es- 
 cudo 
 
 der Thaler 
 
 Dot, tear - drop, 
 
 le pois, la larme, le 
 
 la gocciola, il punto 
 
 la gotita 
 
 der Tupfen, der 
 
 polka dot : see 
 
 point 
 
 lagrima, il pisello 
 
 
 Punkt 
 
 Drop, to 
 
 
 
 
 
 Double (adj.) : see 
 
 double 
 
 doppio 
 
 doble, doblado 
 
 verdoppelt, zwei- 
 
 Turn, to 
 
 
 
 
 fach 
 
 Double faced : see 
 
 a double face 
 
 doppio faccia, due 
 
 de doble cara, de 
 
 mit zwei Seiten 
 
 Reversible 
 
 
 visi 
 
 dos caras 
 
 
 Dozen 
 
 la douzaine 
 
 la dozzina 
 
 la docena 
 
 das Dutzend 
 
 Draft, plan : see 
 
 le brouillon, l'es- 
 
 il disegno, la copia 
 
 el diseiio, el plan 
 
 der Entwurf 
 
 Diagram : see 
 
 quisse, l'ebauche, 
 
 
 
 
 Laying out 
 
 le plan 
 
 
 
 
 Drawing pin : see 
 
 
 
 
 
 Thumb tack 
 
 
 
 
 
 Drawn-work 
 
 le point tire\ a fils 
 tires 
 
 il punto tirato, la 
 sfilatura, il des- 
 filato 
 
 los calados 
 
 die Auszieharbeit 
 
 Drawn-worker, 
 
 la tireuse de fil 
 
 il filatoro 
 
 la perfiladora, la 
 
 die Fadenzieherin 
 
 drawn-work 
 
 
 
 caladora 
 
 
 maker 
 
 
 
 , 
 
 
 Draw out, to, pull 
 
 tirer 
 
 tirare 
 
 tirar 
 
 ausziehen 
 
 out, to 
 
 
 
 
 
46 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 ENGLISH 
 
 FRENCH 
 
 ITALIAN 
 
 SPANISH 
 
 GERMAN 
 
 Dress 
 
 la robe 
 
 la gonna 
 
 el vestido 
 
 das Kleid 
 
 Dressed pillow 
 
 le coussin prepare 1 , 
 
 il cucino fatto per 
 
 la almohadilla lista 
 
 das Kloppelkissen 
 
 
 appretfi, dispose^ 
 
 incominciare 
 
 para comenzar 
 
 fertig zur Arbeit 
 
 
 dressS 
 
 
 
 
 Dressing, stiffen- 
 
 l'appret, l'empois 
 
 l'apprechio 
 
 la cola 
 
 der Leim 
 
 ing, sizing 
 
 
 
 
 
 Drop, to (a 
 
 lacher, laisser tom- 
 
 Iasciar caseare 
 
 perder (un punto) 
 
 fallen lassen, ab- 
 
 stitch) : see Dot 
 
 ber, laisser cou- 
 ler 
 sec, seche 
 
 
 / 
 
 gleiten 
 
 Dry (adj.) 
 
 secco 
 
 seco 
 
 trocken, durr 
 
 Dutch (adj.) 
 
 hollandais -e 
 
 olandese 
 
 holandfis 
 
 hollandisch 
 
 Duty, tax 
 
 le droit, l'impot 
 
 il dazio, la gabella 
 
 el derecho, el im- 
 puesto 
 
 die Taxe, der Zoll 
 
 Dyeing, coloring 
 
 la teinture 
 
 la tinta, la tintura 
 
 la tintoreria 
 
 das Farben 
 
 Dyestuff : see Col- 
 
 la teinture, le 
 
 la tintura 
 
 el tinte 
 
 der Farbstoff 
 
 ored : see Ani- 
 
 teint, le coloris 
 
 
 
 
 line 
 
 
 l'aquila 
 
 
 
 Eagle 
 
 1'aigle 
 
 el aguila 
 
 der Adler 
 
 Easy (adj.) 
 
 facile 
 
 facile 
 
 facil 
 
 einfach, leicht 
 
 Ecclesiastical, ec- 
 
 ecclesiastique, 
 
 ecclesiastico 
 
 eclesiastico 
 
 ecclesiastisch 
 
 clesiastic, sacer- 
 
 sacerdotale 
 
 
 
 
 dotal (adj.) 
 
 
 
 
 
 Ecru, unbleached 
 
 ecru -e 
 
 crudo -a 
 
 crudo, que no ha 
 
 ecru 
 
 (adj.) : see 
 
 
 
 sido lavado 
 
 
 Blonde : see 
 
 
 
 
 
 Cream 
 
 
 
 
 
 Edging, border : see 
 
 la dentelle, le bord, 
 
 il pizzo, il orlo 
 
 la orla, el ribete 
 
 das Bortchen, die 
 
 Selvage : see 
 
 le passement 
 
 
 
 Randspitze, die 
 
 Bead Edge 
 
 
 
 
 schmale Spitze 
 
 Effigy 
 
 l'effigie, l'image 
 
 l'effigie, l'immagine 
 
 la efigie 
 
 das Bildniss 
 
 Eighteenth (adj.) 
 
 dix-huitieme 
 
 diciottesimo, deci- 
 mottavo 
 
 decimo octavo 
 
 achtzehnt 
 
 Ell (45 inches, 1% 
 
 l'aune, l'avant-bras, 
 
 l'anna, la canna 
 
 la ana 
 
 die Elle 
 
 yards) 
 
 1.85 metres (74 
 inches) 
 
 
 
 
 Ellipse 
 
 l'ellipse 
 
 1'ellissi 
 
 el elipse 
 
 die Ellipse 
 
 Embroiderer, em- 
 
 la brodeuse 
 
 •) 
 
 la bordadora, la 
 
 •p 
 
 bellisher, em- 
 
 
 
 ricamadora 
 
 
 broidery worker 
 
 
 
 
 
 Embroidery 
 
 ia broderie 
 
 il ricamo, la rica- 
 matura 
 
 el bordado, la bor- 
 dadura 
 
 die Stickerei 
 
 Emery, corundum 
 
 l'emeri 
 
 il smeriglio 
 
 el esmeril 
 
 der Schmergel 
 
 End, extremity 
 
 le bout, l'extremite' 
 
 la fine estremita 
 
 el cabo, el fin 
 
 das Ende 
 
 English (adj.) 
 
 anglais -e 
 
 inglese 
 
 ingles 
 
 englisch 
 
 Enlarge, to : see 
 
 agrandir 
 
 aggrandire 
 
 agrandar 
 
 erweitern, vergros- 
 
 Increase, to 
 
 
 
 
 sern 
 
 Enrich, to, adorn, 
 
 enrichir, orner, em- 
 
 fatte richo 
 
 enriquecer, ador- 
 
 ausschmiicken, be- 
 
 to, embellish, to : 
 
 bellir, parer 
 
 
 nar, embellecer 
 
 reichern 
 
 see Light up, to 
 
 
 
 
 
 Entertainer : see 
 
 
 
 
 
 Reader 
 
 
 
 
 
 Epoch : see Period 
 
 
 
 
 
 Establish, to, 
 
 gtablir, fonder, in- 
 
 stabilire 
 
 establecer, fundar 
 
 etabliren, griinden 
 
 found, to 
 
 stituer 
 
 
 
 
 Excelsior, s t u f - 
 
 le papier a copeaux 
 
 l'ecelsore 
 
 la madera en he- 
 
 die Holzwolle 
 
 fing : see Bran : 
 
 d'emballage, la 
 
 
 bras y virutas 
 
 
 see Sawdust : see 
 
 tontisse ligneuse 
 
 
 delgados para 
 
 
 Cork 
 
 
 
 empaquetar y 
 rellenar col- 
 chones 
 
 
 Execution, work- 
 
 la fagon, l'execu- 
 
 la fettura, l'esecu- 
 
 el trabajo 
 
 die Ausfiihrung, 
 
 manship : see 
 
 tion, le travail 
 
 zione, il lavoro, 
 
 
 die Arbeit 
 
 Skill 
 
 
 la fattura 
 
 
 
 Expensive, dear, 
 
 cher, couteux 
 
 dispendioso, cara- 
 
 costoso, caro 
 
 teuer, kostspielig 
 
 costly (adj.) : 
 
 
 mente, a gran 
 
 
 
 see Valuable : see 
 
 
 prezzo 
 
 
 
 Rare 
 
 
 
 
 
EXPLANATIONS AND NOMENCLATURE 
 
 47 
 
 ENGLISH 
 
 FRENCH 
 
 Expert : see Cons- F expert 
 noisseur : see Au- 
 thority 
 
 Eye (of a needle) le chas, le trou 
 
 Eyelet 
 
 l'oeillet 
 
 ITALIAN 
 
 la cruna 
 il spiraglio 
 
 SPANISH 
 
 l'esperto, il sperto, el experto 
 il sperimentato 
 
 el ojo 
 el ojete 
 
 GERMAN 
 
 der sach Verstiind- 
 
 das Nadeliihr, das 
 
 dhr 
 das kleine Loch, 
 
 das Scbniirloch 
 
 Factory : see 
 Work-room 
 
 Fair : see Auction : 
 see Celebration : 
 see Festival 
 
 Falling collar, fall- 
 ing band, fall : 
 see Collar 
 
 False stitch, false 
 pinhole, blind 
 pin: see Omit: 
 see Repeat 
 
 Fan 
 
 Fancy, fanciful, 
 ornate (adj.) 
 
 Fancy work 
 
 Fan-shaped 
 (adj.) 
 Scallop 
 
 Fascinator, 
 
 wrap : see Man- 
 tilla 
 
 Fasten off, to, 
 make fast, to, 
 secure, to : see 
 Tie together, to 
 
 Felt, baize 
 
 Festival, jubilee : 
 see Fair 
 
 Fichu : see Ker- 
 chief 
 
 Fifteenth (adj.) 
 Filet, netting, caul 
 lace 
 
 Filigree 
 
 Filler in of point 
 
 Filling, plaiting 
 
 band work 
 Filling maker : sei 
 
 Maker 
 Fine (adj.) 
 Fine drawing 
 
 Finger 
 
 Finger (4% in 
 ches) 
 
 la fabrique 
 la foire 
 
 le col rabattu. le 
 rabato, le rabat 
 
 la fabbrica 
 
 la fiera, il mercato 
 pubblieo 
 
 il collare 
 
 il punto false 
 
 l'eventail il ventaglio 
 
 faconne -e, orne -e, di fantasia, affaz- 
 
 de fantaisie 
 
 la tapisserie, 
 
 broderie 
 en eventail 
 
 la 
 
 head- la fanchon 
 
 le feutre 
 
 la fete, le jubile 
 
 quinzierne 
 
 le filet, le lacis, le 
 
 point conte, la 
 
 resille 
 
 le filigrane 
 la remplisseuse 
 
 le mode, l'ajour, le 
 jour 
 
 fin -e 
 
 la reprise perdue 
 
 le doigt 
 
 le doigt (18 milli- 
 metres) 
 
 zononato, ador- 
 nato 
 il ricamo 
 
 a ventaglio 
 la ciarpa 
 arrestare, fermare 
 
 il feltro 
 la festa 
 
 quindicesimo 
 
 il lavoro di maglia, 
 il punto a maglia 
 quadra, il moda- 
 no, il punto a 
 maglia quadrata 
 
 la filigrana 
 
 la rimendatrice 
 
 al gioi'no 
 
 fino, delicato 
 •> 
 
 il dito 
 il dito 
 
 la f a b r i c a , la 
 
 manufactura 
 la feria 
 
 el cuello caido 
 el paso falso 
 
 el abanico 
 
 de c a p r i c h o, de 
 
 gusto fantastico 
 
 la obra de fantasia 
 
 en forma de aba- 
 nico 
 
 el panuelo de ca- 
 beza 
 
 atar, asegurar 
 
 das Fabrikgebiiude 
 
 die M e s s e der 
 Jahrmarkt 
 
 der Umlegekragen 
 
 der Fiicher 
 geschmtickt, ver- 
 ziert 
 
 die weibliche 
 
 Handarbeit 
 facherformig 
 
 das Kopftuch 
 festmachen 
 
 el fieltro 
 
 
 der Filz 
 
 la fiesta 
 
 
 das Jubileum, der 
 Festtag, das Ju- 
 beljahr, das Ju- 
 belfest 
 
 decimoquinto 
 
 
 fiinfzehnte 
 
 la red cuadrada 
 
 
 die Netz Arbeit, 
 das Filet, der 
 Gitterground, das 
 Netzwerk, das 
 Filett 
 
 la filigrana 
 
 
 die feine Drahtar- 
 beit 
 
 la insertadora 
 
 de 
 
 die Spitzenflicker- 
 
 puntos 
 
 
 inn, die Spitzen- 
 stecherinn, d i e 
 Spitzenausfiiller- 
 inn 
 
 el modo 
 
 
 die Fiille," der Ein- 
 trag, die Fiillung 
 
 fino, delicado 
 
 
 fein 
 
 el punto perdido de 
 
 ? 
 
 zurcido 
 
 
 
 el dedo 
 
 
 der Finger 
 
 la longitud del 
 
 de- 
 
 der Mass von 4% 
 
 do, del medio 
 
 
 Zoll 
 
48 
 
 A LACE GUIDE FOE MAKERS AND COLLECTORS 
 
 ENGLISH 
 
 FRENCH 
 
 ITALIAN 
 
 SPANISH 
 
 GERMAN 
 
 Finger-shield, tai- 
 
 le de ouvert, le 
 
 il ditale aperto 
 
 el apoyadedos, el 
 
 der Schneider-Fin- 
 
 lor's thimble 
 
 doigtier 
 
 
 dedal de sastre 
 
 gerhut 
 
 Finisher, refiner : 
 
 l'affineuse 
 
 la ricamatrice, 1' 
 
 la perfeccionadora, 
 
 die Vollenderin 
 
 see Repairer : see 
 
 
 amnatrice 
 
 la afinadora 
 
 
 Ironer 
 
 
 
 
 
 Finishing : see But- 
 
 l'achevement 
 
 la ripassatura 
 
 la ultima mano, el 
 
 ? 
 
 tonholing : see 
 
 
 
 perfeccionamien- 
 
 
 Mending of faults 
 
 
 
 to , 
 
 
 Firmly, steadily 
 
 fermement 
 
 fermamente 
 
 firmemente 
 
 fest 
 
 Fish-shaped (adj.) 
 
 pisciform 
 
 ■> 
 
 pisciforme 
 
 fischformig 
 
 Flange 
 
 le rebord, la saillie 
 
 la sponda, il risal- 
 to, l'orlo 
 
 el realce 
 
 die Flansche, der 
 Rand 
 
 Flat (adj.) : see 
 
 plat -e 
 
 piano, piatto, spian- 
 
 llano, piano 
 
 flach, ohne Relief 
 
 Smooth 
 
 
 to 
 
 
 
 Flax, linum usita- 
 
 le lin, l'afioume 
 
 lino, sorta di lino 
 
 el lino 
 
 der Flachs 
 
 tissimum, fine 
 
 
 dell'Egitto 
 
 
 
 Levantine flax 
 
 
 
 
 
 Flax comb : see 
 
 
 
 
 
 Heckler 
 
 
 
 
 
 Flaxen : see Blonde 
 
 
 
 
 ^ 
 
 Flemish (adj.) 
 
 flamand -e 
 
 fiammingo 
 
 flamenco 
 
 flamish 
 
 Floss-silk, sleine, 
 
 la soie plate, la flo- 
 
 la seta crudo, la 
 
 la seda floja 
 
 der Floss 
 
 sleided silk 
 
 che 
 
 zattera 
 
 
 
 Flounce, furbelow, 
 
 le volant, le godet, 
 
 il volante, la falba- 
 
 la falbala 
 
 die Falbel, das Ge- 
 
 robing : see Frill 
 
 la tournante 
 
 la, la balza 
 
 
 brame 
 
 Flower 
 
 la fleur 
 
 il fiore 
 
 la flor 
 
 die Blume 
 
 Flute, to, gauffer, 
 
 tuyauter, gaufrer, 
 
 piegare, saldare a 
 
 rizar, plegar 
 
 goffrieren 
 
 to, crimp, to 
 
 froncer, goudron- 
 ner, goderonner, 
 gaudronner, cre- 
 per 
 
 connoneinli 
 
 
 
 Fluting, goffering, 
 
 le tuyautage, le 
 
 l'impressione sulle 
 
 el rizado 
 
 das Goffrieren, die 
 
 quilling: see 
 
 gaufrage, d e s 
 
 stoffe 
 
 
 Riische 
 
 Quille 
 
 Turgaux 
 
 
 
 
 Fold, set: see Plait 
 
 le pli, la pince 
 
 la piega 
 
 la doblez, el pliegue, 
 la plegadura 
 
 die Falte 
 
 Foliated (adj.) : 
 
 en feuilles, feuille' 
 
 a fogliami 
 
 batido en hojas 
 
 mit Laubwerk 
 
 see Scroll 
 
 -e, a feuillages 
 
 
 
 
 Footing, bead edge, 
 
 l'engrelure, le pied, 
 
 il merletto ordina- 
 
 el ribete 
 
 der Kantensaum 
 
 heading, bead- 
 
 le bord, la bisette 
 
 rio 
 
 
 
 ing : see Selvage 
 
 
 
 ■"i? 
 
 
 Forked (adj.) 
 
 fourchu -e, en four- 
 
 che 
 la forme 
 
 biforcato, forcuto 
 
 horcado 
 
 gabelformig 
 
 Form, shape, con- 
 
 la forma 
 
 la forma, la figura, 
 
 die Form 
 
 tour 
 
 
 
 el contorno 
 
 
 Foundation 
 
 la fondation 
 
 il fondamento 
 
 el fundamento, la 
 fundaciOn 
 
 der Grund 
 
 Fourteenth (adj.) 
 
 quatorzieme 
 
 quattordicesimo -a 
 
 decimocuarto 
 
 vierzehnte 
 
 Frame (embroid- 
 
 le mgtier ft broder 
 
 il telaio da ricamo 
 
 el bastidor 
 
 der Stickrahmen, 
 
 ery) : see Hoop 
 
 
 
 
 der Nahrahmen, 
 das Tamburin 
 
 Fray, to: see Ra- 
 
 
 
 
 
 vel, to 
 
 
 
 
 
 French (adj.) 
 
 frangais -e 
 
 francese 
 
 francesa 
 
 franzosisch 
 
 Fresh, clean 
 
 frais, fraiche, pro- 
 
 fresco 
 
 fresco, nuevo 
 
 frisch, rein 
 
 (adj.) : see New 
 
 pre 
 
 
 
 
 Fretwork : see 
 
 
 
 
 
 Grille 
 
 
 
 
 
 Frill, cascade, ja- 
 
 le jabot 
 
 la gola, la digiuna 
 
 la chorrera 
 
 der gefaltete Bu- 
 
 bot : see Floun- 
 
 
 
 
 senstreif 
 
 ce : see Cravat 
 
 
 
 
 
 Fringe 
 
 la frange, 1'efnle' 
 
 la frangia 
 
 el fleco 
 
 die Franse 
 
 Fuller's earth, 
 
 la terre ft foulon, le 
 
 la terra da digras- 
 
 la tierra de batan 
 
 die Walkererde, die 
 
 Whiting 
 
 bianco d'Espagne 
 
 sare o da purgare 
 
 
 Tiinche 
 
EXPLANATIONS AND NOMENCLATURE 
 
 49 
 
 ENGLISH 
 
 Galloon, Orris, Ar- 
 ras 
 
 Gather, to, pucker, 
 to 
 
 Gauge : see Mesh- 
 stick 
 
 Gently 
 
 Geometric (adj.) 
 German (adj.) 
 
 Gimp, rib, trolly, 
 cordon : see But- 
 tonholing : see 
 Outlining thread : 
 see Raised 
 
 Gingles, jingles, 
 beads 
 
 Glazed, shiny, glos- 
 sy, lustrous 
 (adj.): see 
 Smooth 
 
 Glove 
 
 Gold 
 
 Gothic (adj.) 
 
 Grille, fretwork,' 
 lattice 
 
 Groove 
 
 Ground, grounding, 
 field, background : 
 see Net 
 
 Grounder, maker of 
 grounds, ground- 
 worker 
 
 Guimpe (child's) : 
 
 see Wimple 
 Guipure 
 
 Gum Arabic 
 Gusset, mitre 
 
 Hair, locks, tress- 
 es : see Horse- 
 hair 
 
 Hairpin ( for cro- 
 cheting) 
 
 Half stitch, half 
 throw, half pass 
 
 Hand 
 Handkerchief 
 
 Handle, holder 
 
 Handmade (adj.) 
 Handsome : see 
 Rich : see Beauti- 
 ful: see Pretty 
 
 FRENCH 
 
 TArras, le galon 
 
 froncer, coulisser 
 
 la jauge, la mesure 
 
 doucement 
 
 geomfitrique 
 allemand -e 
 
 le cordonnet, la 
 nervure, le fil de 
 crin, le guimp, 
 la brode, le cor- 
 don 
 
 la cliquette, la per- 
 le de verre 
 
 glace -e, lustre -e, 
 luisant -e, vitre 
 -e 
 
 le gant 
 
 l'or 
 
 gothique 
 
 la grille, la grecque, 
 
 la treillis 
 la ramure, 1'entaille 
 
 le fond, le champ, 1' 
 entoilage, le treil- 
 le, le fondement 
 
 la foneuse, la ga- 
 zeuse, la gaziere, 
 la reseleuse, la 
 fondeuse 
 
 la guimpe 
 
 la guipure 
 
 la gomme arabique 
 le gousset, la mitre 
 
 les cheveux, les 
 tresses 
 
 la fourche 
 
 le demi point, la 
 passg de filet, la 
 grillee 
 
 la main 
 
 le mouchoir 
 
 le manche, la poig- 
 
 nee, l'anse 
 fait a la main 
 
 ITALIAN 
 
 G 
 
 il gallone, il fregio 
 
 increspare, piegare, 
 
 raggunzare 
 la misura staza 
 
 leggermente, dolce- 
 
 mente 
 geometrico 
 tedesco 
 
 il cordoncino 
 
 il peso che si attac- 
 
 ca alle fuselli 
 lustrato, lucente 
 
 SPANISH 
 
 el gal6n, el ribeci- 
 
 llo 
 fruncir 
 
 la vara 
 
 dulcemente 
 
 geomStrico 
 germanico, aleman, 
 
 tudesco 
 el cordOn 
 
 el peso que se une 
 
 a los palillos 
 lustroso, glaseado 
 
 GERMAN 
 
 die Tresse 
 
 falten, in Falten 
 
 legen 
 das Mass 
 
 sanft 
 
 geometrisch 
 deutsch 
 
 die Gimpe, der TJm- 
 rissfaden, das) 
 Bandchen 
 
 die Glasperlen 
 
 glanzend, 
 mernd 
 
 schim- 
 
 der Handschuh 
 
 das Gold 
 
 gothisch 
 
 das Gitterwerk 
 
 die Rinne 
 
 der Grund, der 
 Spitzengrund 
 
 colui o colei che el que hace los fon- ,jj e Spitzengrund- 
 
 fabbrica veli dos 
 
 il guanto el guante 
 
 l'oro el oro 
 
 gotica g6tico 
 
 la rete, la reticella el calado 
 
 1'antro profondo, la la ranura 
 
 scanatura 
 
 il fondo el fondo 
 
 la guimpa 
 
 il ghipur, il merlet- 
 to in rilievo 
 
 la gomma arabica 
 quadratelli 
 
 la treccia di capel- 
 li, il capello, la 
 ciocca di capelli 
 
 la forca, il bidente 
 
 il mezzo punto 
 
 il mano 
 
 il fazzoletto, il moc- 
 
 cichino 
 l'impugnatura, il 
 
 manico 
 fatto a mano 
 
 el camisolfn de mu- 
 jer, el canesu 
 
 la puntilla de hilo 
 fuerte en que los 
 dibujos enlaza- 
 dos forman el ti- 
 su sin fondo 
 
 la goma arabica, el 
 agua de goma 
 
 el escudete, el ingle- 
 te 
 
 los cabellos, la 
 trenza 
 
 la horquilla 
 
 la semi puntada 
 
 la mano 
 el panuelo 
 
 el mango, el puno 
 
 hecho a mano 
 
 macherin 
 
 das Latzchen 
 die Guipure 
 
 das Gummi Arabi- 
 
 cum 
 der Zwickel, die In- 
 
 ful, die Mitra 
 
 die Haar-Locke 
 
 die Haarnadel 
 
 der Halbschlag, der 
 Gympenschlag, 
 der Netzschlag 
 
 die Hand 
 
 das Taschentuch 
 
 der Griff 
 
 mit der Hand ge- 
 macht 
 
50 
 
 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 ENGLISH 
 
 FRENCH 
 
 ITALIAN 
 
 SPANISH 
 
 
 GERMAN 
 
 Hangers: see Pas- 
 
 
 
 
 
 
 sive pairs 
 
 
 
 
 
 
 Hang up, to 
 
 pendre, suspendre 
 
 sospendere 
 
 colgar 
 
 
 aufhangen 
 
 Hank 
 
 la botte, la poig- 
 nge, la pantine 
 
 la matassa 
 
 la madeja 
 
 
 der Strang 
 
 Head 
 
 la tete 
 
 la testa, il capo 
 
 la cabeza 
 
 
 der Kopf, die 
 
 Spitze 
 
 Head-dress, tower, 
 
 la fontange, la 
 
 l'acconciatura di 
 
 el tocado 
 
 
 der Aufsatz, die 
 
 head, Fladdal, 
 
 commode 
 
 capo 
 
 s 
 
 
 Bandschleife auf 
 
 fallals 
 
 
 
 
 
 dem Kopfe 
 
 Heading: see Foot- 
 
 
 
 
 
 
 ing 
 
 
 
 
 
 
 Head worker, su- 
 
 la maitresse-ou- 
 
 la capo-maestra, il 
 
 la primera oficiala 
 
 die Vorsteherin, die 
 
 pervisor 
 
 vriere, le chef 
 
 capo bottega 
 
 de un taller 
 
 de 
 
 erste Arbeiterin 
 
 
 d'atelier 
 
 
 mujeres, la 
 cargada 
 
 en- 
 
 
 Heart 
 
 le coeur 
 
 il cuore 
 
 el corazon 
 
 
 das Herz 
 
 Heaviness, dull- 
 
 la matitS 
 
 il cattivo 
 
 la pesadez, la 
 
 es- 
 
 die Schwerfalligkeit 
 
 ness : see Showy 
 
 
 
 tolidez 
 
 
 
 Heckler, flax comb, 
 
 le seran, la seran- 
 
 il pettine da lino 
 
 el rastrillo 
 
 
 die Hechel 
 
 hatchel 
 
 goie, l'aflinoir 
 
 
 
 
 
 Hem 
 
 l'ourlet 
 
 l'orlo 
 
 el ribete 
 
 
 der Saum 
 
 Hemp 
 
 le chanvre 
 
 la canapa, il ca- 
 nape 
 
 el cafiamo 
 
 
 der Hanf 
 
 Heraldic (adj.) 
 
 heraldique 
 
 araldico 
 
 heraldico 
 
 
 heraldisch 
 
 Hexagonal (adj.) 
 
 hexagonal -e, hexa- 
 gone 
 
 esagonale, esagono 
 
 hexagono 
 
 
 sechseckig 
 
 Holder : see Handle 
 
 
 
 
 
 
 Hole 
 
 le trou 
 
 il forame, il buco, 
 
 el agujero, el agu- 
 
 das Loch 
 
 
 
 il pertugio, la 
 
 jerito 
 
 
 
 
 
 bucca 
 
 
 
 
 Honeycomb 
 
 le gateau de miel, 
 la rayon de miel 
 
 il faxo, il Bale 
 
 el panal 
 
 
 die Wachsscheibe, 
 die Honigwabe 
 
 Hood : see Bonnet 
 
 le capuchon, la 
 capeline 
 
 la bauta, il cap- 
 puccio 
 
 la toca 
 
 
 die Haube 
 
 Hook 
 
 le crochet, le gui- 
 poir, le croc, la 
 croche 
 
 l'uncine, l'uncinetto 
 
 el gancho 
 
 
 der Haken, das 
 Hakchen, das 
 Hakelhaken 
 
 Hoop, tambour : 
 
 le cercle, le tam- 
 
 il tamburo, l'ordi- 
 
 el bastidor, el 
 
 aro 
 
 der Reif, das Tam- 
 
 see Frame 
 
 bour 
 
 grto da ricamare 
 
 
 
 burin 
 
 Horizontal (adj.) 
 
 horizontal -e 
 
 orizzontale 
 
 horizontal 
 
 
 horizontal 
 
 Horn (adj.) 
 
 de corne 
 
 di corno 
 
 de cuerno 
 
 
 aus Horn, hornen 
 
 Horsehair : see 
 
 le crin 
 
 il crine di cavallo 
 
 la crin de caballo, 
 
 das Rosshaar 
 
 Hair 
 
 
 
 la crin 
 
 
 
 Hot (adj.) : see 
 
 chaud -e 
 
 caldo 
 
 caliente 
 
 
 heiss 
 
 Warm 
 
 
 
 
 
 
 Housewife, kit 
 
 le necessaire 
 
 la cassetta da viag- 
 
 el costurerito 
 
 
 das Nahkastchen 
 
 Hunting 
 
 de chasse 
 
 gio 
 di caccia 
 
 de caza 
 
 
 Jagd (spitzen) 
 
 Imbricated : see 
 
 
 
 
 
 
 Overlapping 
 
 
 
 
 
 
 Imitation 
 
 l'imitation 
 
 l'imitazione 
 
 la imitacidn 
 
 
 die Nachahmung 
 
 Inch 
 
 le pouce 
 
 il pollice 
 
 la pulgada 
 
 
 der Zoll 
 
 Increase, to, add, 
 
 augmenter 
 
 aumentar, ampliare 
 
 acrecentar, alargar, 
 
 vermehren, vergros- 
 
 to ; see Enlarge, 
 to 
 Index finger 
 
 
 
 aumentar 
 
 
 sern 
 
 l'index 
 
 l'indice 
 
 el dedo indice 
 
 
 der Zeigefinger 
 
 India ink 
 
 l'encre de Chine 
 
 l'inchiostro di 
 
 la t i n t a de 
 
 la 
 
 die Tusche 
 
 
 
 China 
 
 China, la tinta 
 
 
 
 
 
 China 
 
 
 
 Indian (adj.) 
 
 indien -ne 
 
 indiano 
 
 indio 
 
 
 indisch, indianisch 
 
 Initial 
 
 l'initiale 
 
 l'iniziale 
 
 la inicial 
 
 
 der Anfangsbuch j 
 stabe 
 
 Ink 
 
 l'encre 
 
 l'inchiostro 
 
 la tinta 
 
 
 die Tinte 
 
 Insertion : see 
 
 l'entredeux, la 
 
 la trina, l'inser- 
 
 el entredoa 
 
 
 der Einsatz 
 
 Beading 
 
 bande 
 
 zione, l'entemel- 
 le, il passamano 
 
 
 
 
EXPLANATIONS AND NOMENCLATURE 
 
 51 
 
 ENGLISH 
 
 
 FRENCH 
 
 ITALIAN 
 
 SEANISH 
 
 GERMAN 
 
 Instrument : 
 
 see 
 
 
 
 
 
 Tool 
 
 
 
 
 
 
 Insular (adj.) 
 
 
 insulaire 
 
 isolano 
 
 insular, isleno 
 
 insularisch 
 
 Interlace, to, 
 
 en- 
 
 entrelacer, accoler 
 
 collegare, intrec- 
 
 entrelazar, entre- 
 
 durchflec bten, 
 
 twine, to 
 
 
 
 ciare, intralci- 
 are, frammettere 
 
 mezclar 
 
 durchweben 
 
 Interline, to 
 
 
 entredoubler 
 
 1 
 
 entretelar 
 
 zwischenfiitten 
 
 Intersect, to 
 
 
 entrecouper 
 
 intersecare, attra- 
 versare 
 
 entrecortar 
 
 durchschneiden, 
 durchkreuzen 
 
 Introduce, to 
 
 
 in trod aire 
 
 introdurre 
 
 establecer, presen- 
 ter 
 
 vorstellen, bekannt 
 machen, einfuh- 
 ren 
 
 Inventory 
 
 
 1'inventaire 
 
 l'inventar 
 
 el inventario 
 
 die Inventur, das 
 Inventarium, das 
 Bestandsver- 
 zeichniss 
 
 Irish (adj.) 
 
 
 irlandais -e 
 
 irlandese 
 
 irlandes 
 
 irisch, irlandisch 
 
 Iron, to 
 
 
 repasser 
 
 stirare, soppressare 
 
 planchar 
 
 pliitten, biigeln 
 
 Ironer : see Fin 
 
 ish- 
 
 l'amqueuse 
 
 la stiratrice 
 
 la planchadora 
 
 die Platterin, die 
 
 er 
 
 
 
 
 
 Bugelerin 
 
 Isabel (adj.) : 
 
 see 
 
 isabelle, de couleur 
 
 isabella, sauro 
 
 de color isabelino, 
 
 isabellenfarbig, isa- 
 
 Cream colored : 
 
 isabelle 
 
 
 amarillo parduz- 
 
 bellfarbig, mis- 
 
 see Ecru 
 
 
 
 
 co 
 
 farbig 
 
 Italian (adj.) 
 
 
 italien -ne 
 
 italiano 
 
 italiano 
 
 italienisch 
 
 Ivory 
 
 
 l'ivoire 
 
 l'avorio 
 
 el marfil 
 
 das Elfenbein 
 
 
 Jabot : see Cravat 
 
 le jabot 
 
 la gola 
 
 la gola 
 
 7 
 
 Japanese (adj.) 
 
 japonais -e 
 
 giapponese 
 
 japongs 
 
 japanisch, japane- 
 
 i|! ill : PI 
 
 
 
 
 sisch 
 
 Join, to : see 
 
 raccorder 
 
 accordare 
 
 enganehar 
 
 zusammenstucken 
 
 Couple, to 
 
 
 
 
 
 Joiner of lace (per- 
 
 la raccrocheuse 
 
 l'accordatrice 
 
 el enganchador 
 
 der Aufhanger, der 
 
 son) 
 
 
 
 
 Anhanger, der 
 Verbinder 
 
 Joining-stitch : see 
 
 
 
 
 
 Sewing 
 
 
 
 
 
 Jubilee : see Cele- 
 
 
 
 
 
 bration : see Fes- 
 
 
 
 
 i . ' ■ | 
 
 tival 
 
 
 
 
 
 Kerchief, fichu : see 
 Fascinator 
 
 King 
 
 Knee - scarfs : see 
 
 Boot-tops 
 Knife 
 
 Knit, to 
 
 Knitter 
 
 Knitting-needle 
 
 Knitting pin, nee- 
 dle end, knitting- 
 sheath, support, 
 knitting shield 
 
 Knot : see Noose : 
 
 see Tie, to 
 Knotted work : see 
 
 Macrame' 
 
 le fichu, la fanchon, 
 la marmotte, le 
 couvre-chef 
 
 le roi 
 
 le couteau 
 tricoter 
 
 la 
 
 le tricoteur, 
 
 tricoteuse 
 Faiguille a tricoter, 
 
 la broche 
 l'afliquet, le porte- 
 
 aiguille 
 
 le noeud 
 
 K 
 
 il fisciu, il fazzo- el panuelo 
 
 letto di capo da 
 
 donna 
 il re el rey 
 
 il cotello 
 
 lavorare all'ago, 
 lavorare a mag- 
 lia 
 
 il calzettago 
 
 il ferro da calza, il 
 ferro da calzetta 
 
 il cannello pei fer- 
 ri da calza 
 
 il nodo, il groppo, 
 il gruppo 
 
 el cuchillo, el cor- 
 
 taplumas 
 hacer media, tejer 
 
 el calcetero, el te- 
 jedor 
 
 la aguja de hacer 
 medias 6 de malla 
 
 el palillo sujeto a 
 la cintura para 
 apoyar la aguja 
 de hacer calceta 
 
 el nudo 
 
 das Brusttuch 
 
 der Konig 
 
 das Messer 
 stricken 
 
 der Strieker, die 
 Strickerin 
 
 die Stricknadel, 
 der Strickstock 
 
 die Strickscheide, 
 die Stricknadel- 
 halter, das Strick- 
 nadelrohr, das 
 Nadelholz 
 
 der Knoten 
 
52 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 ENGLISH 
 
 Lace, pearlin, 
 
 pearling 
 
 FRENCH 
 
 ITALIAN 
 
 SPANISH 
 
 GERMAN 
 
 Lace-bark tree, La- 
 getta Lintearia 
 (vegetable lace) 
 
 Lace-maker, lace- 
 worker 
 
 Lace turn : see 
 Winding machine 
 
 Lace up, to 
 
 Lacing, string, 
 
 cord : see Cap- 
 string 
 
 Lamb 
 
 Lambrequin, man- 
 tle-cloth : see 
 Tidy 
 
 Lapel, revers 
 Lappet, tab, pinner 
 
 Layette 
 
 Laying out : see 
 Outlining : see 
 Setting : see Lay 
 out, to : see 
 Draft 
 
 Lay out, to; block 
 out, to ; stake 
 out, to ; mark 
 out, to ; appor- 
 tion, to : see 
 Laying out 
 
 Leaf, paddle, seed, 
 grain, wheat ear, 
 lozenge : see Tuft 
 
 Leaf-stitch, mat- 
 ting-stitch : see 
 Tuft 
 
 Learn, to 
 
 Left (adj.) 
 
 Length 
 
 Lesson 
 
 Letter 
 
 Light, illumination 
 Light, fluffy (adj.) 
 Light up, to ; 
 lighten, to ; in- 
 crease the high 
 lights, to ; set off, 
 to ; enhance, to : 
 see Enrich, to 
 
 la dentelle, le pas- il merletto, la trina las puntillas, el en- die Spitze 
 
 sement 
 
 le bois dentelle, le 
 laget 
 
 la dentelliere 
 
 lacer 
 
 l'entrelac, la ficelle, 
 le cordon 
 
 l'agneau 
 
 le dessus de che- 
 minee, le man- 
 teau de cheminSe 
 
 le revers 
 la barbe 
 
 la layette 
 
 le trace 
 
 jalonner 
 
 le pgtale 
 
 apprendre 
 
 gauch -e 
 la longueur 
 la lecon 
 
 (narrow) (cuts, caje 
 
 pinkings, pinch- 
 ings) il pizzo 
 (tips, peaks), il 
 passamano, il 
 fimboice, gli mer- 
 li (little turrets, 
 battlements), il 
 tarnete 
 
 la lavoranta in la encajera 
 merletti 
 
 allacciare 
 il groppo 
 
 il agnello 
 
 il fregi d'intaglio 
 
 lacear 
 
 el cordon de enlace 
 
 el cordero, el bor- 
 
 rego 
 el emantelete 
 
 la mostra d'un abite la solapa 
 
 la falda, la bandel- 
 la 
 
 le fasce, i pannol- 
 lini 
 
 la traccia, la mo- 
 stra 
 
 abbozzare, indicare, 
 piantar delle bif- 
 fe 
 
 l'armelletta, il fo- 
 glio 
 
 las caidas de toca 
 los panales 
 la traza 
 
 marcas los contor- 
 nos 
 
 la hoja, el pgtalo 
 
 la punta armeletta el empalletado 
 
 appren- aprender 
 
 imparare, 
 
 dere 
 sinistro, mancino 
 la lunghezza 
 il lezione 
 
 la lettre la lettera 
 
 la lumiere la luce, la lume 
 
 leger -ere leggero 
 
 eclairer, decharger balenare 
 
 izquierda siniestra 
 la longitud 
 la lecci6n 
 
 la carta 
 
 la luz 
 
 ligero 
 
 alumbrar, aligerar 
 
 der Spitzenklop- 
 pler, die Spitzen- 
 macherin 
 
 schniiren 
 die Schnur 
 
 das Lamm 
 
 die Kaminbeklei- 
 dung, das Zacken 
 oder Bogen Be- 
 hange, die Bek- 
 leidung als Zim- 
 merschmuck. 
 
 der Aufschlag 
 
 der Zipfel, der 
 Haubenfliigel 
 
 die Ausstattung fur 
 ein kleines Kind 
 
 das zur Schau le- 
 gen, das Heraus- 
 legen 
 
 verteilen, die Richt- 
 punkte aufstel- 
 len, auszeichnen, 
 abstecken 
 
 das Blatt 
 
 der Formenschlag 
 
 lernen 
 
 linke 
 die lange 
 die Aufgabe, 
 
 Lehrstunde 
 der Buchstabe 
 das Licht 
 leicht 
 erleichtern, 
 
 laden 
 
 die 
 
EXPLANATIONS AND NOMENCLATURE 
 
 53 
 
 ENGLISH 
 
 Line : see Row 
 Linen apparel, lin- 
 gerie 
 
 FRENCH 
 
 la ligne 
 la lingerie 
 
 Linen chest : see 
 
 Chest 
 Linen closet 
 Linen cloth : see 
 
 Napery 
 Linen house, white 
 
 goods house 
 Linen press : see la presse 
 
 Press 
 Linen-stitch : see 
 
 Cloth-stitch 
 Linen thread 
 Linen trade 
 
 Lint 
 
 Little finger 
 
 Livery 
 
 Lobster claw : s 
 
 Puff iron 
 Long (adj.) 
 Long, column 
 
 treble stitch 
 Loom 
 Loop : see Pearl 
 
 Loop-maker, ring- 
 let-maker 
 Loop row, first row 
 
 Loose, slack (adj.) 
 Lozenge, diamond 
 
 l'armoire a. linge 
 la toile de lin, le 
 
 linon 
 la maison de blanc 
 
 le fil de lin 
 la toilerie 
 
 la charpie 
 
 le petit doigt, 1'au- 
 
 riculaire 
 la livree 
 
 long -ue 
 la bride 
 
 le mgtier a tisser 
 la bride, la boucle, 
 
 la ganse, la bou- 
 
 clette 
 la boucleuse 
 
 lache 
 
 le losange 
 
 ITALIAN 
 
 la linea 
 
 la biancheria del 
 
 corpo, i panni 
 
 lini 
 
 la guardaroba 
 la tela di lino 
 
 la casa di bian- 
 cheria 
 
 il strettoio 
 
 il refe 
 
 il commercio di 
 
 biancheria 
 il filaticcio 
 il dito mignolo, il 
 
 dito auriculare 
 la livrea 
 
 lungo 
 
 il punto lungho 
 
 il telaio da tessere 
 la maglia 
 
 la cordoncinatrice 
 
 ? 
 
 lento, allentato 
 il rombo 
 
 SPANISH 
 
 la linea 
 
 la ropa blanca 
 
 el armario 
 
 la tela de lino, el 
 
 lienzo 
 la lenceria 
 
 la prensa 
 
 el hilo de lino 
 
 el comercio de lien- 
 
 zos 
 el lino 
 el dedo menique 
 
 la librea 
 
 largo 
 
 el punto largo 
 
 el telar 
 
 el lazo, el rizo 
 
 el que hace el rizo 
 
 la primera linea de 
 
 aros 
 suelto, destado 
 el rombo 
 
 GERMAN 
 
 die Linie 
 
 die weisse Wasche 
 
 der Leinenschrank 
 die Leinwand, das 
 
 Leinen 
 die Weisswaren- 
 
 hiindel 
 die Leinenpresse 
 
 der Leinenfaden 
 der Leinwandhan- 
 
 del 
 die Charpie 
 der kleine Finger 
 
 die Livree 
 
 lang 
 
 das Stabchen 
 
 der Webstuhl 
 die Schlinge, die 
 Oesen, die Osen 
 
 der Oesenmacher 
 
 das Aufschlag 
 
 los 
 
 die Rhomboide, der 
 Rhombus 
 
 M 
 
 Machine net 
 
 le tulle mecanique, 
 
 il tulle, il tulle mec-' 
 
 el mecanico 
 
 das Maschinen 
 
 
 le tulle fait a la 
 
 canico 
 
 
 Netz 
 
 
 machine 
 
 
 
 
 Macramg, knotted 
 
 le macrame', 1'en- 
 
 il punto a groppo 
 
 el encaje Moresco 
 
 die Kniipfarbeit 
 
 work, filet de 
 
 trelacs, le filet 
 
 
 
 
 Carnasiere 
 
 de Carnasiere 
 
 
 
 
 Maker of modes or 
 
 la modeuse 
 
 la giornotrice 
 
 el hacedor de pun- 
 
 die Fiillungmach- 
 
 jours, filling 
 
 
 
 tos de fantasia 
 
 erin 
 
 maker 
 
 
 
 
 
 Making, working 
 
 I'execution, la con- 
 
 il costruzione 
 
 la hechura, el tra- 
 
 die Vollziehung, die 
 
 
 fection 
 
 
 bajo, la ejecueiSn 
 
 Ausfiihrung 
 
 Making of : see 
 
 
 
 
 
 Pricking of 
 
 
 
 
 
 Maltese (adj.) 
 
 maltais -e, de Mal- 
 
 te 
 la faille, la mantil- 
 
 malteze 
 
 maltes 
 
 malthesisch 
 
 Mantilla : see Fas- 
 
 la mantilla 
 
 la mantilla 
 
 die Mantille 
 
 cinator 
 
 le 
 
 
 
 
 Mantle 
 
 le manteau, la man- 
 te 
 
 il sopreveste, il so- 
 prebito, il man- 
 tello 
 
 el manto, la capa 
 
 der Mantel 
 
 Manufacturer 
 
 le fabricant, le ma- 
 nufacturier 
 
 il fabbricante, il 
 fabbricatore, il 
 manifatturiere 
 
 el fabricante 
 
 der Fabrikant 
 
 Mark 
 
 la marque 
 
 la marca 
 
 la marca 
 
 die Marke, das Mai, 
 das Merkmal 
 
 Mark out, to: see 
 
 
 
 
 
 Lay out, to 
 
 
 
 
 
54 
 
 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 ENGLISH 
 
 FRENCH 
 
 
 ITALIAN 
 
 SPANISH 
 
 GERMAN 
 
 Marking out, divid- 
 
 la jalonnement, 
 
 la 
 
 il divisione 
 
 el sefialado 
 
 das Abstecken, das 
 
 ing, laying out, 
 
 division 
 
 
 
 
 Markieren 
 
 indicating, stak- 
 
 
 
 
 
 
 ing, staking out 
 
 
 
 
 
 
 Mask 
 
 le masque, le loup 
 
 la maschera, il lupo 
 
 la mascara 
 
 die Maske 
 
 Mate, companion- 
 
 le pendant 
 
 
 il riscontro 
 
 el companero 
 
 das Gegenstiick 
 
 piece 
 
 
 
 
 
 
 Materials, furnish- 
 
 les materiaux, 
 
 les 
 
 le forniture, li ma- 
 
 los avios, los mate- 
 
 die Materialien, das 
 
 ings 
 
 fournitures, 1' 
 tillage 
 
 ou- 
 
 teriali 
 
 riales 
 
 Arbeitsmaterial 
 
 Matting-stitch : see 
 
 
 
 
 
 
 Leaf-stitch 
 
 
 
 
 
 
 Measure : see Tape 
 
 la mesure 
 
 
 la mesura 
 
 la medida 
 
 das Linead zum 
 
 measure : see 
 
 
 
 
 
 gleichmassigen 
 
 Mesh stick : see 
 
 
 
 
 
 Einstecken der 
 
 Ruler 
 
 
 
 
 
 Stecknadel 
 
 Medallion, inset : 
 
 l'incrustation, l'i 
 
 ap- 
 
 l'incrostatura, l'in- 
 
 el embutido, el me- 
 
 das Spitzen-Medal- 
 
 see Square 
 
 plique 
 
 
 crostamento, gli 
 pezzi da incasta- 
 re, gli pezzi da 
 intarsiare 
 
 dallon 
 
 lion, der Spitzen- 
 Einsatz 
 
 Mediaeval, medie- 
 
 du moyen age 
 
 
 il medio evo 
 
 de la edad media 
 
 mittelalterlich 
 
 val (adj.) 
 
 
 
 
 
 
 Mend, to 
 
 raccomoder 
 
 
 raccomodare 
 
 remendar, reparar 
 
 ausbessern, flicken 
 
 Mending of faults : 
 
 le regalage 
 
 
 •> 
 
 el corregido de fal- 
 
 die Ausbesserung 
 
 see Repairing : 
 
 
 
 
 tas 
 
 mangelhafter 
 
 see Finishing 
 
 
 
 
 
 Spitzen 
 
 Mercerised (adj.) 
 
 mercerise -e 
 
 
 lucido 
 
 lustroso 
 
 mercerisiert, merce- 
 riert 
 
 Mesh 
 
 la maille 
 
 
 la maglia, la maglia 
 di rete 
 
 la malla 
 
 die Masche 
 
 Mesh-stick, mold : 
 
 le moule, l'ais a fai- 
 
 il asse, la tavola di 
 
 el molde 
 
 der Strickstab, der 
 
 see Gauge : see 
 
 re des filets, 
 
 la 
 
 legno 
 
 
 Strickstock 
 
 Measure : see 
 
 planche a fa 
 
 ire 
 
 
 
 
 Ruler 
 
 les filets 
 
 
 
 
 
 Metallic (adj.) 
 
 metallique 
 
 
 metallico 
 
 metalico 
 
 metallisch 
 
 Mexican (adj.) 
 
 mexicain -e 
 
 
 messicano 
 
 mejicano 
 
 mexikanisch 
 
 Middle : see Centre 
 
 
 
 
 
 
 Middle finger 
 
 le doigt majeur, 
 mfidius 
 
 le 
 
 il medio, il dito me- 
 dio 
 
 el dedo del medio 
 
 der Mittelfinger 
 
 Mirror : see Pene- 
 
 
 
 
 
 
 lope 
 
 
 
 
 
 
 Mitre : see Gusset 
 
 
 
 
 
 
 Model 
 
 le modele 
 
 
 il modello, il esem- 
 plo 
 
 el modelo 
 
 das Muster 
 
 Modern (adj.) : see 
 
 moderne 
 
 
 moderno 
 
 moderno 
 
 modern 
 
 New 
 
 
 
 
 
 
 Modesty piece : see 
 
 la garniture de cor- 
 
 la garnitura di cor- 
 
 el encaje de Costi- 
 
 der Streifen an ei- 
 
 Tucker 
 
 sage 
 
 
 sagio 
 
 lla, una blonda 
 que se pone a los 
 vestidos en la 
 parte superior 
 del pecho 
 
 ner Schniir 
 
 Modify, to 
 
 modifier 
 
 
 modificare 
 
 modificar 
 
 abiindern 
 
 Mohair, alpaca 
 
 le mohair, l'alpaga 
 
 l'alpaca 
 
 la alpaca 
 
 das Haartucb, der 
 
 
 
 
 
 
 Mohr 
 
 Moisten, to : see 
 
 
 
 
 
 
 Dampen, to 
 
 
 
 
 
 
 Monogram 
 
 le monogramme 
 
 
 il monogramo 
 
 el monograma 
 
 der Namenzug 
 
 Moon 
 
 la lune 
 
 
 la luna 
 
 la luna 
 
 der Mond 
 
 Mosaic, tesselated 
 
 en mosaique 
 
 
 mosaico 
 
 mosaico 
 
 mosaikartig 
 
 (adj.) 
 
 
 
 
 
 
 Mother-of-pearl 
 
 la nacre 
 
 
 la madre perla 
 
 el nacar, la madre 
 perla 
 
 die Perlmutter 
 
 Mount, to : see 
 
 monter, entoiler 
 
 
 montare un lavoro 
 
 montar 
 
 aufziehen 
 
 Transfer, to 
 
 
 
 
 
 
 Mummy wrappings 
 
 les draps de momie 
 
 7 
 
 la ropa de momia 
 
 das Mumiengewand 
 
 Museum : see Col- 
 
 le musee 
 
 
 il museo 
 
 el museo 
 
 das Museum 
 
 lection 
 
 
 
 
 
 
 Mythological (adj.) 
 
 mythologique 
 
 
 mitpjogjpo 
 
 mitol6gico 
 
 mythologisch 
 
EXPLANATIONS AND NOMENCLATURE 
 
 55 
 
 ENGLISH 
 
 FRENCH 
 
 ITALIAN 
 il chiodo, il chiovo, 
 
 SPANISH 
 
 GERMAN 
 
 Nail : see Took : 
 
 le clou 
 
 el clavo 
 
 der Nagel 
 
 see Thumb tack 
 
 
 il aguto, il chia- 
 vello 
 
 
 
 Nail (2% inches) 
 
 ? 
 
 il ottavo (misura) 
 
 la medida de dos 
 pulgadas y cuar- 
 to, 6 la diecisei- 
 sava parte de 
 una vara 
 
 das Mass von 2% 
 Zoll 
 
 Name 
 
 la denomination, le 
 
 il nome 
 
 el nombre 
 
 der Namen 
 
 N apery, linen goods : 
 
 nom 
 la napperie, la nap- 
 
 la biancheria da ta- 
 
 la manteleria 
 
 das Tafelzeug, das 
 
 see Linen cloth 
 
 pe 
 
 vola 
 
 
 Leinzeug 
 
 Napkin 
 
 la serviette 
 
 la salvietta, la to- 
 vagliuola 
 
 la servilleta 
 
 die Serviette, das 
 Tellertuch 
 
 Narrow (adj.) 
 
 Stroit -e 
 
 strctto 
 
 estrecho, angosto 
 
 enge, schmal 
 
 Naturalistic (adj.) 
 
 naturaliste 
 
 naturalista 
 
 naturalista 
 
 naturalistisch 
 
 Needle 
 
 l'aiguille 
 
 el ago, il aco 
 
 la aguja 
 
 die Nadel 
 
 Needlecase, needle 
 
 l'gtui a aiguilles, le 
 
 il agoraio, il agaio- 
 
 el alfiletero 
 
 die Nadelbiichse, 
 
 book : see Case 
 
 porte - aiguille, 1' 
 aiguillier 
 
 ulo, il buzzo 
 
 
 das Nadelbuch 
 
 Needle ends, pro- 
 
 ? 
 
 •> 
 
 el porta-agujas 
 
 die Strickstiefel 
 
 tectors 
 
 
 
 
 
 Needleful, a 
 
 une aiguillee 
 
 el agugliato 
 
 la hebra 
 
 eine Nadel-Voll 
 
 Needlepoint lace 
 
 la dentelle a l'ai- 
 guille 
 •> 
 
 il trino ad ago 
 
 la punta 
 
 die Nadelspitze 
 
 Needle threader, 
 
 ? 
 
 el ensartador de 
 
 die Nadel Einfas- 
 
 threader (instru- 
 
 
 
 agujas 
 
 serin 
 
 ment) 
 
 
 
 
 
 Needle-work 
 
 l'ouvrage a l'aiguil- 
 
 il lavoro ad ago 
 
 la labor de aguja, 
 
 die Handarbeit, die 
 
 
 le, la tapisserie, 
 
 
 la costura 
 
 Nadelarbeit 
 
 
 l'ouvrage de da- 
 
 
 
 
 
 mes 
 
 
 
 
 Net: see Ground 
 
 le rfeeau, ? dros- 
 chel, le rgzel, le 
 rezeuil. le raz- 
 zeuil, le tulle 
 
 il rete, il redexelo 
 
 el rete 
 
 das Netz, der Netz- 
 grund 
 
 Netting-needle 
 
 la navette 
 
 il spillo di fare rete 
 
 la aguja de tejer 
 redes 
 
 die Netz-Nadel 
 
 Network, darned 
 
 le lacis, le filet bro- 
 
 il lavoro di maglia, 
 
 la obra de malla 
 
 das Netzwerk 
 
 netting, spider 
 
 dS, le point contS 
 
 il punto a ma- 
 
 
 
 work : see Spid- 
 er 
 New (adj.) : see 
 
 
 gliata 
 
 
 
 neuf, neuve, nou- 
 
 nuovo 
 
 nuevo, nuevecito 
 
 neu 
 
 Fresh : see Mo- 
 
 veau, nouvelle 
 
 
 
 
 dern 
 
 
 
 
 
 Nightcap 
 
 le toquet 
 
 il berrettino 
 
 el gorro de dormir 
 
 die Nachtmutze 
 
 Nineteenth (adj.) 
 
 dix-neuvieme 
 
 diciannovesimo, de- 
 cimonono 
 
 d^cimonono 
 
 neunzehnte 
 
 Noose, slip-knot : 
 
 le noeud coulant 
 
 il nodo scorsoio 
 
 el lazo 
 
 die Fadenschlinge 
 
 see Knot 
 
 
 
 
 
 Norwegian (adj.) 
 
 norvegien -ne, de 
 Norvege 
 
 norvegio 
 
 o 
 
 noruego 
 
 norwegisch 
 
 Oblique (adj.) : see 
 
 oblique 
 
 obliquo 
 
 oblicuo 
 
 schrag, schief 
 
 Diagonal 
 
 
 
 
 
 Oblong (adj.) 
 
 de forme oblongue, 
 de figure oblon- 
 gue 
 
 oblungo, bislungo 
 
 oblongo 
 
 langlich, oblong 
 
 Ochre, ocher 
 
 l'ocre, l'ochre 
 
 il octa, l'ocria 
 
 el ocre 
 
 der Ocher, der 
 Oker 
 
 Oil 
 
 l'huile 
 
 l'olio 
 
 el oleo, el aceite 
 
 das Oel 
 
 Oil cloth, wax 
 
 la toile ciree 
 
 la tela incerata 
 
 el encerado, la tela 
 
 das Wachstuch, die 
 
 cloth 
 
 
 
 encerada 
 
 Wachsleinwand 
 
 Olive (adj.) 
 
 d'olivier 
 
 d'oliva 
 
 de oliva 
 
 oliven 
 
56 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 ENGLISH 
 
 Omit, to, skip, to : 
 see False stitch 
 Open (adj.) 
 Openwork 
 
 Organdie, organdi- 
 
 muslin 
 Ornament 
 
 Orphrey, clavi 
 Outer pairs 
 
 Outline, to : see 
 Outlining : see 
 Wheel 
 
 Outlining : see Out- 
 lining thread : 
 see Buttonhol- 
 ing: see Laying 
 out: see Setting: 
 see Gimp : see 
 Outline, to 
 
 Outlining thread, 
 outline: see 
 Gimp : see But- 
 tonholing 
 
 Over, above, upon 
 
 Overcast, to, whip, 
 to, over-sew, to 
 
 Overlapping, im- 
 bricated (adj.) 
 
 Overs 
 
 Padding 
 Pair 
 Pall, cloak 
 
 Pall, covering : see 
 Chalice cover- 
 ing 
 
 Panel 
 
 Parallel (adj.) 
 
 Parasol, sunshade 
 
 Parchment, vellum : 
 see Pattern 
 
 Passementerie 
 
 Passive pairs, pas- 
 sives, hangers 
 
 Paten-cover : see 
 
 Chalice cover 
 Patronage 
 
 Pattern, diagram : 
 see Parchment 
 
 FRENCH 
 
 passer, omettre, 
 
 sauter 
 ouvert -e 
 l'ouvrage a jour, 1'- 
 
 ouvrage a claire- 
 
 voie 
 l'organdi, l'organ- 
 
 dis 
 l'ornement 
 
 Forphroi 
 
 les paires extfirieu- 
 
 res 
 cerner, scilloner, 
 
 border, echelon- 
 
 ner, batir 
 1'entourage 
 
 le fil de trace, le fil 
 de contour, le 
 bati 
 
 au-dessus, sur 
 
 surjeter, faire un 
 
 surjet a 
 imbrique' -e, imbri- 
 
 c6 -e, enchevau- 
 
 ch6 -e 
 le jetfi 
 
 le bourre, l'ouate 
 la paire 
 le pallium 
 
 le poele, le drap 
 mortuaire 
 
 le panneau 
 
 parallele 
 
 le parasol 
 
 la cartisane, le par- 
 chemin 
 
 le passement, la 
 passementerie 
 
 les paires pendan- 
 tes, les paires de 
 chaine 
 
 le patronage 
 
 le patron, le tracg 
 
 ITALIAN 
 omettre, trascurare 
 
 aperto 
 
 il lavoro a giorno 
 
 l'organdi 
 
 il ornamento, il 
 adornamento, il 
 fregio 
 
 ■> 
 
 bastimentare 
 
 SPANISH 
 
 pasar por alto, omi- 
 
 tir 
 abierto 
 calado 
 
 el organdi 
 el ornamento 
 
 la clava 
 
 los pares exteriores 
 
 l'orditura 
 
 il filo di traccia 
 
 perfilar 
 
 el contorno, el per- 
 fil 
 
 el hilo de perfil 
 
 sopra, di sopra, ol- sobre 
 
 tre, sulla 
 cucire a sopraggit- hilvanar 
 
 to 
 imbricato imbricado 
 
 — P- 
 
 la borra 
 il paio 
 il pallio 
 
 il coltre, il panno 
 da morti 
 
 el assicello 
 
 parallelo, equidis- 
 
 tante 
 il parasole 
 
 la pergamena, la 
 cartapecora 
 
 il passamano 
 
 il patronezgo 
 
 la mostra, il cam- 
 pione 
 
 el punto por enci- 
 ma 
 
 la guata, la borra 
 el par 
 
 el palio de arzobis- 
 po 
 
 el pafio de atafld, 
 el pafio mortuo- 
 rio 
 
 el cuarter6n 
 
 paralelo 
 
 el quitasol, el para- 
 sol 
 
 el pergamino, la vi- 
 tela 
 
 la pasamaneria 
 
 el par pasivo 
 
 el patrocinio, el pa- 
 
 tronato 
 el modelo 
 
 GERMAN 
 
 iiberspringen 
 
 offen 
 
 die Durchbroch-Ar- 
 beit 
 
 der Organdi 
 
 die Verzierung 
 
 die Keule 
 die Drehpaare 
 
 in Umriss zeichnen 
 
 der Umriss 
 
 der Umrissfaden 
 
 uber, auf 
 
 iiberniihen, u m ■ 
 
 schlingen 
 dachziegelformig 
 
 das Umschlagen 
 
 das Unterlegen 
 
 das Paar 
 
 der Bischofsman- 
 
 tel, der Talar, 
 
 das Pallium 
 das Pallium, das 
 
 Leichentuch 
 
 das langlische 
 
 Stuck 
 parallel, gleichlauf- 
 
 end 
 der Sonnenschirm 
 
 das feine Kalbsle- 
 der, das Perga- 
 ment, das Velin 
 
 die Passementerie 
 
 die Risspaare 
 
 das Patronat, die 
 Begiinstigung 
 
 das Muster, das 
 Spitzenmuster, 
 der Spitzenmodel 
 
EXPLANATIONS AND NOMENCLATURE 
 
 57 
 
 ENGLISH 
 Pattern maker 
 
 Pearl: see Loop 
 
 Pearl-maker 
 
 Pearl-tie, bar, 
 strand, bridge, 
 coxcomb, leg, 
 pearl, half-wheel, 
 tie, bride : see 
 Bar 
 
 Pearl-tier 
 Peasant 
 
 Peddler, hawker 
 Peg, plug 
 
 Pen 
 
 Pencil 
 
 Penelope mirror 
 
 Period, epoch : see 
 
 Century 
 Petticoat 
 
 Pewter 
 Photograph 
 
 Pick up (a stitch), 
 
 to 
 Pillow (lace) : see 
 
 Cushion (sofa) 
 
 Pillow lace : see 
 
 Bobbin lace 
 Pillow sham 
 
 Pillow slip, pillow 
 case, pillow-bier, 
 pillow-beer, pil- 
 lowebere 
 
 Pin 
 
 Pin, to : see Stick 
 in, to 
 
 Pincushion 
 Pinhole 
 Pink, to 
 
 FRENCH 
 
 la patronneuse, le 
 
 patronneur 
 le picot, la boucle 
 
 la picoteuse 
 la bride 
 
 la brideuse 
 
 la paysanne, le 
 paysan 
 
 le colporteur, le ca- 
 
 melote 
 la cherille, l'epin- 
 
 gle de bois 
 
 la plume 
 la crayon 
 le mirroir Pgnelope 
 
 l'epoque 
 
 le jupon 
 
 Tetain 
 
 la photographie 
 
 le coussin, le car- 
 reau, le mfitier 
 
 la manche de para- 
 de ?, le cache 
 oreiller 
 
 la taie d'oreiller 
 
 1' epingle 
 
 mettre une epingle, 
 piquer une 6pin- 
 gle, poser une 
 epingle 
 
 la pelote a fipingles 
 
 le trou d'gpingle, la 
 porte 
 
 faire des oeillets, 
 trouer, percer un 
 etoffe, decouper 
 suivant un des- 
 sin, chequSter 
 
 ITALIAN 
 la zoccolaja 
 
 la smerlatura, il 
 dentello, l'orlatu- 
 ra di ricamo 
 
 la smerlatrice 
 
 la bride 
 
 la bridetrice ?, la 
 lega trice 
 
 il paesano, il conta- 
 dino 
 
 il merciaiuolo 
 
 la caviglia, la ca- 
 vicchia, il piulo, 
 il brocco 
 
 la penna 
 
 il pennello 
 
 lo specchio di Pene- 
 lope 
 
 l'epoca 
 
 la gonnella, la gon- 
 
 nellina 
 il peltro, il stagno 
 la fotografia 
 
 relever, reprendre rialzare 
 
 il tombolo, il cus- 
 cino, il guanciali- 
 no 
 
 la fodera, la fode- 
 retta 
 
 la spilla 
 pungere 
 
 il guanciallino da 
 
 spilli. il torsello 
 la bocca da spilli 
 
 foracehiare, bucac- 
 chiare una stoffa 
 a disegno 
 
 SPANISH 
 
 el hacedor de mode- 
 
 los 
 la puntilla, el pi- 
 
 quillo 
 
 la picadora 
 
 la ligadura, los hi- 
 los que conectan 
 las varias partes 
 solidas del enca- 
 je, hecho de dos 
 o mas cabos que 
 son o bien como 
 cordones o cu- 
 biertos con pun- 
 tos de remate o 
 bordes 
 
 la aseguradora 
 
 la aldeana, el aldea- 
 no, el patan, el 
 labriego, el cam- 
 pesino 
 
 el buhonero, el ba- 
 ratillero 
 
 la estaquilla, la cla- 
 vija 
 
 la pluma 
 
 el lapiz 
 
 el espejo de PenS- 
 
 lope 
 la epoca, el periodo 
 
 la falda bajera o de 
 
 barros 
 el peltre 
 la fotografia 
 
 recoger ( un pun- 
 
 to) 
 la almohadilla para 
 
 hacer encajes 
 
 la cubierta de ador- 
 no para almoha- 
 da 
 
 la funda de almoha- 
 da 
 
 el alfiler 
 
 prender con alfile- 
 res, asegurar 
 
 el acerico 
 el agujero 
 ojetear, picar 
 
 GERMAN 
 
 die Musterzeichne- 
 rin 
 
 das Picot 
 
 die Oesermacherin 
 das Bindeband, das 
 Schlosschen 
 
 die Festigmacherin 
 von Alenconner 
 Spitze 
 
 der Bauer, der 
 Landmann 
 
 der Hausirer 
 der Pflock 
 
 die Schreibfeder 
 
 der Pinsel 
 
 der Penelope Spie- 
 gel 
 
 der Zeitraum, die 
 Periode 
 
 der TJnterrock 
 
 das vermischte Zinn 
 die Photographie, 
 
 das Lichtbild 
 wieder aufnehmen 
 
 das Kissen, das 
 Koppelkissen, der 
 Kloppelsack 
 
 die Kissendecke 
 
 der Kisseniiberzug 
 
 die Stecknadel 
 stecken 
 
 das NadelMssen 
 
 der Stecknadel 
 
 Punkt 
 auszacken, a u s - 
 
 schneiden 
 
58 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 ENGLISH 
 
 FRENCH 
 
 la tresse, la natte 
 tresser, natter 
 
 Pinner : see Lap- 
 pet 
 
 Plain : see Simple 
 
 Plait, braid, tresse : 
 see Fold 
 
 Plait, to, braid, to 
 
 Plaiting : see Fill- 
 ing 
 
 Platform of pillow la planche, la plate 
 forme 
 
 Plume, tuft, pan- le panache 
 ache 
 
 Ply (single), le pli 
 
 strand 
 
 Point, Vandyke : la Crete 
 see Scallop 
 
 ITALIAN 
 
 la treccia 
 intrecciare 
 
 l'assa, la piatta- 
 
 forma 
 il pennacchio 
 
 la piega 
 
 la cresta, il dente 
 
 Poking stick 
 
 (iron), setting- 
 stick, strut 
 (wood or bone) : 
 see Puff iron 
 
 Polish, to 
 
 Polychrome (adj.) 
 Position 
 
 Pound sterling 
 Press : see Puff 
 
 iron : see Linen 
 
 2>ress 
 Pretty (adj.) : see 
 
 Beautiful 
 Price 
 Pricker, marker 
 
 ( instrument) : 
 
 see Stiletto 
 Pricker, marker 
 
 (person) 
 
 Pricking, parch- 
 ment, down, each 
 
 Pricking or mak- 
 ing of 
 
 Professional (adj.) 
 see Expert : see 
 Authority 
 
 Prong 
 
 Pucker : see Crease : 
 see Gather, to 
 
 Puff iron, lace awl, 
 polishing iron, 
 agate, raiser, lob- 
 ster claw, bmr- 
 nisher : see Pok- 
 ing stick : see 
 Press 
 
 Pull, to 
 
 Pull over, to : see 
 Slip off, to 
 
 Pupil 
 
 Puppet, doll, man- 
 ikin 
 
 la broche, le baton 
 
 a plisser 
 fraises ou 
 manchettes, 
 composteur, 
 potelet 
 polir 
 
 les 
 
 les 
 
 le 
 
 le 
 
 polychrome 
 
 la position, la pose 
 
 la livre (25 francs) 
 le lissoir 
 
 pulire, lustrare, 
 
 lisciare 
 policroma 
 la posa, la posi- 
 
 tura, il posizione 
 la lira sterlina 
 el lisciatoio 
 
 joli -e leggiadre, gentile, 
 vezzoso 
 
 le prix il prezzo 
 
 la pointe, l'aiguille il ago da forare 
 
 a piqueter 
 
 la pointeuse, la la chi cuce, che chi 
 piqueuse sia di strapunto 
 
 le pique\ le carton- il pizzicore, li piz- 
 guide, le passe- zilli, il cartone 
 
 ment 
 le piquage, la pi- 
 
 qure, le picage, 
 
 le piquetage 
 professionel -le, 
 
 professionale 
 
 la dent de fourchon 
 
 Foeuf, le fer a can- 
 nonier, le fer a 
 coque, l'alfeoir, 
 la pince, l'aficot 
 
 il frastaglo 
 professionale 
 il rebbio 
 
 il puffiture, le 
 branche dei gam- 
 beri 
 
 tirer, serrer tirare 
 
 rabattre, rabattre abbassare, scemare 
 
 les mailles 
 
 l'eleve il scolare 
 
 la marionnette, le il manichino 
 Courrier de la 
 Mode, la poupee 
 
 SPANISH 
 
 la trenza, el cor- 
 
 doncillo 
 trenzar 
 
 la plataforma 
 
 el penacho 
 
 la doblez 
 
 el cuello de encaje 
 Van Dyke 
 
 el instrumento de 
 hueso o madera 
 que se usa ajus- 
 tando los pliegues 
 de una lechuguil- 
 la 
 
 pulir (agujas) 
 
 policromo 
 
 la positura, la pos 
 
 tura, la posiclon 
 la libra esterlina 
 el satinador, el lus- 
 
 trador 
 
 bonito, lindo 
 
 el precio 
 el punzon 
 
 el que pica, el mar- 
 cador 
 
 la picadura 
 la picadura 
 professional 
 la punta 
 el esponjador 
 
 tirar 
 cruzar 
 
 el discfpulo 
 
 el maniqul 
 
 GERMAN 
 
 der Flechtenschlag, 
 
 die Flechte 
 flechten 
 
 das Kloppelbrett 
 
 der Federbusch, der 
 
 Helmfederbusch 
 einfach 
 
 die ausgezackte 
 
 Spitzen, das 
 
 Zackchen, die 
 Spitze 
 
 das Stabchen 
 
 poliren, glatten 
 
 bunt 
 
 die Lage, die Stel- 
 
 lung 
 das Pfund Sterling 
 ? Weissholzer, die 
 
 Glattmaschine 
 
 hiibsch 
 
 der Preis 
 
 die Pickiernadel 
 
 die Punktierin, die 
 
 Musterdurchpau- 
 
 serin, der Locher- 
 
 stecher 
 der Kloppelbrief, 
 
 das Muster, "die 
 
 Aufwinde" 
 das Durchstechen, 
 
 des Musters auf 
 
 Pergament 
 berufsmassig 
 
 die Zinke 
 
 der Puffer, das Bii- 
 gel, ? Kobben, 
 der Glattstahl, 
 der Glatter, die 
 Hummerschere 
 
 ziehen 
 verschranken 
 
 der Schuler, die 
 
 Sehulerin 
 die Puppe, die 
 
 Marionette 
 
EXPLANATIONS AND NOMENCLATURE 
 
 59 
 
 ENGLISH 
 
 Purl, to ; seam, to, 
 reverse, to 
 
 FRENCH 
 tricoter a l'envers 
 
 ITALIAN 
 
 far la calza a mag- 
 lia a volta 
 
 SPANISH 
 perfilar 
 
 GERMAN 
 
 links stricken 
 
 Quality 
 Quatrefoil 
 Queen 
 Quick (adj.) 
 
 Quille : see Fluting 
 
 Quilling : see Flut- 
 ing 
 
 Quilter : see Stitch- 
 er 
 
 Quilting : see 
 
 Wadding 
 
 Quincunx 
 Quiver, sheath 
 
 Raised, embossed 
 
 (adj.) : see Gimp 
 Raiser : see Puff 
 
 iron 
 Rare (adj.) 
 
 Expensive : 
 
 Valuable 
 Ravel, to ; 
 
 to ; unravel, to ; 
 
 reave, to ; reeve. 
 
 to ; unweave, to 
 Ravellings 
 
 see 
 see 
 
 Razor-cloth : see 
 Combing cloth 
 
 Reader, lay-sister, 
 entertainer, non- 
 worker 
 
 Realistic (adj.) 
 
 Reduce, to ; lessen, 
 to ; diminish, to : 
 see Decrease, to 
 
 Reel, to ; wind, to 
 
 Refiner : see Fin- 
 isher 
 
 Removing, loosen- 
 ing, detaching : 
 see Rip, to 
 
 Renascence, re- 
 
 birth 
 
 Repairer of breaks 
 and faults : see 
 Finisher 
 
 Repairing, repara- 
 tion : see 
 Strengthening : 
 see Mending 
 
 Repeat, to ; see 
 False stitch 
 
 Reticular, retiform 
 (adj.) 
 
 Reversible (adj.) : 
 see Double faced 
 
 la quality 
 
 les quatre-feuilles 
 
 la reine 
 
 leste, vite 
 
 la campane, la 
 houppe, la touffe, 
 la ruche 
 
 la pique, le mate- 
 lass6 
 
 le quinconce 
 le carquois 
 
 en relief, bombfi -e 
 
 fray, effiler, effiloquer 
 
 le parfilage, la par- 
 
 filure, l'emlure 
 le linge a barbe 
 
 la b£ate 
 
 realiste 
 reduire 
 
 devider 
 
 l'enlevage 
 
 la renaissance 
 la regaleuse 
 
 le ravaudage, le 
 remaillage 
 
 repeter 
 
 retiforme 
 
 a deux endroits 
 
 Q 
 
 la qualita 
 
 le quatro foglio 
 
 la regina 
 
 lesto, snello, spedi- 
 to 
 
 la frangia, il mer- 
 letto piegato en 
 forma di arnia 
 
 la stoffa cosi detta, 
 l'imbottir, il 
 
 trapunto 
 
 la quinconce 
 
 la faretra 
 
 R 
 
 in relievo, rose, 
 rilevato 
 
 sfilare, sfilacciare 
 
 gli filacce 
 
 il ceccio da barba 
 
 il leggitore, il man- 
 tenitore 
 
 realista 
 ridurre 
 
 addipanare 
 
 il levare 
 
 il risorgimento, il 
 
 rimascimento 
 la regalatrice 
 
 il racconciamento 
 
 ripetere, ricomm- 
 
 ciare 
 rete 
 
 rivocabile 
 
 la calidad 
 
 el cuadrifolio 
 
 la reina 
 
 veloz, acelerado, 
 
 ligero 
 el pliegue en forma 
 
 cilindrica 
 
 die Qualitat 
 
 das Vier-blatt 
 die Konigin 
 schnell 
 
 die Troddel, 
 Quaste 
 
 die 
 
 la cajera, el picado das Steppen 
 
 el quincunce 
 el carcaj 
 
 en relieve 
 
 das Quincunx 
 der Kocher 
 
 erhaben 
 
 selten 
 
 deshilar, desenlazer auftrennen, aufzieh- 
 en 
 
 la hilacha Ausgezuptes, ausge- 
 
 zogene Faden 
 el babadero, el ba- das Bart-Tuch 
 
 bador 
 la lectora ? 
 
 realista 
 reducir 
 
 devanar 
 
 el soltar 
 
 realistisch 
 vermindern 
 
 haspeln, aufwinden 
 das Wegnehmen 
 
 el renacinniento die Renaissance 
 
 el reparador, el der Ausbesserer 
 apisonador 
 
 la reparaci6n die Ausbesserung 
 
 das Ausbessern 
 
 repetir 
 reticular 
 
 wiederholen 
 netzformig 
 
 que admite posiciSn umkehrbar 
 6 direccion opue- 
 sta 
 
60 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 ENGLISH 
 
 FRENCH 
 
 ITALIAN 
 
 SPANISH 
 
 GERMAN 
 
 Bib : see Raised : 
 
 
 
 
 
 see Gimp 
 
 
 
 
 
 Ribbon : see Stir- 
 
 le ruban 
 
 il nastro 
 
 la cinta de seda 
 
 das Band 
 
 rup 
 
 
 
 
 
 Rice 
 
 le riz 
 
 il riso 
 
 el arroz 
 
 der Reis 
 
 Rich, handsome 
 
 riche 
 
 ricca 
 
 rico 
 
 reich 
 
 (adj.) : see Beau- 
 
 
 
 
 
 tiful: see Pretty 
 
 
 
 / 
 
 
 Right hand side 
 
 droit -e 
 
 destro 
 
 derecha 
 
 rechts 
 
 Right side, front 
 
 Fendroit 
 
 il ritto 
 
 el lado derecho 
 
 die Rechterseite 
 
 Ring 
 
 l'anneau, le rond, 
 le cercle 
 
 il anello 
 
 el circulo, la cera, 
 el anillo 
 
 der Ring, der Kreis 
 
 Ring finger 
 
 le doigt annulaire 
 
 il dito anulare 
 
 el dedo anular 
 
 der Ring Finger 
 
 Rinse, to 
 
 rincer 
 
 sciacquare 
 
 enjuagar 
 
 auswaschen, aus- 
 spulen 
 
 Rip, to 
 
 dficoudre 
 
 scucire 
 
 rasgar, hender 
 
 auftrennen 
 
 Rococo (adj.) 
 
 Rocaille, Barocco, 
 Roccoco, rococo 
 
 rococo 
 
 churriguersco 
 
 rococo 
 
 Rod : see Bar 
 
 
 
 
 
 Rolling, whipping 
 
 le point roule 
 
 il arrotolamento ? 
 
 el enrollado, el en- 
 rollamiento, el 
 arrollado, el arol- 
 lamiento 
 
 der Rollsaum 
 
 Rose 
 
 la rose 
 
 la rosa 
 
 la rosa 
 
 die Rose 
 
 Rosette (general 
 
 la rosette, le noeud 
 
 la rosetta, la gala 
 
 la rosa, la roseta 
 
 die Rosette 
 
 use) , rose 
 
 
 
 
 
 Rosettes (minute 
 
 les couronnes, les 
 
 le cornoa 
 
 la rosa, la roseta, 
 
 die Rosetten, die 
 
 thread works) : 
 
 fleurs volantes, 
 
 
 el rosetSn 
 
 Rosette 
 
 see Crowns 
 
 les rosaces 
 
 
 
 
 Rough (adj.) 
 
 rude, ebouriffe' -e 
 
 rozzo, rude, abba- 
 ruff a to 
 
 erizado, encrespado 
 
 rauh, roh, uneben 
 
 Row : see Line : 
 
 le rang, le tour 
 
 l'ordine, la fila 
 
 la fila, la Hnea, la 
 
 die Reihe 
 
 see Band 
 
 
 
 hilera 
 
 
 Royal (adj.) 
 
 royal -e 
 
 reale, regio 
 
 real 
 
 koniglich 
 
 Rubbing : see Trac- 
 
 l'impression 
 
 l'impressione, l'im- 
 
 el frotamiento 
 
 der Abdruck 
 
 ing 
 
 
 pronto 
 
 
 
 Ruff 
 
 la fraise, la roton- 
 de 
 
 il eollare alia spag- 
 nuola 
 
 la lechuguilla 
 
 die Krause 
 
 Ruffle, hand ruff, 
 
 la manchette, l'en- 
 
 il manichino, il 
 
 la vuelta, el puno 
 
 die Manschette, die 
 
 parte : see Cuff 
 
 gageante, la pa- 
 gode 
 
 manichetto 
 
 
 Handkrause 
 
 Ruler : see Tape 
 
 le tire-ligne, le re- 
 
 il stecche 
 
 la regla 
 
 das Lineal 
 
 measure : see 
 
 gle, le reglet, la 
 
 
 
 
 Mesh-stick : see 
 
 reglette 
 
 
 
 
 Measure 
 
 
 
 
 
 Runner : see Ta- 
 
 le chemin de table 
 
 la striscia 
 
 el tablero 
 
 der Tischlaufer, der 
 
 blecover 
 
 
 
 
 Laufer 
 
 Russian (adj.) 
 
 russe 
 
 russo 
 
 ruso 
 
 russisch 
 
 Rust, to 
 
 rouiller, se rouiller 
 
 arrugginire, arrug- 
 ginirsi, irruggini- 
 re 
 
 enmohecerse 
 
 rosten, verrosten 
 
 Sacramental (adj.) 
 
 de benediction 
 
 de benedizione 
 
 sacramental 
 
 sacrementlich, sa- 
 crementarisch 
 
 Saint Ann 
 
 la Sainte Anne 
 
 Sabbia Anna 
 
 Santa Ana 
 
 die Heilige Anna 
 
 Salary 
 
 les appointements, 
 
 1'onorari, la sportu- 
 
 el salario 
 
 die Besoldung, das 
 
 
 le traitement, les 
 
 la, la ricompensa 
 
 
 Gehalt 
 
 
 honoraires 
 
 
 
 
 Sample 
 
 1'echantillon 
 
 il campione 
 
 la muestra 
 
 das Muster 
 
 Sampler, sam cloth 
 
 Fexemplaire 
 
 l'esemplare 
 
 el ejemplar 
 
 das Modelltuch, das 
 Musterblatt, das 
 Sticktuch 
 
 Sand 
 
 le sable 
 
 la lazanta 
 
 la arena 
 
 der Sand 
 
 Sawdust : see Ex- 
 
 la sciure, la sciure 
 
 la segatura 
 
 el serrin 
 
 das Siigemehl 
 
 celsior 
 
 de bois 
 
 
 
 
 Scale, proportion 
 
 Fechelle 
 
 la scala, il propor- 
 zioni 
 
 la escala 
 
 der Masstab 
 
EXPLANATIONS AND NOMENCLATURE 
 
 61 
 
 ENGLISH 
 
 FRENCH 
 
 
 ITALIAN 
 
 SPANISH 
 
 GERMAN 
 
 Scallop : see Point : 
 
 le feston 
 
 
 il festone 
 
 la recortadura 
 
 der Bogen, die Zack- 
 
 see Shell : see 
 
 
 
 
 
 en 
 
 Fan-shaped 
 
 
 
 
 
 
 Scalloped (adj.) 
 
 dentele" -e, feston- 
 
 a festoni, scaglia di 
 
 festoneado 
 
 ausgezackt, ausge- 
 
 
 ne -e, en ecailles 
 
 pesce 
 
 
 kerbt 
 
 Scarf : see Tidy 
 
 1'echarpe 
 
 
 la sciarpa, la ciar- 
 
 la banda 
 
 die Scharpe 
 
 School 
 
 l'geole 
 
 
 pa 
 la scuola 
 
 la escuela 
 
 die Schule 
 
 Scissors 
 
 les ciseaux 
 
 
 gli forbici 
 
 las tijeras 
 
 die Schere 
 
 Scraps, remnants 
 
 les restes 
 
 
 il avanzo, il resto 
 
 los restos 
 
 der Abfall, die 
 Kleinen Stiicke 
 
 Screen 
 
 le paravent 
 
 
 il paravento 
 
 la pantalla, el biom- 
 
 bo 
 el tornillo 
 
 der Schirm 
 
 Screw : see Cla mp 
 
 la vis 
 
 
 il vite 
 
 die Schraube 
 
 Scroll (spiral) : see 
 
 l'enroulement, ] 
 
 ,'en- 
 
 il avvolgersi, la vo- 
 
 el encaracolado, el 
 
 der Schnorkel 
 
 Foliated 
 
 jolivement, le 
 ceau 
 
 rin- 
 
 luta, il incartoc- 
 ciarsi 
 
 adorno en espiral 
 
 
 Seal 
 
 le cachet, le plomb 
 
 il piombo, la marca 
 
 el sello 
 
 das Siegel 
 
 Secular, lay (adj.) : 
 
 seculier -e, laique 
 
 secolare, laico 
 
 secular 
 
 weltlich 
 
 see Reader 
 
 
 
 
 
 
 Sell, to 
 
 vend re 
 
 
 vendere 
 
 vender 
 
 verkaufen 
 
 Selvage, selvedge : 
 
 la lisiere 
 
 
 la cimossa 
 
 la orilla 
 
 das Salbende, die 
 
 see Edging : see 
 
 
 
 
 
 Kante 
 
 Footing 
 
 
 
 
 
 
 Serpentine, vermi- 
 
 serpentin -e, en 
 
 ser- 
 
 serpentina 
 
 serpentino 
 
 schlangen-artig 
 
 culate (adj.) 
 
 pent, tortueux 
 
 
 
 
 
 -se, vermieuleux 
 -se 
 la parure, l'assorti- 
 
 il assetto 
 
 
 
 Set 
 
 el juego 
 
 die Garnitur 
 
 
 ment, la garnitu- 
 
 
 
 
 Setting : see Out- 
 
 la sertissure, le 
 
 ser- 
 
 la incastonatura 
 
 la engastadura, el 
 
 die Einfassung 
 
 lining : see Lay- 
 
 tissage 
 
 
 
 engaste, la mon- 
 
 
 ing out : see Ap- 
 
 
 
 
 tadura. 
 
 
 ply, to 
 
 
 
 
 
 
 Setting-stick : see 
 
 
 
 
 
 
 Poking-stick 
 
 
 
 
 
 
 Setting up (of 
 
 1 
 
 
 ? 
 
 la montadura 
 
 das Aufsetzen 
 
 loose petals) 
 
 
 
 
 
 
 Seventeenth (adj.) 
 
 dix-septieme 
 
 
 diciassettesimo, de- 
 cimosettime 
 
 decimo septimo 
 
 siebzehnte 
 
 Sew, to 
 
 coudre 
 
 
 cucire, cusire 
 
 coser 
 
 nahen 
 
 Sewing, joining 
 
 1 e crochetage, 
 
 le 
 
 la cucitura, il cuci- 
 
 el cosido, el engan- 
 
 das Heften, die Zu- 
 
 (lucky stroke?), 
 
 raccrochage, 
 
 le 
 
 to 
 
 che 
 
 sammenhakelei, 
 
 accroaching 
 
 point de raccord, 
 
 
 
 das Zusammen- 
 
 
 le point de 
 
 rac- 
 
 
 
 hakeln 
 
 
 croc, le point 
 
 ; de 
 
 
 
 
 
 rucroc 
 
 
 
 
 
 Shade : see Win- 
 
 
 
 
 
 
 dow shade 
 
 
 
 
 
 
 Shaded (adj.) 
 
 ombre' -e, nuancg -e 
 
 digradato 
 
 sombreado 
 
 schattiert 
 
 Shape : see Form 
 
 
 
 
 
 
 Sharpen, to ; grind, 
 
 aiguiser 
 
 
 affilare, aguzzare 
 
 amolar, afilar 
 
 schiirfen 
 
 to ; whet, to 
 
 
 
 
 
 
 Sharps 
 
 ? 
 
 
 •> 
 
 la aguja de coser 
 de forma mas 
 larga y mas del- 
 gada 
 
 7 
 
 Shawl 
 
 le chale 
 
 
 lo sciallo 
 
 el chal, el panolon, 
 el paliuelo gran- 
 de 
 
 la vaina, la cubier- 
 
 der Shawl, der 
 Schal 
 
 Sheath : see Cover- 
 
 l'gtui, la gaine 
 
 , le 
 
 il astuccio, la cus- 
 
 das Besteck, das 
 
 ing cloth : see 
 
 fourreau, la 
 
 no- 
 
 todia, la busta 
 
 ta 
 
 Futteral, d i e 
 
 Case 
 
 quette, la feuille 
 
 
 
 Scheide 
 
 
 de corne, 
 
 la 
 
 
 
 
 
 trousse 
 
 
 
 
 
 Sheet 
 
 le drap 
 
 
 il lenzuolo 
 
 la sabana 
 
 das Bettuch 
 
 Shell : see Scallop 
 
 la coquille de 
 Jacques 
 
 St. 
 
 la chiocciola, la lu- 
 maca 
 
 la concha 
 
 die Muschel 
 
62 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 ENGLISH 
 
 FRENCH 
 
 ITALIAN 
 
 SPANISH 
 
 GERMAN 
 
 Shift, to 
 
 changer 
 
 cambiare 
 
 cambiar 
 
 wechseln 
 
 Short (adj.) : see 
 
 court -e 
 
 corto 
 
 corto 
 
 kurz 
 
 Squat 
 
 
 
 
 
 Showy, for display, 
 
 d'apparat 
 
 di pompa, ostenta- 
 
 ostentoso 
 
 pruukhaft 
 
 ostentati ous 
 
 
 zione 
 
 
 
 (adj.) :see -Heavi- 
 
 
 
 
 
 ness 
 
 
 
 
 
 Shrink, to 
 
 se rfitrecir, se rape- 
 
 scorciare, ritirarsi, 
 
 encogerse, atortar- 
 
 sich zusammenzieh- 
 
 
 tisser, rfitrecir 
 
 diminuire 
 
 se, disminuir 
 
 e n, einschrump- 
 fen, zusammen- 
 trocknen 
 
 Shuttle 
 
 la navette 
 
 la spola, la spuola 
 
 la lanzadera 
 
 das Weberschiff- 
 chen, der Schiit- 
 
 Sicilian (adj.) 
 
 sicilien -ne, de Si- 
 cile 
 
 siciliano 
 
 siciliano 
 
 ze 
 
 sizilianisch 
 
 Silk : see Blonde 
 
 la soie 
 
 la seta 
 
 la seda 
 
 die Seide 
 
 Silver 
 
 l'argent 
 
 il denaro 
 
 la plata 
 
 das Silber 
 
 Simple, plain 
 
 simple 
 
 semplice, senzo or- 
 
 sencillo -11a, sim- 
 
 einfach 
 
 (adj.) : see Easy 
 
 
 namenti, senza 
 fasto 
 
 ple 
 
 1 
 
 Single (adj.) 
 
 seul -e, simple 
 
 solo, sola, semplice, 
 unico 
 
 tinico, solo 
 
 einfach 
 
 Single faced (adj.) 
 
 a simple face 
 
 semplice 
 
 de una cara 
 
 einseitig 
 
 Single stitch, small 
 
 la petite maille ser- 
 
 il semplice piccolo 
 
 el punto sencillo 
 
 das einfache Stiib- 
 
 close stitch 
 
 ree, la chalne ser- 
 
 punto 
 
 
 chen 
 
 Sitza 
 
 ree 
 ? sitza 
 
 ? sitza 
 
 ? sitza 
 
 ? sitza 
 
 Sixteenth (adj.) 
 
 seizieme 
 
 sedicesimo 
 
 decimo sexto 
 
 sechzehnte 
 
 Size, dimension 
 
 la grosseur, la 
 
 l'estenzione, la gros- 
 
 el tamafio, la di- 
 
 der Dicke, die 
 
 
 grandeur 
 
 sezza, la grandez- 
 za 
 
 mension 
 
 Grosse, die 
 Starke 
 
 Sizing, stiffening : 
 
 
 
 
 
 see Dressing 
 
 
 
 
 
 Skein 
 
 l'Scheveau 
 
 la matassa 
 
 la madeja 
 
 die Striihne, die 
 Fitze 
 
 Skill, dexterity : see 
 
 l'habiletfi, la dexte- 
 
 la destrezza, la des- 
 
 la habilidad 
 
 die Geschicklich- 
 
 Execution 
 
 rity 
 
 terita 
 
 
 keit 
 
 Skirt 
 
 la jupe 
 
 il gonne, la gon- 
 nella 
 
 la falda, la saya 
 
 der Rock 
 
 Slab 
 
 la plaque 
 
 la tavola 
 
 la plancha 
 
 die Platte 
 
 Slanting (adj.) : 
 
 de biais, en 'biais, 
 
 a sghembo, a sbie- 
 
 inclinado, sesgado 
 
 schief 
 
 see Diagonal 
 
 incline^ -e 
 
 co, a schiancio 
 
 
 
 Slashed, paned 
 
 crevg -e, a. crevgs, 
 
 staffilato, tagliato, 
 
 acuchillado 
 
 geschlitzt 
 
 (adj.) 
 
 fendu -e 
 
 sfregiare, (aper- 
 tura nelle mani- 
 che per mostrare 
 la stoffa al diso- 
 to) 
 
 
 
 Sleeve 
 
 la manche 
 
 la manica 
 
 la manga 
 
 der Aermel 
 
 Slider 
 
 le glissoir de come 
 
 che sdrucciola, la 
 passante 
 
 la plaucha corre- 
 diza transpar- 
 ente 
 
 der Schieber 
 
 Slip, to 
 
 glisser, passer, une 
 
 sdrucciolare, scivo- 
 
 perder un punto 
 
 gleiten 
 
 
 maille -un point 
 
 lare 
 
 para volver a 
 
 
 
 pour le repren- 
 
 
 cogerlo 
 
 
 
 dre le tour sui- 
 
 
 
 
 
 vant 
 
 
 
 
 Slip off, to : see 
 
 glisser, couler, 
 
 colare, lasciare 
 
 deslizar 
 
 verschrilnken 
 
 Pull over, to 
 
 lacher, retourner 
 
 
 
 
 Slit, opening, line, 
 
 la riviere 
 
 l'aperto 
 
 la abertura 
 
 der Schlitz 
 
 band 
 
 
 
 
 
 Slow (adj.) 
 
 lent, lente 
 
 lento 
 
 lento, tardfo 
 
 langsam 
 
 Smock, shift, shirt 
 
 le sarrau 
 
 il pastrano, il gab- 
 bano 
 
 la blusa de obrero 
 
 der Kittel 
 
 Smooth (adj.) : 
 
 lisse, uni -e 
 
 liscio, piano, unito 
 
 liso, llano, iguel 
 
 eben, glatt 
 
 see Flat: see 
 
 
 
 
 
 Glazed 
 
 
 
 
 
 Smuggling 
 
 la contrebande 
 
 il contrabbando 
 
 ej contrabando 
 
 der Schleichhandel, 
 des Smuggeln 
 
EXPLANATIONS AND NOMENCLATURE 
 
 63 
 
 ENGLISH 
 
 FRENCH 
 
 ITALIAN 
 
 SPANISH 
 
 GERMAN 
 
 Soak, to 
 
 tremper 
 
 bagnare, animol- 
 lare 
 
 remojar 
 
 durchnassen, in der 
 Weiche liegen, 
 einweichen 
 
 Soap 
 
 le savon 
 
 il sapone 
 
 el jabon 
 
 die Seife 
 
 Soda 
 
 la soude 
 
 la soda 
 
 la sosa, la soda 
 
 die Soda 
 
 Soft (adj.) 
 
 mou, mol -le, deli- 
 cat 
 souiller 
 
 molle 
 
 blando 
 
 zart 
 
 Soil, to 
 
 imbrattare, ingroz- 
 
 ensuciar 
 
 beschmutzen, be- 
 
 
 
 zare, macchiare 
 
 
 sudeln 
 
 Song, verse, tell 
 
 la chanson, le 
 
 il canto, il canzone, 
 
 la cancion, la can- 
 
 das Lied 
 
 
 chant 
 
 la canzonetta 
 
 tinela 
 
 
 Spanish (adj.) 
 
 espagnol -e, d'Es- 
 pagne 
 
 spagnuolo 
 
 espanol 
 
 spanisch 
 
 Spider : see Net- 
 
 l'araignee 
 
 il ragno, il aragno 
 
 la arafla 
 
 die Spinne 
 
 work 
 
 
 
 
 
 Spin, to 
 
 filer 
 
 filare 
 
 hilar 
 
 spinnen 
 
 Spindle 
 
 la broche, la bo- 
 
 il fuso, la bobine, 
 
 el huso 
 
 der Strickstock, 
 
 
 bine, la casse 
 
 il contraforte, 
 l'infornapana 
 
 
 der Stengel, die 
 Spindel, ? Spille 
 
 Splice, to 
 
 Spisser 
 
 9 
 
 empalmar 
 
 splissen 
 
 Spool 
 
 la bobine 
 
 il rocchetto 
 
 la canilla, el car- 
 rete 
 
 die Spule 
 
 Spray, shoot, ten- 
 
 la vrille, le brin, la 
 
 il viticcio, il cap- 
 
 la ramita, el pim- 
 
 das Reis 
 
 dril, sprig : see 
 
 brandille, le rin- 
 
 reolo 
 
 pollo 
 
 
 Tack 
 
 ceau 
 
 
 
 
 Sprinkled, sown, 
 
 seme' -e, mouchete 
 
 seminato, sparge- 
 
 goteado 
 
 sprenkelich, spren- 
 
 powdered, strewn 
 
 -e 
 
 rato 
 
 
 kelig, fecken 
 
 (adj.) 
 
 
 
 
 
 Square : see Medal- 
 
 le carrfi 
 
 il quadrado 
 
 el cuadro, el cuad- 
 
 das Viereck, das 
 
 lion 
 
 
 
 rado 
 
 Quadrat 
 
 Squat, dumpy, 
 
 trapu -e 
 
 atticciato 
 
 truncado 
 
 untersetzt 
 
 truncated 
 
 
 
 
 
 (adj.) see Short 
 
 
 
 
 
 Stake out, to : see 
 
 
 
 
 
 Lay out, to 
 
 
 
 
 
 Stamp out, to ; 
 
 affiquer, bosseler, 
 
 lavorar d'incavo, 
 
 dar figura redonda, 
 
 aufstechen 
 
 round out, to : 
 
 refouler, f a i r e 
 
 fare risaltare 
 
 realzar 
 
 
 see Puff iron 
 
 ressortir 
 
 
 
 
 Standing collar, 
 
 le collet montant 
 
 il collare Medici 
 
 el cuello de Medici 
 
 der Medicikragen 
 
 Medici collar, 
 
 
 
 
 
 standing ruff: 
 
 
 
 
 
 see Collar 
 
 
 
 
 
 Star 
 
 I'fitoile 
 
 la Stella 
 
 la estrella 
 
 der Stern 
 
 Starch, to (Devil's 
 
 amidonner, goud- 
 
 insaldare 
 
 almidonar 
 
 stiirken 
 
 Broth — early 
 
 ronner, empesser 
 
 
 
 
 name for starch) 
 
 
 
 
 
 Steel 
 
 1'acier 
 
 il acciaio 
 
 el acero 
 
 der Stahl 
 
 Steeping, macera- 
 
 le rouissage 
 
 il macerazione 
 
 la mojadura, la ma- 
 
 das Tunken, das 
 
 tion 
 
 
 
 ceraci6n 
 
 Tauchen 
 
 Stencil 
 
 le patron, le poncif, 
 le poncis 
 
 il modello 
 
 el patron o moddo 
 calado para es- 
 tarcir 
 
 die Schablone 
 
 Steps, in (adj.) : 
 
 en Schelons 
 
 per iscaglionli 
 
 escalonado 
 
 staffelweise, s t a f- 
 
 see Zigzag 
 
 
 
 
 felformig 
 
 Stick in, to ; put 
 
 enfoncer, mettre, 
 
 affondare, fissare 
 
 picar, punzar 
 
 einstecken 
 
 up, to : see Pin, 
 to 
 Stiff (adj.) 
 
 planter 
 
 
 
 
 raide, empes6 -e 
 
 duro, inflessibile 
 
 tieso 
 
 steif 
 
 Stiffening : see 
 
 
 
 
 
 Dressing 
 
 
 
 
 
 Stiletto, punch : see 
 
 le poingon 
 
 il punteruolo 
 
 el punzon 
 
 die Pfrieme 
 
 Pricker 
 
 
 
 
 
 Stirrup : see Loop : 
 
 •> 
 
 la staffa 
 
 el estribo 
 
 der Bugel 
 
 see Riboon 
 
 
 
 
 
 Stitch 
 
 le point, la passfie 
 
 il punto, la pun- 
 
 la puntada, el 
 
 die Masche, der 
 
 
 
 tura, la maglia 
 
 punto 
 
 Spitzenstich, der 
 Schlag, der Stich 
 
 Stitcher, quilter, 
 
 la piqueuse 
 
 la piatrice, il ma- 
 
 el colchonero 
 
 die Stepperin 
 
 coucher 
 
 
 terassaijo 
 
 
 
64 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 ENGLISH 
 Stomacher 
 
 Straight (adj.) 
 Strand 
 
 Straw 
 
 Streaked, striped, 
 scored, striated 
 (adj.) : see 
 Stripe 
 
 Strengthening, re- 
 inforcing, back- 
 ing : see Repair- 
 ing 
 
 Stretch, to ; give, 
 to (intr. ) 
 
 Stretch, to ; pull, to 
 (trans.) 
 
 Stripe : see Band : 
 see Line : see 
 Streaked : see 
 Bar 
 
 Stroke, to ; dispose, 
 to 
 
 Stroke 
 
 Studio : see Work- 
 room 
 Study, to 
 Stuffed (adj.) 
 
 Style, fashion 
 Style, manner, 
 taste 
 
 Subject : see De- 
 sign 
 
 Sumptuary laws, 
 Office of Pomp 
 
 Sun 
 
 Surplice, stole 
 
 Swaddling band 
 
 Swiss (adj.) 
 Symbol 
 Symmetrical 
 (adj.) 
 
 Tablecloth 
 Tablecover : see 
 
 Runner 
 Tack, sprig, flat 
 
 nail : see Nail 
 Tailor's thimble : 
 
 see Finger shield 
 T a 1 i t h , tallith, 
 
 praying scarf, 
 
 mantel 
 Tambor: see Hoop 
 Tambor-work 
 
 Tangle, to ; snarl, 
 
 to 
 Tape, braid 
 
 FRENCH 
 
 le corsage lacS 
 
 droit -e 
 
 la meche, le cordon 
 
 la paille 
 
 strie' -e, rayS -e 
 
 ITALIAN 
 
 il corpetto, il busto, 
 
 la pettiera, il 
 
 gustacuore 
 dritto 
 il cordone, il cor- 
 
 doncello, il cor- 
 
 doncino 
 la paglia 
 strisciato 
 
 le rentoilage, le il rinforzamento 
 renforcement, 
 Faction de forti- 
 fier 
 
 preter, s'elargir, 
 s'fitendre 
 
 etendre, tendre 
 
 la raie, la rayure 
 
 cedere 
 stendere 
 la riga 
 
 striquer, 
 riser 
 
 le trait 
 Fatelier 
 
 regula- rendere, regolare 
 
 il tratto 
 lo studia 
 
 gtudier 
 rembourre -e 
 
 la mode, la vogue 
 
 le style, le ton, le 
 
 cachet, le gout 
 
 le motif, le sujet 
 
 les lois somptuaires 
 
 le soleil 
 
 le surplis 
 
 la bande d'emmail- 
 
 lottement 
 suisse 
 le symbole 
 symfitrique 
 
 studiare 
 imbottirato 
 
 il modo, la voga 
 il tuono, il stile, il 
 gusto 
 
 il soggetto, il mo- 
 
 tivo 
 le legge suntuaria 
 
 il sole 
 
 la fascia 
 
 svizzero 
 il simbolo 
 simmetrico 
 
 la nappe la tovaglia 
 
 le dessus de table, la tavolina 
 
 le tapis 
 la semence, la bro- la bullettina 
 
 quette 
 
 le taled 
 
 la broderie au tam- 
 bour 
 emmgler, entortiller 
 
 le ruban de fil, la 
 rivi&re de toile 
 
 il taled 
 
 il tambur 
 
 SPANISH 
 el peto, el corpino 
 
 derecho 
 
 el cabo, la hebra 
 
 la paja 
 estriado 
 
 GERMAN 
 
 der Latz 
 
 gerade 
 
 die Ducht, die Kar- 
 desle, die Schnur 
 eines Strickes 
 
 das Stroh 
 
 streifig 
 
 la ribeteadora, la das Verstarken 
 cosedora 
 
 estirar 
 
 extender, estirar 
 la raya 
 
 alisar, igualar los 
 pliegues con la 
 aguja 
 
 el toque 
 
 el taller 
 
 estudiar 
 llenado, relleno 
 
 la moda 
 
 la manera, el gusto, 
 el tono 
 
 el motivo, el sujeto 
 
 el arreglo suntuario 
 
 el sol 
 
 el sobrepelliz 
 
 la mantilla, el 
 
 panel 
 suizo 
 
 el simbolo 
 simetrico 
 
 el mantel 
 el tapete 
 
 la tachuele sin ca- 
 beza 
 
 el talid 
 
 el tambor 
 
 scompigliare, im- enredar 
 
 brogliare 
 il nastro di filo, di 
 
 lino, di cotone 
 
 la cinta de lino o 
 algodon 
 
 sich dehnen lassen 
 
 spannen 
 
 der Streifen 
 
 ausrauhen 
 
 der Strich 
 das Atelier 
 
 studiren 
 
 gestopft, v o 1 1 ge- 
 
 pfropft 
 die Mode 
 der Styl, die Man- 
 
 i e r , der Ge- 
 
 schmack 
 das Motiv 
 
 die Aufwandsge- 
 
 setze 
 die Sonne 
 die Stola 
 das Wickelband 
 
 schweizerisch 
 der Sinnbild 
 symmetrisch, eben- 
 
 massig, gleich- 
 
 massig 
 
 das Tischtuch 
 die Tischdecke 
 
 der Stift 
 
 der Gebetmantel, 
 der Talar 
 
 die tamburirte Ar- 
 beit 
 verwirren 
 
 das Zwirnband, das 
 Biindchen 
 
EXPLANATIONS AND NOMENCLATURE 
 
 65 
 
 ENGLISH 
 
 FRENCH 
 
 ITALIAN 
 
 SPANISH 
 
 GERMAN 
 
 Tape measure, 
 
 le metre en ruban 
 
 la misura 
 
 la cinta para medir 
 
 das Bandmass, das 
 
 line : see Ruler : 
 
 
 
 
 Rollmetermass 
 
 see Measure 
 
 
 
 
 
 Tassel: see Tuft 
 
 le gland 
 
 la nappa 
 
 la borla, el borl6n 
 
 die Quasta 
 
 Tatting 
 
 la frivolity 
 
 l'occhi 
 
 el encaje de hilo 
 hecho a m a n o 
 con lanzadera 
 
 das Occhi, die Eri- 
 volitiiten 
 
 Tatting pin and 
 
 1 
 
 ? 
 
 el alfiler y anillo 
 
 •> 
 
 ring 
 
 
 
 usado para hacer 
 encaje de hilo 
 con lanzadera 
 
 
 Tawdry, trashy, 
 
 vilain, -e, ordinaire, 
 
 comunaio 
 
 sin elegancia 
 
 geschmacklos ge- 
 
 poor, ordinary, 
 
 pauvre, maigre, 
 
 
 
 putzt, flitterhaft, 
 
 common (adj.) 
 
 miserable 
 
 
 
 wertlos, unniitz 
 
 Tea 
 
 le the 1 
 
 il te 
 
 el te 
 
 der Tee 
 
 Teach, to 
 
 enseigner 
 
 ammaestrare, is- 
 truire, insegnare 
 
 ensenar 
 
 lehren, unterrich- 
 ten 
 
 Teacher, instructor 
 
 l'institutrice, l'in- 
 
 l'istitutore, l'isti- 
 
 el maestro, el pre- 
 
 die Lehrerin, der 
 
 
 stituteur 
 
 tutrice 
 
 ceptor 
 
 Lehrer 
 
 Thick (adj.) 
 
 epais -se 
 
 grosso, fitto 
 
 espeso 
 
 dick 
 
 Thickness 
 
 Fepaisseur 
 
 la grossezza 
 
 el espesor 
 
 die Dicke 
 
 Thimble, thummel, 
 
 le dS 
 
 Fanello da cucire, 
 
 el dedal 
 
 der Fingerhut 
 
 thumb-hell, fin- 
 
 
 il ditale, il ditali 
 
 
 
 gerling 
 
 
 chiuso 
 
 
 
 Thimble for crochet 
 
 le dS pour le cro- 
 
 ? 
 
 el dedal para hacer 
 
 der hakel Finger- 
 
 work, crochet 
 
 chet sur metier 
 
 
 crochet 
 
 hut 
 
 thimble 
 
 
 
 
 
 Thin (adj.) 
 
 mince 
 
 sottile, leggiero 
 
 delgado 
 
 diinn 
 
 Thread 
 
 le fil 
 
 il filo, il refe 
 
 el hilo 
 
 der F a d e n , der 
 Spitzenzwirn, 
 der Zwirnfaden 
 
 Threader : see 
 
 
 
 
 
 Needle threader 
 
 
 
 
 
 Thumb 
 
 le pouce 
 
 il pollice 
 
 el pulgar 
 
 der Daumen 
 
 Thumb tack, draw- 
 
 la punaise 
 
 ? 
 
 la tachuela 
 
 der Reissnagel, der 
 
 ing pin : see 
 
 
 
 
 Reisszwecken 
 
 Tacit : see Nail 
 
 
 
 
 
 Ticking- 
 
 la toile a matelas, 
 le coutil 
 
 il traliccio 
 
 el terliz 
 
 der Zwillich 
 
 Tidy, chair-back : 
 
 le dossier pour fau- 
 
 l'antimacassar 
 
 la funda para mue- 
 
 das Schutzdeck- 
 
 see Scarf : see 
 
 teuils, etc. 
 
 
 bles 
 
 chen, der Scbo- 
 
 Antimaca ssar : 
 
 
 
 
 ner 
 
 see Lambrequin 
 
 
 
 
 
 Tie together, to ; 
 
 attacher, Her 
 
 attaccare, legare, 
 
 atar, ligar, unir 
 
 zusammenbinden 
 
 attach, to : see 
 
 
 legate 
 
 
 
 Couple, to : see 
 
 
 
 
 
 Fasten off, to : 
 
 I 
 
 
 
 
 see Knot 
 
 
 
 
 
 Tight, taut (adj.) 
 
 serrg -e, tendu -e 
 
 stringato, teso 
 
 tieso, bien cerrado 
 
 straff, gespannt 
 
 Tighten, to 
 
 serrer 
 
 stringare 
 
 estirar 
 
 fester machen, 
 spannen, anzieh- 
 
 Tin, white metal 
 
 l'gtain, le ferblanc 
 
 il stagno, la latta, 
 il ferro stagnato 
 
 el estano, la lata 
 
 en 
 das Zinn 
 
 Tippet 
 
 la pelerine 
 
 la pellegrina 
 
 la esclavina 
 
 der Halskragen, 
 der Palatin 
 
 Token, coin 
 
 le jeton, le gage 
 
 la fiscia, il gettone, 
 il pegno 
 
 la medalla 
 
 das Zeichen 
 
 Tool, instrument : 
 
 Finstrument 
 
 l'istrumento, l'or- 
 
 la herramienta, el 
 
 das Werkzeug 
 
 see Apparatus 
 
 
 digno 
 
 instrumento 
 
 
 Top 
 
 le haut 
 
 l'alto 
 
 el encabezamiento 
 
 das Obereteil 
 
 Torn, rent (adj.) 
 
 deehirS -e 
 
 squarciato, lacerato 
 
 rasgado 
 
 zerissen 
 
 Tow 
 
 la filasse 
 
 la stoppa di canapa 
 
 la estopa 
 
 der Werg 
 
 Towel 
 
 l'essuie-main 
 
 l'asciumano, la sal- 
 vietta 
 
 la toalla 
 
 das Handtuch 
 
 Towel sham, throw- 
 
 le cache linge 
 
 il eiocehe spende 
 
 la cubierta de ador- 
 
 das Oberhandtuch 
 
 over 
 
 
 sopra 
 
 no para toalla 
 
 
fit; 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 ENGLISH 
 
 Trace, to ; calk, to ; 
 rub, to ; pounce, 
 to 
 
 Trace through, to 
 
 Tracer 
 
 Tracing: see Rub- 
 bing 
 
 Tracing cloth, pa- 
 per: see Carbon 
 paper 
 
 Transfer, to : see 
 Mount, to : see 
 Carbon paper 
 
 Transfer paper : see 
 Carbon paper : 
 see Tracing cloth 
 
 FRENCH 
 
 tracer, calquer, fai- 
 re une impression 
 
 tracer, buriner, cal- 
 quer 
 
 la traceuse, le tra- 
 ceur 
 
 ? 
 
 le papier de cai- 
 que, le papier 
 transparent, 1 a 
 toile a calquer, 
 le papier vegetal, 
 le papier gelati- 
 ne, la toile d'ar- 
 chitecte 
 
 transferer, remon- 
 ter 
 
 ITALIAN 
 
 calcare, punteggia- 
 re un disegno, 
 copiar un diseg- 
 no passando una 
 punta sui tratti 
 
 tracciare, calcare, 
 
 copiare 
 il tracciatore 
 
 il punteggiare un 
 disegno 
 
 la tela d'architetto 
 
 .SPANISH 
 
 trazar, calzar, ha- 
 cer una impre- 
 sion 
 
 GERMAN 
 
 nachzeichnen, kal- 
 kiren, durchpau- 
 sen 
 
 delinear, 
 calcar 
 el trazador 
 
 trazar, pausen 
 
 calcai', copiar en 
 una placa trans- 
 parente 
 
 el papel de calcar 
 
 die Vorzeichnerin 
 
 der Umrisse 
 die Pause 
 
 die Pausleinwand, 
 das Pauspapier 
 
 trasferire, rimonta- 
 re, reprovvedere 
 
 transferir, 
 tar 
 
 remon- iibertragen 
 
 Trash, camlet 
 
 le camelote 
 
 la cattiva mercan- 
 zia, l'opera di po- 
 ca entita 
 
 la mala mercancla 
 
 der Kamelott 
 
 Tray 
 
 le easier 
 
 lo scompartimento 
 
 el cajoneito 
 
 der Fachkasten 
 
 Trefoil 
 
 le trefle 
 
 il trifoglio 
 
 el trfibol 
 
 der Klee 
 
 Tresse : see Hair : 
 
 
 
 
 
 see Plait 
 
 
 
 
 
 Triangle 
 
 le triangle 
 
 il triangolo 
 
 el triangulo 
 
 der Dreieck 
 
 Triangular (adj.) 
 
 triangulaire 
 
 triangolare 
 
 triangular 
 
 dreieckig 
 
 Trimming, guard- 
 
 la garniture, la pas- 
 
 il guarnizione 
 
 la guarnicion 
 
 der Besatz, die Ver- 
 
 ing 
 
 sementerie 
 
 
 
 zierung 
 
 Triple, treble (adj.) 
 
 triple 
 
 triplo, triplice 
 
 triplice, triplo 
 
 dreifach 
 
 Trousseau 
 
 le trousseau 
 
 il corredo 
 
 el equipo 
 
 die Aussteuer 
 
 Truck system, pay- 
 
 le paiement en na- 
 
 il pagare in natura 
 
 el pago en la mis- 
 
 der Lohnzahlung in 
 
 ment in kind 
 
 ture 
 
 
 ma forma 
 
 Waren 
 
 T-square 
 
 l'equerre 
 
 la squadra, la nor- 
 
 el eartabon, la es- 
 
 das Winkelmass, 
 
 
 
 ma 
 
 cuadra 
 
 das Winkeleisen, 
 das Winkelholz 
 
 Tucker : see Modes- 
 
 la collerette, le tour 
 
 il collaretto, la gala 
 
 el escote 
 
 der Bruststreifen, 
 
 ty piece 
 
 de gorge 
 
 
 
 der Halsstreifen 
 
 Tuft (raised), By- 
 
 le point d'esprit 
 
 la macchia, il fiori- 
 
 el copete 
 
 die Musche 
 
 zantine, Medici 
 
 dessus, la touffe, 
 
 ni, il fiocco, la 
 
 
 
 or Florentine 
 
 la mouche, la 
 
 nappa 
 
 
 
 eutwork, over- 
 
 houppe 
 
 
 
 
 stitches : see Tas- 
 
 
 
 
 
 sel: see Cut- 
 
 
 
 
 
 toorks : see Leaf : 
 
 
 
 
 
 see Leaf stitch 
 
 
 
 
 
 Tulip 
 
 la tulipe 
 
 il tulipano 
 
 el tulipan 
 
 die Tulpe 
 
 Turn around or 
 
 tourner, retourner 
 
 girare, volgere 
 
 girar, volver 
 
 umkehren 
 
 back, to ; reverse, 
 
 
 
 
 
 to : see Double 
 
 
 
 
 
 Tweezers 
 
 les pincettes 
 
 il pinzette, le mol- 
 lette 
 
 las tenacillas 
 
 das Zangclchen 
 
 Twist, to ; simple 
 
 tordre, tortiller 
 
 torcere 
 
 torcer 
 
 drehen 
 
 twist, to 
 
 
 
 
 
 Twisted (adj.) 
 
 corde -e, tordu -e 
 
 attorto 
 
 rctorcido, torcido 
 
 verschlungen 
 
 Twister (machine) 
 
 le croise-fils 
 
 9 
 
 la maquinilla para 
 
 ? 
 
 retorcer hilos 
 
EXPLANATIONS AND NOMENCLATURE 
 
 G7 
 
 ENGLISH 
 
 FRENCH 
 
 Under, beneath, be- au-dessous, sous 
 
 low 
 Undo, to defaire 
 
 Unemployment le chomage, le chau- 
 
 mage 
 
 Unravel, to : see 
 
 Ravel, to 
 Untie, to denouer, detacher, 
 
 dfilier 
 
 ITALIAN 
 
 sotto, di sotto, iu- 
 
 feriormente 
 disfare 
 il sciopero, il scio- 
 
 pro, il tempo che 
 
 se passa senza la- 
 
 vorare 
 
 sciogliete 
 
 
 SPANISH 
 
 debajo, abajo 
 
 deshacer, desatar 
 el desocupado 
 
 GERMAN 
 
 unter 
 
 auflosen 
 die Feierzeit 
 
 desligar, desatar, aufbinden 
 soltar 
 
 Valance 
 
 la pente 
 
 
 la balza, il penda- 
 glio, il drappelo- 
 
 la gotera 
 
 der Bettkranz 
 
 Valuable (adj.) : 
 
 de grande 
 
 valeur, 
 
 ne 
 di gran valore, pre- 
 
 precioso, que vale 
 
 wertvoll, kostbar 
 
 see Expensive : 
 
 precienx 
 
 -se 
 
 zioso 
 
 mucho 
 
 
 see Rare 
 
 
 
 
 
 
 Variety, sort, kind 
 
 l'espece, la 
 
 variete 
 
 la specie, la varie- 
 te 
 
 la variedad 
 
 die Gattung, die 
 Art 
 
 Vegetable (adj.) 
 
 vegetal -e 
 
 
 vegetale 
 
 vegetal 
 
 pflanzenartig, vege- 
 tabilisch 
 
 Veil, fall 
 
 la voile, la 
 
 faille 
 
 il velo 
 
 el velo 
 
 der Schleier 
 
 Veil (hanging) 
 
 le velum 
 
 
 il velo, la bandinel- 
 
 el velo 
 
 der Vorhang 
 
 (for the Host) 
 
 
 
 la 
 
 
 
 Veined (adj.) (rai- 
 
 veine -e 
 
 
 venato 
 
 venoso, veteado 
 
 geadert 
 
 sed) 
 
 
 
 
 
 
 Vertical (adj.) 
 
 vertical -e 
 
 
 verticale 
 
 vertical 
 
 senkrecht, vertikal 
 
 Vestment 
 
 le vetement 
 
 , l'habil- 
 
 il vestimento, l'ab- 
 
 la vestimenta 
 
 das Gewand, das 
 
 
 lement 
 
 
 bigliamento 
 
 
 Kleid 
 
 Victorian (adj.) 
 
 victorien -ne 
 
 Vittoria 
 
 victoriano -a 
 
 victorisch 
 
 Virgin 
 
 la Vierge 
 
 
 la Virgine 
 
 la Virgen 
 
 die Jungfrau 
 
 Wadding : see Quilt- 
 ing 
 
 Waist 
 
 Warm, tepid (adj.) 
 
 see Hot 
 Warp, chain 
 
 Wash, to 
 
 Water 
 
 Watering place, 
 spa, summer re- 
 sort 
 
 Waves, undula- 
 tions, overlap- 
 ping loops, rip- 
 ples, folds 
 
 Wax 
 
 Wax-cloth : see Oil- 
 cloth 
 
 Weaver, worker, 
 runner 
 
 Web 
 
 Weight : see Clamp 
 
 1'ouate 
 
 la blouse, le corsa- 
 ge 
 tiede 
 
 la chaine (fils ten- 
 
 dus) 
 laver 
 Feau 
 la ville d'eau 
 
 des flots 
 
 la cire 
 
 le trameur, le con- 
 ducteur, la pai- 
 re de remplissa- 
 ge 
 
 le tissu, la toile 
 
 le poids, le plomb, 
 la pelote lourde 
 
 — w 
 
 l'ovatta, la bamba- 
 gia, l'imbottitura 
 
 la blusa 
 
 tiepido, tepido 
 
 l'ordito, la catena 
 
 lavare 
 l'acqua 
 l'acque, i bagni 
 
 l'anella 
 
 il tessitore 
 
 el entreforro 
 
 la blusa 
 
 calido, tibio 
 
 la urdimbre, la te- 
 la, la cadena 
 lavar 
 el agua 
 el balneario 
 
 la onda, la ondula- 
 cion 
 
 la cera 
 
 el tejedor, el traba- 
 jador 
 
 il tessuto, la tessi- el tegido, la tela 
 
 tura 
 il peso, el piombo el peso 
 
 die Wattierung, die 
 Baumwollwatte, 
 die Fiillung 
 
 die Taille 
 
 warm 
 
 der Weberzettel, 
 
 die Kette 
 waschen 
 das Wasser 
 das Spaa 
 
 die Kriiusel 
 
 der Wachs 
 
 das Schusspaar, 
 der Weber 
 
 das Gewebe 
 das Gewicht 
 
G8 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 ENGLISH 
 
 FRENCH 
 
 
 ITALIAN 
 
 SPANISH 
 
 GERMAN 
 
 Wet (adj.) : see 
 
 mouill6 -e 
 
 
 bagnato, umido 
 
 mojado, humedo 
 
 nass 
 
 Dampen, to 
 
 
 
 
 
 
 Wheel: see Out- 
 
 la roue 
 
 
 la ruota 
 
 la ruedecilla, la 
 
 das Rad 
 
 line, to: see 
 
 
 
 
 rueda 
 
 
 Winding ma- 
 
 
 
 
 
 
 chine 
 
 
 
 
 
 
 Whip, to: see Over- 
 
 
 
 
 
 
 cast, to 
 
 
 
 
 / 
 
 
 White (adj.) 
 
 blanc, blanche 
 
 
 bianco 
 
 bianco 
 
 weiss 
 
 Whole stitch, dou- 
 
 le point entier 
 
 , le 
 
 il punto finito 
 
 el punto completo 
 
 der Ganzschlag, der 
 
 ble pass, whole 
 
 point matte, 
 
 le 
 
 
 
 Doppelschlag, (2 
 
 throw, gimp, mat, 
 
 toile, la double 
 
 
 
 Halbschliige) 
 
 math 
 
 passee 
 
 
 
 
 
 Width 
 
 la largeur 
 
 
 la larghezza 
 
 la largueza, la lar- 
 gura 
 
 die Weite 
 
 Wimple (nun's), 
 
 la guimpe, la 1 
 
 jar- 
 
 il soggolo, la gor- 
 
 la toca, el grinon 
 
 der Brustschleier, 
 
 gorget: see Guim- 
 
 bette 
 
 
 giera, la benda 
 
 
 der Wimple, das 
 
 pe 
 
 
 
 
 
 Brusttuch 
 
 Wind, to ; hank, to 
 
 pelotonner 
 
 
 aggomitolare 
 
 devanar, reducirlo 
 a ovillo 
 
 kniiuelenbilden, 
 wickeln, aufwic- 
 keln 
 
 Winder, reel 
 
 le devidoir 
 
 
 Farcolaio, il guindo- 
 lo 
 
 el aspa 
 
 die Garnwinde, die 
 Garnhaspel, der 
 Haspel, die 
 Zwirnwinde 
 
 Winding 
 
 l'enroulage 
 
 
 1'aggomitolare 
 
 el ovillar 
 
 das Wickeln 
 
 Winding machine, 
 
 le devidoir, le 
 
 bo- 
 
 il guindolo, il arco- 
 
 la enrrolladora pa- 
 
 die Wickelmaschine 
 
 bobbin winder, 
 
 binoir 
 
 
 laio, il avolajo di 
 
 ra palillos 
 
 
 lace turn, wheel 
 
 
 
 fuselli 
 
 
 
 Window shade : see 
 
 le store 
 
 
 la persiane, il pa- 
 
 el transparente 
 
 der Fensterschirm 
 
 Curtain 
 
 
 
 rasole, il legno 
 
 
 
 Wood 
 
 le bois 
 
 
 il legno 
 
 la madera 
 
 das Holz 
 
 Woof, weft (shut- 
 
 la trame 
 
 
 la trama 
 
 la trama 
 
 das Gewebe, der 
 
 tle thread) 
 
 
 
 
 
 Einschlag, der 
 Eintrag der Warf 
 
 Wool 
 
 la laine 
 
 
 la lana 
 
 la lana 
 
 die Wolle 
 
 Work, opus 
 
 l'ouvrage 
 
 
 il lavoro 
 
 la obra, el trabajo 
 
 die Arbeit 
 
 Work bag 
 
 le sac a ouvrage 
 
 
 il sacco 
 
 el saco de labor 
 
 der Arbeitsbeutel 
 
 Work basket 
 
 la corbeille a 
 vrage 
 
 ou- 
 
 la paniera de lavo- 
 ro 
 
 la cesta, la canasta 
 
 der Arbeitskorb 
 
 Work box 
 
 la bolte a ouvrage 
 
 l'astuccio da lavoro 
 
 el costurero, la caja 
 
 die Arbeitsschach- 
 
 
 
 
 
 de labor 
 
 tel, das Zwirn- 
 kiistchen 
 
 Worker : see Wea- 
 
 
 
 
 
 
 ver 
 
 
 
 
 
 
 Workroom : see 
 
 l'atelier, l'ouvroir 
 
 il lavoratorio, la 
 
 el taller 
 
 die Werkstatt 
 
 Factory : see 
 
 
 
 bottega da la- 
 
 
 
 Studio 
 
 
 
 voro, l'officina 
 
 
 
 Worsted, yarn 
 
 le fil de laine, 
 laine filee 
 
 la 
 
 la lana filata 
 
 el hilo de lana 
 
 das wollene Garn 
 
 Wrongside, back 
 
 I'envers 
 
 
 il rovescio 
 
 el reves 
 
 die Riickseite 
 
 Yak 
 
 la yack 
 
 
 l'iaco 
 
 el yak 
 
 ? Yack 
 
 Yard 
 
 le metre (39 Eng- 
 
 la jarda 
 
 la yarda 
 
 die englische Elle 
 
 
 lish inches) 
 
 
 
 
 
 Yarn-holder, bangle, 
 
 le bracelet 
 
 
 il s m a n i g 1 i o, il 
 
 el brazelete para 
 
 die S p a n g e , der 
 
 bracelet 
 
 
 
 braccialetto, il 
 anello da poise 
 
 hilo de lana 
 
 Garn Haspel 
 
 Yoke, chemisette, 
 
 1'empiecement 
 
 
 1'empiecement, il 
 
 el peto de blusa, el 
 
 das Achselstiiek 
 
 dickey, gorgias : 
 
 
 
 devanti d ' u n e 
 
 frente de blusa 
 
 
 see Collar 
 
 
 
 blusa 
 il zigzag 
 
 
 
 Zigzag : see Steps, 
 
 le zigzag 
 
 
 el ziszas, el zigzag 
 
 der Zickzack 
 
Chapter IV 
 RULES FOR MAKING 
 
 "The whole value of lace as a possession depends on the fact of its having 
 a, beauty which has been the reward of industry and attention. That the thing 
 is itself a price — a thing everybody cannot have. That it proves, by the look of 
 it, the ability of the maker; that it proves, by the rarity of it, the dignity of 
 its wearer. ... 7/ they all chose to have lace, too, if it ceases to be a price, it 
 becomes, does it not, only a cobweb? The real good of a piece of lace, then you 
 will find, is that it should show, first, that the designer of it hath a pretty fancy; 
 next, that the maker of it had fine fingers; lastly, that the wearer of it has 
 worthiness or dignity enough to obtain what is difficult to obtain, and common 
 sense enough not to wear it on all occasions." — Ruskin. 
 
 LINEN OR CLOTH STITCH JOINING BANDS. 
 
 The rule for making linen stitch or cloth stitch is : — cross, twist, cross. 
 The quarter inch bands in this sampler are made of six hanging pairs and a 
 weaver. i 
 
 The half-inch bands are made of twelve pendant pairs and a weaver. 
 The one inch bands are made of twenty-four pairs and a weaver. 
 
 69 
 
70 
 □= 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -a 
 
 LINE A, COL. 1, 
 
 / 
 
 Net Stitch, Lattice Ground, Demi-Point, Toile Ouverte, Point Reseau. 
 
 For this first sample twenty-four pendant bobbins and a weaving pair are 
 needed. It is made entirely of simple half-stitch, for which the rule is twist, 
 cross. This operation is repeated from left to right across the top row, then 
 from right to left across the one below, and so on until one reaches the bottom. 
 By making the same stitch a second time at each edge; that is, by repeating it 
 after placing the edge pin, before starting the next row below, the edge can be 
 made firmer. 
 
 □= 
 
 -□ 
 
RULES FOR MAKING 
 
 71 
 
 =□ 
 
 LINE A, COL. 2, 
 
 Virgin Ground, Pin Check, Pink Check, Ornamental Ground, Binche, Cinq 
 
 Trous, Point Carre. 
 
 This is the Variation of Virgin Ground, generally known as Cinq Trous, 
 belonging originally to Binche Lace. Each motif or block requires four pairs, 
 two of which enter at the upper left-hand corner, two at the upper right. To 
 make the upper left-hand ornament, twist and cross. The upper right-hand 
 ornament is made in the same way. Two center pairs, one coming from the 
 left and one from the right, are twisted and crossed. A pin is placed at the 
 
 n- 
 
 :□ 
 
72 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 a === 
 
 =□ 
 
 LINE A, COL. 2— Continued, 
 
 Virgin Ground, Pin Check, Pink Check, Ornamental Ground, Binche, Cinq 
 
 Trous, Point Carre. ' 
 
 center top and is closed by twisting and crossing. This is repeated at the center 
 left, center right and center bottom. The ornaments at the lower left and lower 
 right are now made as they were above by twisting and crossing without pins. 
 At the edge of the lace, the ornament is made before tying the threads or 
 entering a cloth-stitch band, and is again made after coming out from the cloth- 
 stitch band. If the above instructions are followed, every pair will have been 
 twisted once before it intersects another pair. 
 
 The essential difference between Cinq Trous and Virgin Ground is that 
 the ornaments of the former are more open, making the corner holes more 
 prominent, as they are only twisted and crossed, while the Virgin Point orna- 
 ments are twisted, crossed, then again twisted and crossed. 
 
 Another method of making Cinq Trous is that of following a zigzag line 
 running downwards from right to left, the points of which occur at the middle 
 top and center base of each little solid block of Cinq Trous filling, the maker 
 using only two instead of four pins; that is, omitting the two side ones. At 
 the beginning of each zigzag, after baving twisted the threads and made the 
 cloth-stitch, one places a pin without closing it. To descend one step of the 
 zigzag stairway, one makes a half-stitch with the two left-hand pairs, a similar 
 half-stitch with the two right-hand pairs, next twisting the threads and making 
 a linen-stitch with the two pairs now lying nearest the center. At this point one 
 places the next or second pin without closing it. To remount a step, one puts 
 aside the two pairs at the right of the pin, taking up two new pairs at the left, 
 and with these two new ones and the two directly left of the pin, one repeats 
 what one did in descending the stair. One leaves two pairs aside only at the 
 foot of a step. At the base of the whole stairway, after having finished the 
 stitch and having placed a pin, one again makes a complete stitch without 
 removing the pin or using another, to finish off; exactly as though one were 
 about to redescend ; and it is well to see that the big bars or bands of solid and 
 open Cinq Trous are parallel in both directions. 
 
 a ==P 
 
□= 
 
 RULES FOR MAKING 
 
 73 
 
 =□ 
 
 LINE A, COL. 3, 
 Malines, Mechlin, Ijsgrond, Fond de Glace, Eisgrond. 
 
 
 
 f*Wi 
 
 •m 
 
 It requires eight pairs to make a Malines mesh, two pairs on each vertical 
 side of the mesh braided three times. The two innermost pairs, one from each 
 braid, are now twisted twice each and coming together, form a new braid for 
 a lower or succeeding mesh. The meshes thus formed are six-sided, having two 
 braided sides and four twisted ones. 
 
 -□ 
 
74 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 o= 
 
 =□ 
 
 LINE A, COL. 4, 
 Trude "A" Ground (original) (American.") 
 
 Each mesh requires seven pairs. One should always cloth-stitch with the 
 two pairs that descend, no matter from which direction they come, before passing 
 or laying them — without cloth-stitching — between the two threads of the pair 
 that traverses the lace horizontally. A pin should be placed between the two 
 descending threads under the horizontal pair to sustain the joint and avoid 
 confusion. Every pair should be twisted once between stitches, except in the 
 center of the large open star, where each bar or ray of the star should be 
 twisted twice. 
 
 □= 
 
 — □ 
 
RULES FOR MAKING 
 
 D' 
 
 75 
 
 LINE A, COL. 5, 
 
 Star Mesh, Double Ground, Point de Paris, Point de Six, Eternelle, Point 
 
 Double, Trenne, Chantilly, Fond Chant, Engelsche Grond, 
 
 Dentelle de Grammont. 
 
 This pretty and durable stitch is made in the same way as that described 
 under Line C, Column 5, except that each pair is twisted once before every 
 encounter, and a pin is placed beneath each cross to support it. The actual 
 stitch is a linen-stitch. 
 
 □ r 
 
 -□ 
 
76 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 P= 
 
 =□ 
 
 LINE A, COL. 6, 
 Point du Mariage fait a la Torchon au Demi-Point. 
 
 rafl 
 
 Each motif in this case requires two parallel, vertical pairs and two inter- 
 secting, diagonal pairs. The point of their intersection comes between the two 
 parallel, vertical lines. Each time that the worker, coming from the upper left- 
 hand, traverses another pair, whether a vertical or another diagonal, it and its 
 mate are twisted and crossed once. A pin is placed and they are twisted and 
 crossed to close it. The weaver coming from the upper right-hand, and the 
 two parallel pairs, do likewise wherever they encounter other pairs. The pins 
 should not be removed until the work is finished, as the threads pull easily. 
 
 This mesh is quickly made ; but does not wash well. See Line A, Column 5. 
 
 a- 
 
□= 
 
 RULES FOR MAKING 
 
 77 
 
 LINE A, COL. 7, 
 Square-meshed Valenciennes of Honfleur (braided 1 or IVsj times). 
 
 Each mesh requires four threads to a side. These threads are braided 
 once between joints. The two pairs which, after the tressing, are at the inside 
 next each other, now cloth-stitch and the joint is supported by a pin. The 
 right-hand one of the pairs is twisted once after the joint, but the pair going 
 towards the left remains untwisted before entering the new plait. The two 
 outside, hanging pairs of the braid are, however, twisted once before they enter 
 into the new braid below, which is the beginning of a new mesh. Thus only the 
 interior pairs linen-stitch, and the two outside pairs, which are twisted once, 
 hang idly while the cloth-stitch is made. This joint is spoken of by some writers 
 as being braided once, and by others as being braided one and a half times ; the 
 discrepancy of description being caused by an extra cross in the braiding, for 
 
 =D 
 
78 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 cf— — — ■ ■ - a 
 
 LINE A, COL. 7— Continued, 
 
 Square-meshed Valenciennes of Honfleur (braided 1 or \\'» times). 
 
 immediately after and immediately before each joint, there must, in square 
 Valenciennes, be a cross. If one braids by crossing, twisting: then the cross 
 must be added at the end. If one plaits by twisting, crossing: then a cross 
 must be made at the beginning, after the joint is finished. It is less confusing 
 to work across the lace in a horizontal line. One can make the right-hand braid 
 which is about to enter into the joint, placing the right-hand pair astride a pin 
 to keep the plait from coming undone: then making the left-hand tress, and 
 with these bobbins in the hand, finish the joint. This method can be reversed 
 when one is working in the opposite direction. Then holding the two center pairs 
 firmly in hand, one can detach the right-hand pair, pull all into shape and 
 place a pin. 
 
 This Valenciennes is strong, clumsy and very slow to make. 
 
 D D 
 
RULES FOE MAKING 
 
 79 
 
 LINE A, COL. 8, 
 Devonshire Pin Filling. 
 
 
 if 
 
 
 
 .:! 
 
 
 1 
 
 *4 
 
 
 MKuamMSk 
 
 *.i:i:&SI.!ufe 
 
 ijCVMKIiSfei 
 
 **■:»■*:■:■: *p 
 
 §iil?:p$j:i 
 
 ■•••■ 
 
 9:. 
 
 This is an easy, pretty jour. The outworks are placed alternately below 
 each other. At the bottom of a cutwork a pin is placed, when the pairs are 
 twisted three times, cloth-stitched through each other, and again twisted three 
 times going in opposite directions, but horizontally, towards the tops of other 
 points d 'esprit or leadworks. At the top of a new cutwork, the pairs entering it 
 cloth-stitch. Here a pin is placed and the pairs, after being twisted three times, 
 are ready to form the new leadwork, which must be made long enough to reach 
 the pin hole below. 
 
 □= 
 
 zD 
 
80 
 
 □= 
 
 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 -a 
 
 LINE A, COL. 9, 
 Devonshire Four Pearl Filling. 
 
 
 
 n||| 
 
 IP 
 
 to 
 
 
 
 
 
 This filling is worked diagonally in sets of four pearl pins joined by four 
 braided bars. Bach bar requires two pairs, and should be made long enough 
 to reach from the bottom of one set of picots to the top of the next set. At the top 
 of one of these motifs, one takes the inside couple on the left, twists it three 
 times ; puts up a pin in the top hole ; passes one of the weaver threads around 
 the pin from the right to the left ; and its mate from the left to the right ; then 
 twists the pair once and closes the pin by making a linen-stitch with the outside 
 couple. The two central pairs, one from the upper left and one from the upper 
 right, now cloth-stitch and twist once. The two right-hand pairs linen-stitch 
 
 Q= 
 
RULES FOB MAKING 81 
 
 a — p 
 
 LINE A, COL. 9— Continued, 
 
 Devonshire Four Pearl Filling. 
 
 and another picot is made at the right-hand pin hole in the same way as at the 
 top, and the pin is closed by cloth-stitching the picot pair with its mate and 
 twisting them once. The left-hand pearl pin is made in the same way. Then 
 the two center, bottom pairs, each one already twisted once, linen-stitch. Next 
 the two right-hand pairs cloth-stitch and the inner pair of these two makes the 
 fourth picot. These two pairs continue downwards toward the right, braiding 
 until they meet the next motif. The two left-hand pairs are also plaited until 
 they meet another set of pearl pins at the lower left. 
 
 n D 
 
82 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 LINE A, COL. 10, 
 Devonshire Diamond Filling. 
 
 
 imp 
 
 Jiiitf 
 
 
 nliff 
 
 
 :!!'«l 
 
 
 After finishing the oblong cutwork, each pair is twisted three times and 
 each cutwork is supported by a pin placed in the two upper of the four holes. 
 This division leaves a pair of bobbins outside of each pin with two couples 
 together in the center. These two upper, inside pairs linen-stitch through each 
 other, and a pin is placed between them to support the joint, when they are 
 twisted three times. They then continue downwards in their respective direc- 
 tions; one to the right and one to the left; and here each one linen-stitches 
 through the pair it meets coming from the cutwork above, when each pair is 
 again twisted three times. The two pairs now at the center, cloth-stitch through 
 each other and are twisted three times. Here the two lower side pins are placed. 
 
 One is now ready to make the long, rectangular point d 'esprit, diagonal 
 bands between the attractive, middle five hole, diamond openings. These cut- 
 works are made in the usual way: but are about twice as long as the standard 
 square point d 'esprit. 
 
 =D 
 
RULES FOB MAKING 
 
 83 
 
 LINE A, COL. 11, 
 Trude "D" Ground (original) (American). 
 
 
 Two pairs to a joint are required for this pattern, which, is made on the 
 diagonal, with two pins placed right below each other forming a double joint. 
 The two threads coming from the upper left-hand are twisted twice and those 
 coming from the upper right-hand are twisted twice. The two center bobbins are 
 crossed and a pin placed below. The pairs are again twisted and crossed, and 
 another pin placed, which is closed by twisting and crossing. 
 
 □= 
 
 =□ 
 
84 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 a - =p 
 
 LINE A, COL. 12, 
 Trude "G" Ground (original) (American). 
 
 Three pairs or bars enter at each upper side of the diagonally tipped squares. 
 Each of these six bars is twisted three times between squares. Every other 
 square is made of cloth-stitch, and every other one is grilled instead of being 
 solid, each pair twisted once between the linen-stitches. The squares are thus 
 alternated. A pin is placed below each one to sustain it : but. no others are used. 
 
 Q= 
 
 =0 
 
D= 
 
 RULES FOR MAKING 
 
 85 
 
 =D 
 
 LINE A, COL. 13, 
 Trade "I" Ground (original) (American). 
 
 
 
 IV« 
 
 feg 
 
 i**^*? 
 
 
 Twenty-one pairs were used in making this sample, the horizontal pair 
 going from left to right, then back, and so on, as a weaver. Each line on the 
 pricking represents two threads twisted. The long diagonal, vertical and hori- 
 zontal pairs are twisted four times; the short vertical and horizontal pairs are 
 twisted once. The vertical and horizontal threads weave through each other 
 with a linen stitch each time they intersect. 
 
 The diagonals in the small squares are not twisted, as the former twisting 
 holds over. The diagonal threads entering the small squares at their right- 
 hand upper corners are placed under the vertical and horizontal pairs without 
 a stitch. The diagonal threads entering the small squares at their left-hand 
 upper corners are placed over the vertical and horizontal pairs without a stitch. 
 
 a= 
 
 -□ 
 
86 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 D ' ■ 
 
 LINE A, COL. 13— Continued, 
 
 Trude "I" Ground (original) (American). 
 
 At the bottoms of these tiny squares, the diagonal threads that enter at the 
 left, leave at the right by passing under the other threads. The diagonals that 
 come from the right go out over the vertical and horizontal ones without a 
 stitch, so as to prevent their slipping either up or down or from left to right. 
 At the centers of both the large and small squares, the two diagonal pairs 
 intersect and weave through each other with a linen stitch. These intersections 
 should be supported with a pin. 
 
 a === = a 
 
RULES FOR MAKING 
 
 87 
 
 LINE A, COL. 14, 
 Trentino 
 
 
 ri i", 
 
 ■As** +Zz~~s:±^ -SJ* ^ts?-:^ wmsiul. r 
 
 SSft T-uBiS 
 
 
 
 
 It requires two pairs to make each wheel or roue, aud eight pairs more to 
 fill each spider. Linen-stitch and half-stitch spiders should be alternated. The 
 wheel pairs are twisted twice between the pairs they cross, and each pair just 
 inside of the wheel, or just outside of the body of the spider, is twisted twice. 
 Two spider legs enter at the extreme top, two at each upper side, and two at 
 one side. Two legs leave horizontally at the opposite side from which the two 
 pairs enter, two leave at each lower side, and two at the bottom. In the linen- 
 stitch spider filling, the two top spider legs enter and leave in the opposite 
 direction from the two pairs entering at the side, so that four pairs weave 
 towards the right through the four pairs that weave towards the left, making 
 an even square. In the half-stitch spider body, the upper pair entering at the 
 
 □= 
 
 =0 
 
88 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 D C 
 
 LINE A, COL. 14— Continued, 
 
 Trentino. 
 
 upper side is used as a weaver, and crosses to the center of the opposite side, 
 taking in the two legs entering there. It then returns to the center of the first 
 side, taking in the remaining upper side pair; then it weaves to the lower part 
 of the opposite side. This makes three cross threads. One must be sure that 
 it is really the two wheel or encircling pairs that meet at the bottom. One 
 braid stitch is made at the bottom after the wheel is finished, between the left 
 wheel pair and the spider leg pair to the left of it, and between the right-hand 
 wheel pair and the leg to the right of that. One is then ready to start the 
 spider right below. The entrance and exit of the horizontal side legs make it 
 necessary to make one row of spiders from the left to the right and the row 
 below from the right to the left. A short, horizontal braid is made between 
 spiders; also a diagonal braid connections of lower legs from one spider cross- 
 ing over downwards through a reverse braid to become the upper legs of the 
 spider one row diagonally below. 
 
 a- 
 
CF 
 
 BULES FOE MAKING 
 
 89 
 =□ 
 
 LINE A, COL. 15, 
 Triangular, Fan-Shaped Points d'Esprits or Cut Works. 
 
 
 r^sjT'».»;i--. : . '••i : i~:-"b- :-'i- ^7* '■'■-■ -- 
 
 : £«3 
 
 It requires four threads to make one fan, and the fans are woven exactly 
 as outworks or leaves are, but started wide at the top and gradually tapered to 
 a point at the bottom. At the foot of one fan and the top of another, one should 
 make sure that the two entering threads at the right and at the left are twisted 
 round each other, so that two independent threads will not be seen bridging 
 between triangles. The top of the new fan should be supported by two pins 
 spread as far apart as the triangle is to be made wide. Another pin should be 
 placed under the finished apex at the bottom of the triangle. 
 
 □= 
 
 =□ 
 
90 
 
 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 =0 
 
 LINE A, COL. 16, 
 Abruzzian Mezza Cambruccia. 
 
 i. ^t • ♦ • 
 *► «i V «£ % 
 
 S^r «^tf WV w 
 
 £ «£ ^' >•* » m' «^I< 
 
 ;:;:•<* .^' „W „• . ,-r _• - «* ; ; 
 
 It requires four threads to make each one of these spiders. Two pairs 
 twisted once enter at the left-hand top of the spider and two pairs twisted once 
 enter at the right-hand top of the spider. This spider is made as the ordinary 
 spider is : but the centers should be arched by pulling the outside threads tighter 
 than the inside ones, and holding the inside ones up in the air while working 
 around the pin. This arched shape can be better preserved by placing a support 
 pin just at the base of the spider. The two pairs that leave the spider going 
 towards the left are twisted once and enter the spider next below towards the 
 left. The two threads leaving at the right are twisted once and enter the spider 
 just below on that side. 
 
 Or 
 
 =□ 
 
RULES FOB MAKING 
 
 91 
 
 LINE A, COL. 17, 
 Trude "N" Ground (original) (American). 
 
 :«ir «y fa** *4P i^r . 
 sf &? i * £ € fip 
 
 if* V W W W*** 
 
 ■'y*P f £P 1&P VAT Mi 
 
 sir *<A' r A* WW V= 
 
 Each tiny triangle requires four threads. In making these, one completes 
 a whole line from left to right, then the succeeding line from left to right, as 
 this secures the two suspension or scaffold threads of the triangle before pulling 
 and again using the weaver. At the top of each triangle, whether at its broad 
 or its pointed end, one should give two twists to the two framework threads 
 that are about to enter into the cutwork to prevent their stringing out and later 
 appearings as loops. The worker and its mate should be twisted once or twice 
 as is convenient before beginning a new point d 'esprit. At the small end of 
 the cutwork, between an upper and a lower triangular spot, the twice-twisted, 
 horizontal band pair, cloth-stitches through the cutwork pairs, each of these 
 latter pairs being considered as one thread so as not to spread the point of the 
 
 □= 
 
92 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 D - 
 
 LINE A, COL. 17— Continued, 
 
 Trude "N" Ground (original) (American). 
 
 triangle. This passage should be supported by a pin. When the cutwork below 
 is begun, the pin should be removed as soon as possible, otherwise the weaver 
 will leave a loop around it. When starting the broad end of a triangle, one 
 should place pins at the top of it to hold apart the threads. When finishing at 
 the broad end, pins should be placed inside the two pairs to hold them apart 
 and support the work. These pins have to be replaced when the line below is 
 worked, but after all they are only supports and helpers. No knotting of the 
 cutwork is necessary, as the next triangle follows so closely that it holds the 
 joint in place. At the open centers of the stars between the outworks, where 
 the three twice-twisted pairs meet, the weaver or worker cloth-stitches through 
 one to hold in its twists, and is then just laid between the other two threads 
 coming from the opposite direction, each of these threads just passing around 
 it, clasping it, but not working through it, to avoid making a bulky joint. 
 
 a= 
 
□= 
 
 RULES FOE MAKING 
 
 93 
 
 =0 
 
 LINE A, COL. 18, 
 Fond de Neige, Punto di Neve. 
 
 
 This pleasing little ground requires only four pairs to each mesh, two 
 coming from the upper left, and two from the upper right-hand. Each pair is 
 twisted twice. They are then ready to cloth-stitch through each other to form 
 the little solid squares, which, when finished, can be supported at the base by 
 pins. For example, using the inner, upper left-hand pair as a weaver, one 
 should linen-stitch through the two pairs coming from the upper right. One 
 should then do likewise with the remaining upper left-hand pair, which finishes 
 the dot. 
 
 See Line B, Column 18. 
 
 D- 
 
 =□ 
 
94 
 
 □= 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 =D 
 
 LINE B, COL. 1, 
 Tulle Du Puy. 
 
 , «;-"**' -»>««5«t.,,; ;■•»*»*, -~" ,, »-.-";;" *MP*' 
 
 This net is made by twisting once, then crossing, twisting and crossing, 
 placing a pin and closing it by crossing, twisting and crossing. This mesh is 
 made on the diagonal ; is very simple, and as the strands are interlocked, it is 
 much firmer and less apt to shift than Torchon Ground, for which it can gen- 
 erally be substituted. 
 
 ;□ 
 
RULES FOR MAKING 
 
 □= 
 
 95 
 
 =□ 
 
 LINE B, COL. 2, 
 Virgin Ground, Ornamental Ground, Fond de la Vierge, Point Carre. 
 
 
 •■ 4 
 
 £t£fl£fl$- 
 
 & 
 
 
 Vf 
 
 J. I*-, 
 
 * 
 
 fa 
 
 
 
 This is the plain, ordinarily used Virgin Ground. Four pairs and four 
 pins are required for the making of each square; two pairs enter at the upper 
 left to form the upper left-hand ornament, which is made by twisting once and 
 crossing, and twisting once and crossing without pinning. The same is done at 
 the upper right-hand corner. The two center pairs, one from the right and one 
 from the left, now twist and cross : a pin is placed at the center top, and is closed 
 by twisting once and crossing. This stitch is repeated at the center left, the 
 center right and the bottom; then the two lower ornaments are made, just as 
 the two top ones were, without pinning. These lower ornaments serve as the 
 upper ones for succeeding squares below. 
 
 =D 
 
96 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -a 
 
 LINE B, COL. 3, 
 Brussels, Droschel, Vrai Reseau (fait sans epmgles), Drochel. 
 
 3 -•. la- 
 
 
 See Line C, Column 3. 
 
 Brussels hexagonal ground requires four pairs to each stitch, the two 
 vertical sides of the stitch being braided four times. The braided pair of each 
 plait, now towards the center, is twisted twice ; and the two pairs being brought 
 together, form a new vertical plait. Thus each mesh is sis-sided, having two 
 braided and four twisted sides. 
 
 This ground, having one braid more than Mechlin, is slightly more open. 
 
 =□ 
 
RULES FOR MAKING 
 
 97 
 
 LINE B, COL. 4, 
 Trude "B" Ground (original) (American). 
 
 '..w. M*WiSittv£sIrii!£*: 
 
 This ground, requires five pairs to each mesh. The pendent pair is twisted 
 once between stitches. At the star-center where the three pairs traverse each 
 other, none of them are twisted, but the two diagonal pairs should linen-stitch 
 and be placed or laid between the two threads of the horizontal pair. Here 
 one should place a pin between the diagonal pairs, under the horizontal one, to 
 support the joint and serve as a guide. The horizontal pair should be twisted 
 twice in the long space that occurs above and below the star-centers, between 
 vertical pairs. 
 
 D= 
 
98 
 
 □= 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 LINE B, COL. 5, 
 Lattice Ground, Gekreuzter Gittergrund (3 twists). 
 
 •..#• 
 
 ;~ • I '•'- '.:'.':;'--":;?■'.'•'-' •■■-; : t'™J" 
 
 
 Four pairs are required iu making this stitch, two that fall vertically and 
 two which run diagonally. The joints formed hy the weaving of the oblique 
 pairs through each other should be supported by pins. The vertical pairs are 
 twisted three times between intersections; the diagonal pairs once. All joints 
 are formed by cloth-stitching. 
 
 -□ 
 
RULES FOR MAKING 
 
 99 
 
 0= 
 
 -D 
 
 LINE B, COL. 6, 
 Twice-twisted Virgin Point — mit zweimal gedrehtem Schlusschlag. 
 
 
 
 
 Two pairs enter each motive or block at the upper left-hand and two at 
 the upper right-hand. Each square requires eight pins. The four ornament, 
 or corner pins, are placed thusi ; then the central stitches inside of 
 
 the ornaments are held in place by pins placed thus • 
 
 The two pairs entering at the upper left-hand are twisted twice and crossed. 
 Here a pin is placed and closed by twisting twice and crossing. This is the 
 upper left-hand ornament. The same process is repeated for the upper right- 
 hand ornament. Now the two center pairs, one from the left and one from the 
 right, are twisted twice and crossed. A pin is placed at the center top and 
 closed by twisting twice and crossing. This stitch is repeated at the center left ; 
 that is, twisting twice, crossing, placing a pin and closing it by twisting twice and 
 crossing. The same is done at the center right and again at the center bottom 
 with the two middle pairs. One is now ready to make the lower, left- and right- 
 hand ornaments. These done, one has only to twist the pairs twice in order to 
 make the centers of the squares below; for the lower ornaments of one square 
 serve as upper ornaments to succeeding squares. 
 
100 
 
 □== 
 
 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 : 
 
 LINE B, COL. 7, 
 Square-meshed Valenciennes of Ghent or Gand and Menin (braided 2 or 2 ] /2 
 
 times). 
 
 See Line A, Column 7. This Valenciennes is made in the same way, except 
 that the sides of the meshes are braided two or two and a half times, the joints 
 being made in the same way as those of Honfleur. 
 
 =D 
 
BVLES FOR MAKING 
 
 CF 
 
 101 
 
 LINE B, COL. 8, 
 Devonshire Cushion. 
 
 Four pairs are required for each motif: two pairs at the upper left and 
 two pairs at the upper right cloth-stitch, are twisted three times, pinned and 
 closed with a linen-stitch. "When all four couples have been worked up to this 
 point, the two outside ones are twisted three times and hang idly while the 
 leadwork is being made, waiting to join in again below it. The two inside pairs 
 are each twisted once and proceed to make the outwork. After it is finished, 
 they are again each twisted once and cloth-stitched through the two outside 
 couples which have been awaiting them. A pin is placed below each of these 
 joints and the pairs are twisted three times and closed, ready to continue. 
 
 zD 
 
102 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -D 
 
 LINE B, COL. 9, 
 Devonshire Hexagonal Bar Filling. 
 
 Each bar requires two pairs, but at the joint four pairs are worked together. 
 Here the threads are used double, two bobbins being passed over two others, so 
 that the stitch made is identical to that made by only half the number. At this 
 intersection the pairs should be crossed and twisted and again crossed and 
 twisted. Now the couples divide, two working to the right and two to the left. 
 Each one is now twisted and crossed three successive times. The pairs nearest 
 the pin holes are twisted three times. One thread is put around the pin from 
 right to left and its mate from left to right, when the pair is twisted once and 
 re-enters the braid. The braid is made by twisting and crossing three successive 
 times. Then a second pearl pin is put up; and the braid again twisted and 
 crossed three times. 
 
 a= 
 
 J3 
 
□= 
 
 RULES FOR MAKING 
 
 103 
 
 LINE B, COL. 10, 
 
 ? 
 
 
 
 «*■ 
 
 
 . I"* St Ji ^*"^ lfc ** 
 
 
 1?^ 
 
 [if 
 - 
 
 5*855 
 
 K *— *^ •IB ' <V 
 
 
 
 -'*<•'•■• aS>^ ^.SK. . -*. . ^»*„i_ 
 
 There are two pairs in these vertical bands, besides the weaver. The latter 
 is twisted three times around each winkie pin. Each pair that enters into the 
 cutwork (the weavers from the two sides) is twisted once before entering the 
 points d 'esprit. But the cutwork weaver should be twisted twice after the lead- 
 work is finished before cloth-stitching through the band to the other side. This 
 filling is worked from the left to the right, as the left-hand cutwork must be 
 finished before the one slightly below it to the right can be begun. 
 
 =□ 
 
104 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 ~-Q 
 
 LINE B, COL. 11, 
 Trude "E" Ground (original) (American). 
 
 Two pairs to a joint are required for this pattern, which is made on the 
 diagonal, with two pins placed right below each other forming a double joint. 
 The two threads coming from the upper left-hand are twisted twice and those 
 coming from the upper right-hand are twisted twice. The two center bobbins are 
 crossed and a pin placed below. The pairs are twisted twice and crossed and 
 another pin placed, which is closed by twisting twice and crossing. 
 
 =□ 
 
BVLES FOB MAKING 
 
 105 
 
 — Q 
 
 LINE B, COL. 12, 
 Dice Holes, Slanting Hole. 
 
 
 I it *'"**' 
 
 Wi 
 
 IP 
 
 ill 
 
 w 
 
 w 
 
 ll 
 
 W 
 
 ili 
 
 Sii 
 
 This is a cloth-stitched ground alternated with a grilled ground. The con- 
 ductor runs back and forth from left to right, and then from right to left hori- 
 zontally through the pendant pairs : but the opened and closed squares themselves 
 are placed obliquely; that is, their sides or margins are on the diagonal. The 
 solid and open parts are made by linen-stitching: but in the open parts both the 
 worker and the pairs it traverses are twisted twice. In starting an open grill, 
 there is first one open square, the next time three grilled squares, then five, next 
 seven. Then one decreases similarly. There is thus one hole at each side, left 
 and right; one at the top and bottom center and seven holes across through the 
 middle whether counted vertically or horizontally. 
 
 In this connection it may be interesting to refer to Line D, Column 14 and 
 Line H, Column 16. 
 
 □= 
 
106 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -a 
 
 LINE B, COL. 13, 
 Point de Tresse with Plain Picots in Lower Joints. 
 
 :jt'T;:;..u';V.-i5:5:?ir;:.-.- : ' -."■■.-•:«i-:v. • -*j;: 
 :"<»k.l" !' • ; "~ _ "" - A.W ;; i .2:!: 
 
 This sample requires twenty pairs, four to each braid. 
 
 The picot just below the lower joining of each two braids, is made with 
 the left-hand thread in the same manner as usual. The threads should be 
 twisted before they are crossed, as crossing would push the picot up the side 
 of the braid. The braids then intersect each other with a linen-stitch. 
 
 D= 
 
 -U 
 
□= 
 
 RULES FOR MAKING 
 
 107 
 
 ==□ 
 
 LINE B, COL. 14, 
 A Spotted Italian Ground. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 — n — 
 
 
 
 
 
 
 
 
 
 
 ; — \ 
 
 
 
 
 
 
 
 
 
 
 
 This pretty ground is very quickly and easily made. 
 
 Pour passive or vertical pairs besides the weaver are required in the making 
 of each spot. These four pairs are each twisted once. The two center ones 
 then cloth-stitch and are twisted once : a pin is placed and closed by linen-stitch- 
 ing; and these two central pairs are again twisted once. One pair now works 
 towards the left and one towards the right, each cloth-stitching with a remaining 
 vertical pair. A pin is here placed between the two left-hand pairs, and another 
 pin between the two right-hand ones, all four are again twisted once, and 
 are now ready to be cloth-stitched four times by the working pair. The spot or 
 dot pairs are not twisted again until the weaver has woven through them four 
 times. 
 
 ;D 
 
108 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 LINE B, COL. 14— Continued, 
 A Spotted Italian Ground. 
 
 The weaver works all the way across the lace from one side to the opposite 
 edge , then back j without being twisted either between dots or in traversing them : 
 but the conductor can be twisted twice, if one wishes, at the edge of the lace 
 beyond the outermost columns of spots. 
 
 The bottom or end of the circle is completed in the same way only reversed, 
 that it is begun — by placing a pin below the last line of the weaver between the 
 two left-hand pairs of the dot, and another pin between its two right-hand pairs ; 
 then by twisting each pair once, cloth-stitching the two left-hand ones and cloth- 
 stitching the two right-hand ones ; then twisting each pair once more, linen-stitch- 
 ing the two that are now in the center, twisting them once, placing a pin, closing 
 it by a linen-stitch, again twisting these central pairs once, so that they may be 
 ready to linen-stitch through the other two pendent pairs. 
 
 D O 
 
□= 
 
 RULES FOR MAKING 
 
 109 
 
 LINE B, COL. 15, 
 Fat, Maltese Petals, Leaves, Seeds, Grains, Wheat Ears, Paddles 
 
 mM 
 
 
 m 
 
 Wmim 
 
 Each leaf is made of four threads woven as are the ordinary Cluny petals ; 
 but made very fat or wide, even though one leaf overlaps another. A little prac- 
 tise enables one to produce even edges. 
 
 D= 
 
 =D 
 
110 
 
 0= 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 LINE B, COL. 16, 
 Abruzzian or Pescolane Cross Pattern. 
 
 This pattern is the same as Line A, Col. 16 — Mezza Cambruccia — except 
 that between an upper row of spiders and the row beneath it, each pair of threads 
 leaving one spider passes obliquely through two other sets of threads before en- 
 tering a lower spider. Thus little, hollow, diagonal squares or double crosses are 
 formed between spiders. The two pairs of threads that leave the lower right- 
 hand end of an upper spider pass obliquely to the right into the left-hand upper 
 end of the next spider just below to the right, and vice versa. Each of these pairs 
 of threads is twisted once between intersections with other pairs of threads. 
 
 D= 
 
RULES FOB MAKING 
 
 111 
 
 =□ 
 
 LINE B, COL. 17, 
 Trude "O" Ground (original) (American). 
 
 
 Hi 
 
 is 
 
 hum 
 
 
 Iff? 
 
 The linen is four pairs wide ; the grille only two. Each pair is twisted once 
 in the grille work. A supporting pin should be placed between threads at im- 
 portant junctions to help one find the place, and to keep the line straight ; but 
 should not be left in place more than one line back, or one cannot pull up the 
 loose, spread threads which the pins leave. The twisted pairs spread or push the 
 cloth-work away from them, and this pushing inward of the linen must be 
 specially guarded against on the long sides. Where the grille and cloth edges 
 meet, the margin pair always belongs to the linen. 
 
 D= 
 
112 
 
 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 =D 
 
 LINE B, COL. 18, 
 Moulinet. 
 
 
 
 This ground was originated by Mme. H. H. de Juillien and took a prize at one 
 of the leading expositions in Milan. 
 
 Sixteen pairs are required for the making of each mesh, as two braids enter 
 at the upper left and two at the upper right of each little solid square. In making 
 these squares, one must be careful to spread out one 's threads in order to prevent 
 the appearance of a hollow streak in the center of the square. In weaving this 
 solid dot, one cloth-stitches the innermost pair of the inner, upper, left-hand 
 braid through the pairs of the two right-hand braids. Then one uses the other 
 pair of the inner, upper, left hand plait and again linen-stitches down through 
 the right-hand pairs. One can now reassemble the two pairs of the upper, inner 
 left-hand tress and begin a new one sloping towards the right below the solid 
 square. Returning to the upper left-hand, one uses first the inner and then the 
 
RULES FOR MAKING 113 
 
 i a 
 
 LINE B, COL. 18— Continued, 
 
 Moulinet. 
 
 outer pairs of the remaining braid as weavers, cloth-stitching them successively 
 through the four pairs coming from the upper right. This done, the solid square 
 is completed and can be supported at its base by a pin. 
 
 The braids should not be made too long or they will buckle up or out. Loops 
 or picots occur at each side of the center of every plait to relieve the straightness 
 and stiffness of the lattice background. The picots here shown are the plain, 
 ordinary ones, but knotted picots can be used instead should one prefer. 
 
 Those picots used in this sample, which fall to the right of a braid, are made 
 by using the rightmost thread of that plait, placing a pin under it with the point 
 towards the left, raising the point downwards towards the right over the thread, 
 and sticking the pin into the indicated dot on the pricking. To prevent a gap in 
 the braid, one should make the picot immediately after twisting, and should 
 recommence the tress by twisting, pulling the threads up tight. The picot on 
 the left of the braid is made by using the leftmost thread, holding the pin in 
 the left hand, placing its point downwards towards the right under the thread, 
 bringing it downwards, up over the thread, towards the left and into the 
 indicated pinhole. 
 
 n . , - n 
 
114 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 =D 
 
 LINE C, COL. 1, 
 Plain Hole Ground, Torchon, Reseau Stitch, Einfacher Locherschlag 
 
 ]A&h:&mim 
 
 WBskL i-m 
 
 This very simple net ground is made by twisting and crossing, and placing a 
 pin. The pin is closed by twisting and crossing. The mesh runs obliquely. 
 
 □= 
 
 J3 
 
RULES FOR MAKING 
 
 115 
 
 LINE C, COL 2, 
 
 Scotch Broom Stitch, Point Jesi^et oa Genet, Ziergrund mit 
 
 Schragstreifen-Mostertiog. 
 
 C 
 
 * ■ . 
 
 ikSUR! 
 
 This requires three pairs. One enters, divides, and becomes one of the two, 
 long, parallel lines. A second pair divides, and forms the other of the two, par- 
 allel lines. Then a third pair enters at the upper left. This stitch is made from 
 right to left by twisting and crossing once each time. The little bars or barrettes 
 between the two, double bands of parallel lines are made by twisting three times. 
 When one reaches the edge of the lace on the left, the pairs have to be knotted and 
 cut off unless they form part of a long, continuous pattern made by the French 
 
 0= 
 
116 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 □ r ■ q 
 
 LINE C, COL. 2— Continued 
 
 Scotch Broom Stitch, Point Jeunet ou Genet, Ziergrund mit 
 Schragstreifen-Musterung. ' 
 
 method. The worker entering at "1" intersects a parallel line by twisting and 
 crossing, and continues towards the left, twisting and crossing through the 
 second, parallel line, then twisting and crossing with the barrette that enters at 
 "2." Here a pin is placed and closed by twisting and crossing. As one descends 
 towards the right, one intersects by twisting and crossing ; a pin is placed at " 3 " 
 and closed by twisting and crossing, which leaves a barrette pair hanging towards 
 the right ; this is twisted three times and is now ready to enter the set of lines 
 in the band below. Then one works to the left towards "4-," where another bar- 
 rette enters from above. 
 
 D= 
 
RULES FOB MAKING 
 
 D= 
 
 117 
 
 LINE C, COL. 3, 
 Brussels, Droschel, Vrai Reseau, Point d'Angleterre Net, Drochel. 
 
 
 ti&ssm 
 
 H 
 
 
 
 I 
 
 See Line B, Column 3. 
 
 This mesh, made with the support of pins is, in the hands of an amateur at 
 least, much more regular and pleasing than when pins are not employed. The 
 ground requires four pairs to each stitch. Commencing with the vertical side, 
 one braids twice — thus making a whole-stitch. A pin is then placed and closed 
 by the repetition of the two plaits or whole-stitch. This finishes one vertical side. 
 The other vertical side is made in the same way. After these two are finished, one 
 can begin the two lower oblique sides. One pair should be taken from each braid 
 ■ — the pairs which lie nearer the center. These should each be twisted twice, and 
 should then be brought together in position for forming the next vertical braid. 
 One thus produces a six-sided mesh with two braided and four twisted sides, the 
 latter coming at the top and bottom of the mesh; the plaited edges, at the two 
 sides. 
 
 rD 
 
118 
 
 a— 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -a 
 
 LINE C, COL. 4, 
 Rose Ground, Scandinavian Ground, Point du Mariage, Gelosia, Tulle Double. 
 
 
 Rose Ground is practically the same as the small-meshed Tulle Double, except 
 that the pins are differently arranged so as to make a more open mesh. 
 
 The pairs are twisted twice and crossed, then pinned, again twisted twice, 
 and crossed to close the pin. 
 
 A stitch is made between the pairs one and two, and a pin placed at three. 
 Then a stitch is made with the pairs four and five and a pin placed at six, then 
 a stitch is made between the pairs seven and eight, and a pin placed at nine, et 
 cetera. "When one has reached the end of this row, one starts again at the upper 
 right, using the pairs ten and eleven, placing a pin at twelve. Then using ten 
 and twelve, placing a pin at thirteen ; then using three and thirteen, placing a 
 pin at fourteen ; then using three and fourteen, placing a pin at fifteen, et cetera ; 
 leaving one pair hanging after each stitch. Every pin is closed without exception. 
 
 D= 
 
 =□ 
 
□= 
 
 RULES FOB MAKING 
 
 119 
 
 =□ 
 
 LINE C, COL. 5, 
 Old Buckingham, Fond de Milan. 
 
 -:?==7r 7; ?flf *;irr ' :•* " :Tr : ri? ?= : ! t s Jfrj ---•"- : ***iv. 
 
 Each stitch requires four pairs, and none of them should be twisted. One 
 should work from the right to the left all the way across the piece, cloth-stitching 
 each pair as one encounters it, working the cross and the passive pairs in a diagonal 
 line descending towards the left, momentarily considering the pair that comes 
 from the right as a weaver. A pin should be put through the center of each 
 cross. Then one should return in the other direction, weaving the pears that 
 should now be hanging ready. 
 
 D= 
 
 =D 
 
120 
 
 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 '-Q 
 
 LINE C, COL. 6, 
 Slavonian Style Virgin Point, "Point a la Vierge" nach Slavischer Art. 
 
 >. • .0. ; .< 
 
 O.L&. 
 
 >■<>.< 
 
 This form of Virgin Point requires four pairs and two pins to each motif 
 or block. One pin is placed at the center top ; the other at the center bottom. The 
 upper, left-hand ornament should be made with the two pairs that enter at the 
 upper, left-hand ; twisting once, crossing, twisting. The same is repeated at the 
 upper, right-hand corner. Then the two center pairs are taken, one from each 
 ornament, twisted once and crossed. Here a pin is placed and closed by twisting 
 and crossing once. The two pairs, which are now at the left, are twisted 
 and crossed once. The same is done with the two pairs at the right. The same 
 is repeated with the two pairs now at the center, that is, one from each side. Here 
 another pin is placed and closed by twisting and crossing once. The two, lower 
 ornaments, one at the right and one at the left, are now made by twisting, crossing 
 and twisting once. These two lower ornaments serve, of course, as upper ones 
 for squares that are to follow. 
 
 zD 
 
RULES FOB MAKING 
 
 0= 
 
 121 
 
 LINE C, COL. 7, 
 
 Square-meshed Valenciennes of Courtrai and Menin (braided 3 or SYz times). 
 
 
 •••■•r.ttt 
 
 
 : *■* 
 
 
 
 See Line A, Column 7 and Line B, Column 7. The Valenciennes of Courtrai 
 and Menin is made in the same way as that of Honfleur, except that the sides are 
 braided three or three and a half times. 
 
 D= 
 
 =□ 
 
122 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -D 
 
 LINE C, COL. 8. 
 Devonshire Brick, Mignonnette. 
 
 
 [ <»jC3I]iZ3C*!j» 
 
 m 
 
 <•_« 
 
 3**^* 
 
 •••■■a 
 
 litis!' 
 
 
 M-dwf^ahtnUm 
 
 - aam-»ms-s4m 
 
 v.'.'.<l; 
 
 
 g» 
 
 
 S«® 
 
 « 
 
 
 The pricking for this is the same as that for the Devonshire Cushion Filling, 
 Line B, Col. 8, but instead of every alternate square having a point d 'esprit, each 
 one is filled, which makes a closer and more elaborate mode. That is, the pairs 
 which lie idly in Cushion Pilling, are here employed to make other points d 'esprit, 
 side by side to the others. Below outworks at each end of them, the pairs are 
 twisted once ; cloth-stitch ; a pin is placed ; the pairs are twisted three times ; are 
 closed by linen-stitching and are twisted once ready to form the cutworks directly 
 below them. 
 
 O- 
 
 =a 
 
RULES FOR MAKING 
 
 123 
 
 LINE C, COL. 9, 
 
 Devonshire Double Ground Pin. 
 
 a 
 
 a a 
 
 □ 
 
 This easy, dainty, net-like filling is made by twisting every pair three times 
 between encounters. Two pairs at the upper left and two at the upper right 
 cloth-stitch and are twisted three times. A pin is placed under each joint. The 
 two couples now at the center, cloth-stitch and are twisted three-times. No pins 
 are put up here. Then one pair to the left and one to the right, linen-stitch 
 through the pairs they meet at the left and right respectively, and are twisted 
 three times, but no pins are placed under these two joints. The two center pairs 
 now linen-stitch and are twisted three times, when they recommence the stitch 
 and are supported by pins. Thus four pins are used to a complete motif, placed 
 under the joints of the four outer arms. The pricking shows four little squares, 
 each corner of which is marked by a pin-prick. 
 
 a= 
 
 zO 
 
124 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 LINE C, COL. 10. 
 Devonshire Winkie Pin Bars and Outworks. 
 
 n-I/In 
 
 This ground is made in almost the same way as the Bohemian Edged Devon- 
 shire Bars and Outworks, Line D, Col. 10. There are two differences; one lying 
 in the edge of the bar and one in the direction of the leaf zig-zags. In Line D, Col. 
 10, the different bands of petals have been made in parallel lines. In this ground 
 the zigzags have been made to wave in opposite directions. The edges of the 
 vertical bars in this sample require only five pairs, as the same weaver continues 
 throughout, being twisted twice around the winkie pin. 
 
 D: 
 
 =□ 
 
RULES FOR MAKING 
 
 125 
 
 LINE C, COL. 11, 
 Point de Paris, Fond Clair, Fond Chant (Palliser). 
 
 This niesh is made with three instead of six threads, the weaver being a single 
 thread One can begin by hanging a pair of bobbins over a pin at the right, using 
 one for a weaver on an upper line, the other for the line next below ; then tying 
 them off together around the two pins at the left border. In twisting the 
 verticals, one should work from the left to the right margin, thus alternating 
 with the direction in which the weaver works, one coming, the other returning. 
 The vertical or diagonal pairs should be twisted together three times at their 
 point of intersection, and a pin placed beneath the joint to support it. Then the 
 worker weaves from the right to the left, passing under the right-hand diagonal 
 thread without twisting, and twisting thrice with the left-hand oblique thread. 
 
 =□ 
 
1L>6 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 LINE C, COL. 12, 
 Trude "H" Ground (original) (American). 
 
 Three pairs enter at the upper left-hand cornex*, and three at the upper right- 
 hand corner. The ground is entirely made of half-stitch : but it is twisted twice 
 outside of every pin to reinforce it. Beginning at the upper left-hand corner, 
 with the left pair as conductor, one weaves through the middle and right-hand 
 
 pairs, pins, closes, works to the lower left of the little, corner ornament ~jT 
 Then works toward the right again, entering the big square. The upper right- 
 hand ornament is made in just the reverse way, starting thus \ from the 
 
 right, and working towards the left to meet the weaver of the opposite ornament. 
 They meet at the center top of the large square. Here a pin is placed, each 
 
 =D 
 
RULES FOR MAKING 127 
 
 D q 
 
 LINE C, COL. 12— Continued 
 
 Trade "H" Ground (original) (American). 
 
 pair twisted twice, and the pin closed. Each weaver works back towards its own 
 side, through two, pendant pairs and is pinned and closed at its side of the large 
 square. Then the weavers work towards the center bottom ; meet and go out into 
 the two little square ornaments: the right-hand weaver now becoming the 
 upper left of the succeeding, large square and therefore doing what was before 
 done to make the upper left ornament. It leaves the large square, works towards 
 
 the right is pinned and closed, ] t /"- works towards the left, is again pinned and 
 
 closed, and proceeds into the next large square. The opposite, corresponding 
 weaver does just the reverse. 
 
 This ground would not wash well. 
 
 zD 
 
128 
 
 □= 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 LINE C, COL. 13, 
 Point de Tresse with Plain Picots in Side Joints. 
 
 
 
 
 fca%^g 
 
 Pour threads are required for each braid. The plaits and joint are made 
 as usual. If the picots are made before the joint, they push up onto the sides 
 of the plaits above the exact intersection. Therefore, they should be made im- 
 mediately after the joint, and the braiding which follows should be full and tight 
 so as to push the picots up into place. These are the ordinary picots, one made 
 to the left with the outside, left-hand thread and one to the right with the 
 outside, right-hand thread. Twist both pairs after finishing the picots. 
 
 d= 
 
 =□ 
 
□= 
 
 RULES FOB MAKING 
 
 129 
 
 =□ 
 
 LINE C, COL. 14, 
 An Italian Spider with Eye. 
 
 Wf 
 
 MM 
 
 • III. •• 
 
 "..»• '»» 
 
 • fit) J, 
 «M« II 
 
 3ft2 8WS;r 
 
 K30 
 
 |>s as «bS &F 
 
 
 {Hi ^Rtf^H^PW" Ha r/ 
 
 Four pairs enter about the top of each spider, two acting as outside or en- 
 circling pairs. These two cloth-stitch through each other at the top of the spider, 
 one then working towards the left, the other towards the right. These same pairs 
 meet again at the bottom of the spider, linen-stitching through each other to 
 finish it. The other two pairs that enter just below the top, one coming from the 
 upper left, one from the upper right, cloth-stitched through the outlining pairs 
 and meeting each other just inside of them, linen-stitch through each other and 
 then pass out of the spider again in the same manner as they entered. Two 
 other pairs do likewise in the lower part of the spider's body just before the 
 encicrcling pairs re-meet, thus forming two small crosses inside of the spider, 
 one at its upper, one at its lower end, leaving a hole or eye in its center. The 
 spider should not be made too long, and its body should be supported at each 
 end by a pin. There is no twisting inside of the spider-body, nor are its edges 
 twisted. 
 
 But outside, every pair is twisted twice before intersecting every other pair 
 that it meets ; and it traverses all of these by linen-stitching. 
 
 =•□ 
 
130 
 
 □== 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 LINE C, COL. 15, 
 
 Thin Cluny Petals, Leaves, Armelle, Armeletta, Grains, Seeds, Wheat Ears, 
 
 Paddles. 
 
 These petals are made like those of Line B, Col. 15, except that they are at- 
 tenuated in form. 
 
 -o 
 
RULES FOR MAKING 
 
 131 
 
 =□ 
 
 LINE C, COL. 16, 
 Abruzzian Lescatelle. 
 
 This is the same as line B, Col. 16, or Abruzzian Cross Pattern, except that 
 it requires six pairs to make each spicier, and that between spiders the three 
 pairs leaving an upper left-hand spider cross diagonally through the three pairs 
 of threads leaving the next nearest right-hand spider. 
 
 □= 
 
 =Q 
 
132 
 
 A LACE GUIDE FOR. MAKERS AND COLLECTORS 
 
 LINE C, COL. 17, 
 Trude "P" Ground (original) (American). 
 
 The pairs are twisted four times and crossed and one must be careful to 
 take up the correct pairs. The pins are not closed. On one horizontal line a pair 
 works across towards the right, twisting four times and crossing as it goes. 
 "When it returns, it weaves from the right towards the left. This reverse action 
 tilts the circles slightly first to one side, then to the other. The horizontal pair 
 always works with the very next hanging pair it encounters. Between the hori- 
 zontal lines, wherever two pendant pairs meet each other, they are interwoven 
 with the same four-twist-and-ci - oss stitch. 
 
 =D 
 
RULES FOR MAKING 
 
 □- 
 
 133 
 
 =□ 
 
 LINE C, COL. 18, 
 Genoese Grilled Six-leaved Marguerite. 
 
 Each leaf or petale requires four pairs. Every pair is twisted once between 
 intersections. One pair serves as a weaver and is fastened Winkie Pin fashion 
 — that is, outside the leaf around a pin, the same pair continuing as weaver. 
 There are three pins on each side of every leaf. After the last passage or inter- 
 weaving of the conductor nearest the center of the "Marguerite," each pair 
 including the weaver, is twisted once ready to make the "Marguerite" or daisy 
 center. Here, if two leaves intersect, they do so like two Cluny braids, two 
 pairs used as one single thread. If three intersect, the two top diagonal ones 
 cloth-stitch like two Cluny braids, and a pin is placed ; then the third horizontal 
 leaf, cloth-stitches through these upper two, each two upper pairs being used 
 as one single thread. The pin is now removed and replaced below the triple 
 intersection, and is closed by again cloth-stitching the eight diagonal pairs, using 
 two pairs as one thread. 
 
 □= 
 
 -□ 
 
134 
 
 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 OF 
 
 Z Q 
 
 LINE D, COL. 1, 
 Twisted Hole Ground, Tulle Double, Maglia di Spagna. 
 
 This net is easy, strong and dainty. Is made by twisting twice and crossing, 
 placing a pin, and twisting twice and crossing to close it. 
 
 =□ 
 
□= 
 
 RULES FOR MAKING 
 
 135 
 
 LINE D, COL. 2, 
 Flemish, Trolle Kant, Fond Armure, Spinnekop. 
 
 One of these meshes requires six pairs like the six legs of a spider, two at 
 the left, two at the top, and two at the right. The body is made by means of 
 half-stitch. A pin should be placed at the top and the bottom of each spider 
 between the central legs. One begins below the top pin by making a half-stitch. 
 Then the right-hand leg traverses with a half-stitch all the right-hand pairs, 
 and the other leg all the left-hand pairs. Then one returns to the two central 
 pairs making another half-stitch, and again traversing for the second time all the 
 right-hand and all the left-hand pairs. One then returns to the center and does 
 this a third time. Then to finish the body one half -stitches with the two pairs 
 now at the center and places a pin below them. Now one uncrosses the two legs 
 at the left and the two at the right, which should be twisted only and not crossed 
 between one spider and the following one. Only the central legs begin and end 
 with a full half-stitch. 
 
 □= 
 
136 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 LINE D, COL. 3, 
 Droschel de Bruxelles, Drochel. 
 
 ••iiim.iiiW-iJ 
 
 The principle of this mesh is the same as that described under Lines B and C, 
 Column 3 ; except that at the top and bottom there is only one twist, and that 
 the sides are twisted and crossed six times. 
 
 This is not the usual Drochel de Bruxelles. 
 
 □= 
 
 =□ 
 
D- 
 
 RULES FOB MAKING 
 
 137 
 
 =Q 
 
 LINE D, COL. 4, 
 A Flemish Filling', a Lille Mode. 
 
 :^Pl&fllS^ 
 KiPJiw^S 
 
 * 
 
 iSHi^s 
 
 %*7< 
 
 &31 
 
 r^ 
 
 This is made in almost the same way as Line C, Col. 4, ' ' Rose Ground, Scan- 
 dinavian Ground, Point du Manage, Gelosia, Tulle Double," except that the 
 pins are so arranged as to make the mesh more circular, less elliptical ; and that 
 the pairs are twisted three times before each crossing instead of being twisted only 
 twice. 
 
138 
 
 Q= 
 
 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 -D 
 
 LINE D, COL. 5, 
 Plain Lattice Ground, Filet, Einfacher Gittergrund. 
 
 ess; 
 
 m 
 
 
 
 l's;:S« 
 
 
 I 
 
 $®iii*e£ 
 
 
 •I::! 
 
 W 
 
 :•':'< 
 
 Ml 
 
 
 «i ::■ 
 
 
 --■:: 
 
 
 Every pair is twisted three times between intersections. The joints are made 
 by linen-stitching. A pin should be placed in the center of each joint and left 
 there until the corresponding joint on the line below is ready to be pinned. The 
 upper pin should then be removed in order to prevent leaving a hole; but 
 it is necessary to use pins in order to preserve the alignment of the threads, which 
 must be pulled well into place. 
 
 n- 
 
 =□ 
 
RVLES FOR MAKING 
 
 □= 
 
 139 
 
 LINE D, COL. 6, 
 
 Ornamental Ground with Striped Effect in Diagonal Squares, 
 mit Streifen-Musterung in Karo-Einteilung. 
 
 Ziergrund 
 
 The two pairs entering the upper, left-hand ornament are twisted once, 
 crossed and twisted once. The two pairs entering the upper, right-hand orna- 
 ment are treated in the same way. The two pairs now at the center, one from the 
 left and one from the right, are twisted once and crossed. Here at the center 
 top a pin is placed and closed by twisting once and crossing. The pairs lying 
 upon the pillow may now be considered in their order from left to right as 
 first, second, third and fourth. The third and fourth pairs are twisted once 
 and crossed. A pin is placed at the center right and closed by twisting and 
 crossing. Then the third and second pairs are twisted and crossed without 
 pinning. Then the second and first pairs are twisted once and crossed; a pin 
 is placed at the center left and closed. Then the second and third pairs are 
 twisted once and crossed ; a pin is placed at the center bottom and closed, and one 
 is ready to make the lower ornaments as they were made above. 
 
 □= 
 
 =□ 
 
140 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 D= 
 
 =D 
 
 LINE D, COL. 7, 
 
 Square-meshed Valenciennes of Bruges, Ypres and Alost 
 (braided 4 or 4Vss times). 
 
 
 •:■ -■ ■■■• . ---j.7-".V.- :.;:.'.i:. - jr_'. !,:_:.:.- 
 
 See Line A, Column 7, Line B, Column 7 and Line C, Column 7. The 
 square-meshed Valenciennes of Bruges, Ypres and Alost is made in the same 
 way as that of Honfleur, except that the sides of the meshes are braided four or 
 four and a half times instead of one or one and a half times. This " Val" ground 
 is more open and clear than the three mentioned above, throwing any pattern 
 worked upon it into greater contrast and distinction. Tbe mesh described under 
 Line E, Column 7 forms an even clearer background. 
 
 D= 
 
 J3 
 
RULES FOR MAKING 
 
 141 
 
 LINE D, COL. 8, 
 Devonshire Taunton 
 
 1 
 
 
 
 1 
 
 S-: 
 
 
 After making the leaf-shaped outwork, a pin should be placed to support it 
 and the pairs twisted three times. They each cloth-stitch, and are twisted three 
 times, one going to the left and one to the right, where they meet pairs coming 
 from other petals, through which they linen-stitch. Pins are here placed, the 
 pairs twisted three times ; the pins closed ; the pairs again twisted three times. 
 Each pair now travels back to its own original line of vertical petals. At the top 
 of the leaf, its two pairs meet and cloth-stitch. The joint is supported by a pin ; 
 the pairs are twisted three times and are ready to begin a new leaf. 
 
 =□ 
 
142 
 
 Q= 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -P 
 
 LINE D, COL. 9, 
 Trude "C" Ground (original) (American). 
 
 
 
 Three pins are placed, one directly above the other, through the centers of 
 the squares, and one pin to each side. The first three support three small 
 crosses; the fourth and fifth, that is, the two to the side, support large crosses. 
 Beginning directly above the top center pin ; that is, the uppermost of the three, 
 the pairs are twisted twice and crossed; a pin is placed. The pairs are then 
 twisted once and crossed; a second pin is placed and the pairs are twisted 
 twice. Crossings are then made with the pairs at each side ; pins are placed under 
 these long crossings to support them, and one is now ready to twist twice and 
 begin over, the third pin at the bottom and the first pin at the top of a motif 
 being the same. 
 
 D= 
 
 =□ 
 
RULES FOB MAKING 
 
 143 
 
 =□ 
 
 LINE D, COL. 10, 
 "Bohemian Edged" Devonshire Bars and Cutworks. 
 
 
 :\: 
 
 :/ 
 
 :\ 
 
 ■ / 
 
 : \ 
 
 :■/ 
 
 :\ 
 
 ■/ 
 
 \ 
 / 
 :\ 
 \/\ 
 
 •A 
 
 \ 
 ■/ 
 !:\ 
 
 is±/z 
 
 \- 
 /- 
 V 
 
 si 
 
 /:• 
 V 
 /; 
 ^: 
 /5 
 
 \: 
 /: 
 
 \- 
 
 '/% 
 V; 
 
 /'■ 
 
 Six pairs are required for each bar, and two couples for each band or zig- 
 zag of cutworks. The center or solid part of the bars is made by linen-stitching. 
 At their edges the weaver is twisted twice, cloth-stitched through the outside or 
 edge, pendant pair, which has already been twisted twice, and hung outside of 
 the pin : the former, pendant pair turning inwards and becoming the new weaver, 
 is twisted twice before it enters the solid part of the braid. The leaves or petals 
 are made in the usual way. At the point where they touch the braid, the leaf 
 pair next to it, cloth-stitches in and out of the braid, a pin being placed in the 
 center of the stitch to hold both the braid weaver and the leaf. 
 
 =□ 
 
144 
 
 □= 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 LINE D, COL. 11, 
 Tulle Double or Redina Point de Paris Variation. 
 
 
 
 
 VV V -.. 
 
 § 
 
 5 
 
 ■ x v V v * 
 
 *X*X* 
 
 All the threads should be twisted twice between stitches. Where the diagonal 
 threads meet after having been twisted twice, the two inner ones should be 
 crossed, a pin placed, the pairs twisted twice, closed by crossing, and again 
 twisted twice, ready to cloth-stitch through the horizontal threads, which should 
 also be twisted twice. 
 
 =D 
 
n= 
 
 RULES FOE MAKING 
 
 145 
 
 LINE D, COL. 12, 
 Torchon, Russian or German. 
 
 This is a scrawny-looking ground, which does not wash well. 
 
 The ground is entirely made of half-stitches. Three pairs enter at the 
 upper left and three at the upper right. Pins are placed at the top, bottom and 
 two sides of the large shaded square, and at each corner of the small squares. 
 The part of the pattern that is worked over the little square — at the upper left- 
 hand corner of the big, shaded square — is begun by weaving from the left 
 towards the right through the middle and right-hand pairs, placing a pin and 
 closing it, returning towards the left through the same pairs to the lower left- 
 hand corner of the little ornamental square, around a pin there which is closed, 
 towards the right to the top center of the big, shaded square. Another ornament 
 is made in the same way reversed at the upper right of the big, shaded square. 
 Thus one weaver from each side meets and crosses at the top of the big dark 
 
146 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 a c 
 
 LINE D, COL. 12— Continued 
 
 Torchon, Russian or German. 
 
 square. Here a pin is placed and closed. After passing this pin, one weaver 
 hangs at the left, the other goes to the right, half -stitching through the remaining 
 pairs until it reaches the right-hand center pinhole, which is closed. One now 
 works through the pairs hanging at the left, straight across to the left hand 
 center where a pin is placed and closed. Then one works back towards the right 
 to the center pin at the base of the large, shaded square. The pairs are now 
 ready to make the little ornaments, which, though they are below the particular 
 large, dark square upon which one has been working, are above large squares 
 which are to follow ; so that from here on the rule duplicates. 
 See Line C, Column 12. 
 
 D =D 
 
RULES FOR MAKING 
 
 147 
 
 LINE D, COL. 13, 
 Point de Tresse with Plain, Side Picots. 
 
 
 -.:■■ 
 
 These braids are made iu the usual way, aud of course must not be made 
 too long. The picots are made in the ordinary way ; that is, by using the right- 
 most thread for making the right-hand picot, placing a pin under the thread 
 with the point downwards towards the left, raising the point downwards towards 
 the right over the thread, and sticking the pin into the indicated dot on the 
 pricking. To prevent a gap in the braid, one should make the picot immediately 
 after twisting, and should recommence the tress by twisting, pulling the threads 
 up tight. The picot on the left of the braid is made by using the leftmost 
 thread, holding the pin in the left hand, placing its point downwards towards 
 the right under the thread, bringing it downwards, up over the thread, towards 
 the left and into the indicated pinhole. 
 
 "When interweaving the braids through each other, one should make a cloth- 
 stitch, using two bobbins as though they were one, and supporting the joint 
 by a pin. 
 
 =D 
 
148 
 
 Q= 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -a 
 
 LINE D, COL. 14, 
 An Italian Filet with Toile Dots. 
 
 
 •^'•••••••222!22£S- 
 
 E ! !?f**»***2» i «22i22tf;i 
 
 ;^2fS22*«« fl *»2ii 
 
 X. 
 
 
 x: 
 
 
 XI 
 
 
 ±_ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 jj 
 
 N 
 
 Four pairs enter at the top of the dot and the weaver traverses it in cloth- 
 stitch twice from the right and twice from the left alternately, working all the 
 way from one side of the lace to the other through both twisted grille and linen- 
 stitch dots. Each pair should be twisted once in making the grille. Pins are 
 used only at the encountering edges as supports, or to guide one so as to avoid 
 confusion. They should be placed in the middle of the cloth-stitch — that is, 
 one thread above, one below, and one each side of the pin. 
 
 D= 
 
 =D 
 
o= 
 
 RULES FOR MAKING 
 
 149 
 
 LINE D, COL. 15, 
 Double Picots. 
 
 These cannot be made on both sides of a braid at the same spot, as that 
 would leave an ugly hole in the plait, so one must make all the picots either 
 towards the upper or towards the lower side of the tress. In this sample they 
 are made downwards, towards the lower side. The pins holding the picots 
 should be pricked right into the line of the braid, not to one side, as that would 
 pull the plait to one side, out of plumb. Two of the braid threads are used 
 for making the picots — the two that fall conveniently towards the lower side. 
 The right-hand thread is wrapped first under, then over the pin; the left-hand 
 one first over, then under the pin. The pin can be placed in the hole, and first 
 one thread, then the other wrapped around it. 
 
 □= 
 
 -□ 
 
150 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -a 
 
 LINE D, COL. 16, 
 Abruzzian Piscitelli. 
 
 Two pairs make the long, vertical spider or fish (as the name indicates) 
 bodj', which is not twisted except at the two ends. It is made of cloth-stitches 
 like a spider, but is not pulled up around a central pin as is that animal. The 
 weaver or horizontal pair cloth-stitches all the way across the lace in one direc- 
 tion, returning in the other, passing four times altogether through the bodies 
 of each parallel band of fish. The fish come directly below one another. The 
 working pair is twisted once between fish, but is not twisted while passing 
 through their bodies. At the top and bottom of the band, above and between 
 the passings of the weavers, at the beads and tails of the fish, the two fish pairs 
 are each twisted once, cloth-stitched through each other and again twisted once, 
 in readiness to enter and form the fish directly below. It is well to hold these 
 bodies in line by supporting the cloth-stitches above the fish by pins, which are 
 not, however, closed, but which should be removed when the next crossing is 
 made, so that the threads may be pulled up tight, leaving no conspicuous open- 
 ings. 
 
 a= 
 
 =□ 
 
□= 
 
 RULES FOR MAKING 
 
 151 
 
 =□ 
 
 LINE D, COL. 17, 
 Trude "Q" Ground (original) (American). 
 
 Each pair is twisted twice between outworks. Pins are used only for sup- 
 port. The horizontal line which traverses the ground between the outworks — - 
 that is, the one touching the point d 'esprit diamonds at their lower and upper 
 tips— is cloth-stitched with the pair, which in the cutwork just finished was the 
 weaving thread and its mate, thus securing the weaver ; but is only laid between 
 the two threads of the pendant or scaffold pair, in order to keep the joint as 
 small as possible. At the foot of each open diamond, the two hanging pairs 
 cloth-stitch through each other before meeting the horizontal pair. The cutwork 
 weaver should be left unmistakably longer than the other threads for at least 
 several stitches after the lerdwork is finished, or it may be inadvertently pulled 
 and ruin a point d 'esprit made some way back. 
 
 o= 
 
 =□ 
 
152 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 a — ~ 
 
 LINE D, COL. 17— Continued 
 
 Trade "Q" Ground (original) (American). 
 
 Pour threads are required for each cutwork. In starting at the top of a 
 solid diamond, one proceeds in the usual way to make a triangular or fan-shaped 
 point d 'esprit. See Line A, Column 15. When the center side is reached, how- 
 ever, one exchanges the two left scaffolding threads for the two outside ones 
 — which have first been twisted twice — that are found hanging directly to the 
 left. A pin is placed between the two pairs to support their linen-stitch joint, 
 and the two outgoing pairs are twisted twice to help keep the formation firm. 
 At the center of the right side of the solid diamond, the weaving thread and its 
 mate should be twisted once before cloth-stitching to avoid showing a long, loose 
 thread. This pair is then exchanged hy linen-stitching through its right-hand 
 neighbor from the outside, and a pin is placed beneath the stitch. When making 
 the exchange at the center of the sides, the two left-hand threads of the cutwork 
 must be woven and secured before the two right-hand threads, laying the weaver 
 meanwhile across some pins above, and taking it down only when' ready to 
 exchange it. The two new pairs now entering at the right side, now make the 
 lower half or triangle of the diamond. Here at the bottom of the solid fomi, 
 one can pull and wind all the bobbins evenly ; not so at the sides. After working 
 the weaving pair through the bottom of an open diamond to the right of its 
 former position, the threads should be very gingerly pulled into a smooth twist, 
 not touching or coaxing the weaver until the other threads are right, then using 
 this pair again as the weaver for the next cutwork below at the right. 
 
 a - □ 
 
RULES FOB MAKING 
 
 OF 
 
 153 
 
 LINE D, COL. 18, 
 Trude "S" Ground (original) (American). 
 
 :''-*s*t*tiiih-&:: %&\ 
 
 Each of these star formations consists of six equilateral triangular points 
 d'esprits or outworks, which are held in place by a pair of twisted, horizontal 
 threads that pass first to one side, then back to the other along and between 
 the horizontal tops and bases of these outworks, never through their apeces. 
 The horizontal pair is twisted three times between intersections or encounters, 
 and cloth-stitches through the points d'esprits pairs. Under the horizontal, 
 twisted pair and between the left-hand pendant threads of the cutwork at its 
 broad base, a pin is temporarily placed. Another one is put inside but not 
 between the two right-hand threads. After the three scaffolding threads have 
 been pulled into place, any loop or irregularity left by the weaver should be 
 carefully drawn out. 
 
 =□ 
 
154 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 g - q 
 
 LINE D, COL. 18— Continued 
 Trade "S" Ground (original) (American). 
 
 In finishing a cutwork, whether at its bottom or at its apex, the weaver and 
 its mate should be tied once with a granny knot; first, to prevent slipping, and 
 second, to make the point sharp and small. Keep the weaving thread long to 
 distinguish it and to avoid accidental pulling. Pins must be used between the 
 upper and lower apeces, where they meet, to hold the upper triangle until the 
 one just below is made. The three framework threads should then be pulled 
 until the pin hole is closed. 
 
 It may be found helpful to lay the weaver across two pins up out of the 
 way of the work until one is again ready to use it. 
 
 □ =a 
 
RULES FOB MAKING 
 
 155 
 
 LINE E, COL. 1, 
 Tulle de Dieppe. 
 
 ..'.V 
 
 
 m 
 
 This net is obtained by twisting the pairs three times, crossing, placing a 
 pin and closing it by crossing. It is made on the oblique. 
 
 □= 
 
 =□ 
 
156 
 
 □= 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 z o 
 
 LINE E, COL. 2, 
 Petits Pois de Dieppe 
 
 
 t&m. 
 
 
 £ 4k i 
 
 tsi 
 
 These spiders are made in the usual way ; see Line IT, Column 2 ; the two 
 center top pairs, however, are twisted three times and then cloth-stitch, having 
 a pin placed above the joint before entering the spider. At the bottom of the 
 spider the two center pairs, after making the joint, have a pin placed directly 
 below. Thus there are two pins between spiders vertically above each other. 
 The side spider legs are also twisted three times. 
 
 C\- 
 
 =□ 
 
□= 
 
 RULES FOB MAKING 
 
 157 
 
 LINE E, COL. 3, 
 Tulle (Bruges?) (2 twists). 
 
 This niesk is formed by twisting two bobbins twice on each side of it, crossing 
 their central pairs, placing a pin beneath the cross to support it, and again 
 twisting the pair now at the right-hand and the pair now at the left-hand, twice 
 each to begin a new mesh. 
 
 a. 
 
158 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 ■-u 
 
 LINE E, COL. 4, 
 Plain Torchon Spiders. 
 
 
 
 Each spider requires six pairs. In this sample each pair has been twisted 
 three times between spiders. Pins are used in the center of the spider bodies 
 only. These centers should be raised to give an arched effect. This is done after 
 the first half of the spider body is woven, by holding the pairs nearest the pin 
 up high and tight against it while closing it, closing the other, outer pairs lower 
 down and close to the pricking, and pulling the outer pairs up tight, so that 
 the inner ones cannot sink down into them. The spider is made by cloth-stitching 
 the three left-hand pairs in consecutive order through the three right-hand 
 pairs, putting up a pin, and closing it by cloth-stitching all the pairs through 
 each other in the reverse direction. The three legs that came in at the upper 
 right of the spider go out at the lower right and form the three upper left-hand 
 legs of another spider. 
 
 =0 
 
a- 
 
 RULES FOB MAKING 
 
 159 
 
 =□ 
 
 LINE E, COL. 5, 
 Buratto, Filet. 
 
 
 llllii! 
 mini 
 
 Sliiiil 
 
 lilliil 
 
 I«Ii 
 
 Sliiiil 
 
 
 This ground has been much used as a network upon which to embroider. 
 It is usually woven, but directions are here given for making it with bobbins 
 on a lace pillow, should one wish to. 
 
 The vertical pairs are twisted three times between intersections. The single 
 horizontal thread is simply laid between them at regular distances and sup- 
 ported, at least at every other crossing, by pins, which keep the whole from 
 pulling out of alignment. These pins should not be left in long or they will 
 spread the twisted threads, leaving holes behind. 
 
1G0 
 
 □= 
 
 A LACE GUIDE FOE MAKERS AND COLLECTORS 
 
 -LJ 
 
 LINE E, COL. 6, 
 
 Ornamental Ground with Zigzag Diagonal Stripes, Ziergrund mit 
 Streifen-Musterung in Zacken-Einteilung. 
 
 This Virgin Point is made fundamentally the same as the Ornamental 
 Ground with Striped Effect in Diagonal Squares, Line D. Column 6, only the 
 two pairs leaving the bottom of the square or block instead of intersecting each 
 other, are separated. The upper pair, working upwards to join by a half -stitch 
 the lower pair of the block above; and the lower pair, intersecting by means 
 of a half-point, the uppermost pair of the square below. Thus the block is 
 pulled apart into a zigzag. It is best to make the squares as one works down- 
 wards from right to left, and then make the ornaments as one reascends from 
 left to right. At the edges, where certain pairs are lacking, the stitches should 
 be made as much as possible like the others, proceeding in the same way. 
 
 □= 
 
 =□ 
 
RULES FOB MAKING 
 
 □= 
 
 161 
 
 LINE E, COL. 7, 
 Square-meshed Valenciennes of Alost and Ypres (braided 5 or 5Yz times). 
 
 See Column 7, Lines A. B, C and D. The mesh of Alost and Ypres is made 
 in the same way as those described above, except that the sides of the mesh are 
 braided five or five and a half times, producing a peculiarly distinctive and 
 clear-cut ground. 
 
 d= 
 
162 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -a 
 
 LINE E, COL. 8, 
 Devonshire Second Swing Filling. 
 
 
 *«*. 
 
 :.'« 
 
 "V 
 
 This stitch is apt to look slovenly unless it is carefully made. 
 
 After a eutwork has been finished, a pair from the left, twisted three times, 
 cloth-stitches through the lower, left-hand pair of the eutwork, also twisted 
 three times; the pairs are again twisted three times; a pin is placed and closed 
 by linen-stitching. Here the pairs are once more twisted three times. The 
 left-hand pair enters the lower eutwork; the right-hand pair works towards a 
 new circle on the lower right. This filling is made from the upper left to the 
 lower right : first a whole row of outworks, then a whole row of circles, et cetera, 
 alternately. No pins are used for the outworks themselves, but only in the 
 circles. The eutwork weaver enters at its upper left and leaves at the lower 
 right. 
 
 a. 
 
 =D 
 
D= 
 
 RULES FOB MAKING 
 
 163 
 
 =□ 
 
 LINE E, COL. 9, 
 Devonshire Honeycomb Filling. 
 
 Fifteen pairs were used to make this sample. 
 
 Each pair is twisted between crossings and each crossing is supported 
 by a pin, but not closed. The pricking is made on the square, not on 
 the diagonal. Two pairs are crossed at the upper right-hand corner and a pin 
 is placed below. Then the top of the large opening is made by crossing, and 
 here another pin is placed. Then the small space to the left of the large opening 
 is made by crossing. In this way one works all the way across from the right 
 to the left of the lace ; then recommencing at the right, one makes a row of little 
 crosses at the center sides of the small squares on the pricking. The large, long 
 crossing at the right must always be made before the almost parallel one at the 
 left is started. The long crossings come at the center top and bottom of the 
 squares on the pricking. 
 
164 
 
 a— 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 =0 
 
 LINE E, COL. 10, 
 Binche Mode. 
 
 §i & §* & 
 
 ?«e it &t «? 
 
 *m 
 
 
 
 x: : : : . . 
 
 •X- ■ • 
 
 : : : :*: : 
 
 : : : : : : x 
 
 Six vertical threads and a weaving pair are required for each bar, one to 
 the right and one to the left of the zig-zag, and one pair is needed for the 
 zig-zag itself; the braid part of which is made in conjunction with a borrowed 
 worker, which the zigzag transfers to the bar opposite the one from which it 
 was borrowed: borrowing a new worker from the second bar, et cetera. After 
 exchanging weavers, one should make two pins' length only of the vertical, cloth 
 band before beginning a zig-zag braid, as this furnishes a firm foundation against 
 which to pull. The conductors are twisted twice around the winkie pins at the 
 
 P= 
 
 
RULES FOR MAKING 165 
 
 3 =U 
 
 LINE E, COL. 10— Continued 
 
 Binche Mode. 
 
 side of the upright bars ; also before and after crossing in and out of the zig-zags. 
 The zig-zag makes three braid stitches with its newly borrowed weaver. 
 
 Though this stitch is simple, it is confusing, so the bar should not be com- 
 pleted more than two pin holes ahead of any of the rest of the work. The 
 uppermost conductors must be exchanged and braided in before the next lower 
 pin hole of the opposite cloth bar can be worked. The zig-zag spine always hangs 
 between the bars, and two weavers cannot enter two, opposite, cloth bands at the 
 same time. The zig-zag pair itself must not be used by mistake for a weaver, 
 although the braid pair nearest the bar is always used as the exit conductor. 
 One must be sure to twist both pairs twice before uniting a new weaver and 
 the spine. 
 
 n • . , n 
 
166 
 
 □= 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -a 
 
 LINE E, COL. 11. 
 Point de Paris Variation with Tressed Sides. 
 
 
 *9M9Mim 
 
 Hh'i 
 
 I 
 
 ■Hi- 
 
 
 The sides of the four vertical pairs should he braided four times; the 
 diagonals twisted twice below the horizontal line and twice above it. The weaver 
 or horizontal pair is twisted twice between stitches, aud linen-stitches through 
 the diagonals. 
 
 D: 
 
 =;□ 
 
□= 
 
 RULES FOR MAKING 
 
 167 
 
 =□ 
 
 LINE E, COL. 12, 
 Torchon. 
 
 This requires the entrance of five pairs at each upper side of the small, solid 
 junction-square formed by the crossing of the oblique bands of the design. 
 Half -stitch should be used, and the weaver must not be confused, as using the 
 wrong pair leaves an ugly hole. The two weavers, one from the left and one 
 from the right, meet at "1," the topmost, central, point of the small, solid, 
 diagonal junction-square. The right weaver closes the pin, returns towards 
 the right and continues as general weaver, going from points 1 to 2, 3, 4, 5 and 6, 
 where it closes with the third pair, which again becomes a worker, each weaver 
 continuing in its own direction; "4" and "5" are the only pin holes in the 
 big, outer, open square that do not connect with something. They are above the 
 
 ft 
 
 zD 
 
166 
 
 □= 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 --u 
 
 LINE E, COL. 12— Continued 
 
 Torchon. 
 
 lower, central point of the solid junction-square that is formed by the crossing 
 of the diagonal bands of the design. 
 
 The ornament in the center of the large, open square is formed by dropping 
 a pair out of the oblique bands after closing each pin, two coming out of each 
 upper side and re-entering the lower sides of the big square after having made 
 the ornament. The ornament requires five pins, closed by half-stitches, each pair 
 twisted twice between pins, but not in closing. 
 
 a= 
 
□- 
 
 RULES FOB MAKING 
 
 169 
 
 LINE E, COL. 13, 
 Point de Tresse with Knotted Picots. 
 
 One should use the right hand for the right-hand edge, placing a pin to the 
 left under the rightmost thread of the plait, over the thread to the left of it, 
 drawing the left-hand thread towards the right, under the right-hand thread, 
 pointing the pin downwards and up over the right-hand thread, drawing this 
 latter up under the left-hand thread, through the long loop formed between the 
 two original hanging threads, bringing the pin out with this right-hand thread 
 and placing it in its pricked hole. The bobbins now cross. One should now 
 cross the right-hand one of the next pair on the left over the left-hand one of 
 the picot pair. 
 
 For the left-hand one does the same reversed, with the left hand, but in 
 finishing one should cross the left-hand bobbin over the right and the same one 
 on over the left-hand one of the next interior pair. 
 
 □= 
 
170 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 a — = 
 
 LINE E, COL. 13— Continued 
 Point de Tresse with Knotted Picots. 
 
 Another rule is, just to twist and cross after making the left and right 
 picots the same as for an ordinary one, and to twist before making a picot. The 
 author prefers this method. 
 
 When interweaving the braids through each other, one should make a cloth- 
 stitch, using two bobbins as though they were one and supporting the joint by 
 a pin. 
 
CF 
 
 RULES FOR MAKING 
 
 171 
 
 =□ 
 
 LINE E, COL. 14, 
 Italian Spiders with 4 Twisted, Horizontal Bars. 
 
 
 
 The wavy, upright lines of the spider are made of four pairs, untwisted in 
 the spider-body itself, though each pair is twisted once between intersections in 
 the open part of the pattern. All the joints are linen-stitched. The two pairs 
 coming from the upper left cloth-stitch in consecutive order through those coming 
 from the right, and a pin is placed to support the upper apex of the spider. 
 Then the horizontal pairs weave through the body, and the spider is closed by 
 repeating in the reverse direction the process just outlined for beginning it. 
 The base of each spider is supported by a pin, and the horizontal pairs are 
 also supported by pins where they cross in the center of the spider. Through 
 the body proper run four horizontal bands or pairs. These are twisted once 
 between spiders and once in the open center of the spider, forming a river or 
 
 n= 
 
172 A LACE GUIDE FOR MAKERS- AND COLLECTORS 
 
 - --•■■-- -Q 
 
 a 
 
 LINE E, COL. 14— Continued 
 
 Italian Spiders with 4 Twisted, Horizontal Bars. 
 
 open eye. They are not, however, twisted as they weave through the upright, 
 wavy pairs. 
 
 The open part of the pattern between upper and lower rows of spiders is 
 formed by each of the lower right-hand legs of an upper left-hand spider being 
 twisted once and linen-stitched in consecutive order through the lower left-hand 
 legs of an upper right-hand spider, which should also have been twisted once. 
 But one must not forget to twist those legs again after they have completed one 
 linen-stitch and before they begin another, so that each side of the little square 
 is twisted once. After this square is completed, each leg is twisted once before 
 beginning new spiders. 
 
RULES FOR MAKING 
 
 173 
 
 =□ 
 
 LINE E, COL. 15, 
 
 Marguerites a Six Petales (one sided joint). 
 
 No. 1 
 
 Each leaf is made of four threads ; — six radiating leaves making one ' ' Mar- 
 guerite. " These may be supported by pins here and there at the end of one 
 petal and before commencing the next or wherever else it is found convenient. 
 
 These six-leaf joints are necessarily one-sided. The two upper petals being 
 finished, cloth-stitch through each other, each pair being used as a single thread. 
 Here, if the horizontal petal comes from the left, it cloth-stitches through the 
 left-hand four threads which come from the right-hand upper petal. Then a 
 pin is placed. The four horizontal threads now cross-stitch again through the 
 same four threads they intersected before, which closes the pin. The horizontal 
 pairs now form the left-hand lower leaf. The other two pairs which come from 
 the right-hand upper leaf, linen-stitch through the remaining two pairs which 
 come from the upper left-hand leaf and which now form the lower right-hand 
 leaf. "When the horizontal leaf comes from the right-hand side, the method of 
 procedure is exactly reversed, as shown in this diagram. The centers of these 
 daisies should be raised by holding the pairs next the pin higher than the outer 
 ones and by pulling these latter tighter than the inside ones. 
 
 d= 
 
174 
 
 .1 LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 a= 
 
 -u 
 
 LINE E, COL. 16, 
 Trude "K." Ground (original) (American). 
 
 This ground is similar to those illustrated and explained under Column 16, 
 Line D ; Column 16, Line G ; and Column 16, Line F. The working pair cloth- 
 stitches all the way through each band of fish from the right to the left, then 
 back, making four trips altogether. The workers are twisted once between 
 bodies, as are also the oblique, passive pairs between linen-stitches: but the 
 weavers are not twisted in passing through the actual fish. Not counting the 
 heads and tails of the fish, the oblique pairs cloth-stitch through each other once 
 between fish, forming one open square below the tail of one fish and the head 
 of another. The fish are placed directly below one another. Where the diagonal 
 pairs meet to form a fish — that is, at their heads — they linen-stitch and are 
 twisted once, the stitch being supported by a pin. The same procedure reversed 
 is used to form the tails; that is, the pairs are twisted, a pin is placed and a 
 linen-stitch made. 
 
 =Q 
 
D= 
 
 RULES FOR MAKING 
 
 175 
 
 =□ 
 
 LINE E, COL. 17, 
 ? 
 
 Each line on this sample represents two threads. In the long spaces, they 
 are twisted four times: in the short spaces, once. The joints are made by cloth- 
 stitching. A pin is placed in the center of each joint to keep the lines straight : 
 but is taken out and used again in the next lower line as soon as that is made, 
 to prevent pin gaps. All threads should be pulled taut. 
 
176 
 
 a= 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -a 
 
 LINE E, COL. 18, 
 
 Marguerites a Centre de Toile. 
 
 Four threads are required for each leaf, and four leaves enter each "Mar- 
 guerite" or daisy at the top, two at the left and two at the right. After making 
 the long, slim petals, the eight left-hand threads cloth-stiteh through the eight 
 right-hand threads, forming a small square placed on the diagonal. The four 
 threads making their exit at the lower right-hand side of the square become 
 the two lower right-hand leaves of this particular linen square, and at the same 
 time the two upper left-hand leaves of the square obliquely below. The remain- 
 ing eight threads are woven into two lower left-hand petals, becoming in turn 
 the upper right-hand petals of a square diagonally below. Pins should be placed 
 at the lower ends of the leaves to keep them from unravelling until the little 
 square dots are finished. However, when these pins are removed, all holes and 
 loops must be carefully pulled out before new petals are commenced. A sup- 
 porting pin should be placed below the lower corner of the square to hold it in 
 place. None of these pins are closed. 
 
 □= 
 
RULES FOR MAKING 
 
 177 
 
 LINE F, COL. 1, 
 Redina, Maglia di Spagna. 
 
 This net is obtained by twisting three times and crossing, placing a pin, 
 twisting twice only and crossing to close. This mesh is made diagonally, and 
 is similar in effect and strength to Tulle Double, though slightly more open. 
 
 D= 
 
 zD 
 
178 
 
 □= 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -P 
 
 LINE F, COL. 2, 
 Les Mille Pattes. 
 
 mm 
 
 ■ * • • 
 
 This is a series of spiders made with four pairs of bobbins, each pair twisted 
 three times. The pairs coming from the upper left linen-stitch in consecutive 
 order through those coming from the upper right. A pin is placed and closed 
 by repeating this process in the reverse direction: so that the upper left-hand 
 legs of the spider are also its lower left-hand legs, becoming the upper right- 
 hand legs of a new spider on a lower line. To raise the centers of the spiders 
 one should hold the innermost pairs of the joint somewhat up in the air against 
 the center pin, pulling the outer pairs especially tight in closing them, so that 
 the inner pairs cannot sink down into them. 
 
 See Line E, Columns 4 and 2. 
 
 0= 
 
 =□ 
 
RULES FOR MAKING 
 
 179 
 
 Q= 
 
 =Q 
 
 LINE F, COL. 3, 
 
 Tulle Ground, Lille, Filoche, Fond Clair, Fond Simple, Point de Brabant, 
 Trolly Net, Tondern, Arras, Marche, Point de Hollande, Dutsche Slag. 
 
 B^gfdHfe-;^'; 
 
 See Line E, Column 3. 
 
 This ground is made by twisting the sides of the meshes three times each ; 
 then crossing the inner thread of each pair, placing a pin beneath this joint to 
 support it, and again twisting three times the pairs formed at the right and left. 
 
 □= 
 
 =D 
 
180 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -o 
 
 LINE F, COL. 4, 
 Potten Kant, Flemish, Antwerp. 
 
 This ground requires four pairs to each mesh, two entering at the left and 
 two at the right, and two correspondingly leaving at the lower left and two 
 at the lower right. The two upper left-hand ones cloth-stitch through each 
 other before entering the main square of the design : but those at the right have 
 already linen-stitched in finishing the preceding square. The conductor or 
 weaver comes from the right-hand, cloth-stitching through the two left-hand 
 pairs. A pin is placed here at the left of the middle of the side of the solid 
 square. The weaver should be twisted once around the pin and cloth-stitch 
 back through the two pairs that came from the left ; but in addition, through the 
 one waiting at the right. Another pin is placed at the right of the square 
 opposite the first pin. The conductor is twisted, returns towards the left with- 
 out pinning and finishes the square. Each square requires two pins directly 
 opposite each other, causing the weaver to run a little uphill in returning from 
 the left toward the right. The solid squares follow each other diagonally, the 
 workers always travelling from the right towards the left, and one pair always 
 working from the left towards the right, cloth-stitching through the vertical 
 pair at the beginning of each solid square. 
 
 -D 
 
RULES FOE MAKING 
 
 181 
 
 LINE F, COL. 5, 
 
 Un Forsd Hollaitdais, Filet. 
 
 WB%^8§& 
 
 WMsmimmmM^ 
 
 This filet was made with seven, hanging pairs and a working pair. Bach 
 pair is twisted twice between joints. The joints are made by cloth-stitching. 
 Pins are placed under the joints to keep them in place; but an upper line of 
 pins is removed as soon as a lower line is reached in order that no gaping holes 
 may be left. 
 
 =□ 
 
182 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 LINE F, COL. 6, 
 Lccherschlag. 
 
 
 This plain, but pretty ground, is procured by twisting once, crossing, 
 pinning, twisting twice, and then crossing to close. It is made on the oblique. 
 
 □= 
 
□= 
 
 RULES FOR MAKING 
 
 183 
 
 =□ 
 
 LINE F, COL. 7, 
 Valenciennes Mixte. 
 
 The making of this ground is similar to that of the square-meshed "Vals": 
 see Line A, Column 7. After the braided sides have been made, one should 
 weave the linen-stitch as in the square-meshed "Val," not twisting these two 
 pairs before cloth-stitching; but twisting them both once after the linen-stitch 
 is made, before beginning the new braid. The outside, or pendent pairs, are 
 twisted once as in the square-meshed Valenciennes. 
 
 D= 
 
 zO 
 
184 
 
 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 -a 
 
 LINE F, COL. 8, 
 Devonshire Swing Filling, Spot Stitch, and no Pin. 
 
 As A. Penderel Moody says, "Either name refers to the working of the 
 stitch, no pins are necessary, and the same worker is swung from each cutwork 
 to the one below." Although Moody's book on "Devon Pillow Lace" suggests 
 making this stitch from the right to the left, it seems perfectly easy to follow 
 the general rule of making it from the left to the right, except, perhaps, in some 
 peculiarly formed space. The weaver would then always come between the 
 lower right of an upper cutwork and the upper left of a lower cutwork. In 
 working from the left, the two left-hand or skeleton threads of a cutwork are 
 secured with the following stitch below or to the left of it in order to give a 
 firm foundation against which to pull, for one cannot pull the weaver of a 
 working pair without misshaping the cutwork. This is, perhaps, what Penderel 
 Moody means by working from the right to the left, as the work would progress 
 in a diagonal line slanting that way. The weaver itself should always be left 
 long to distinguish it, and the same one should be used in each successive cut- 
 work to avoid ever pulling it unduly. The pairs should be twisted three times 
 between points d 'esprit. 
 
 □= 
 
RULES FOE MAKING 
 
 □= 
 
 185 
 
 LINE F, COL. 9, 
 A Lille Jour. 
 
 
 
 This is made on the basis of Point du Mariage, but each second motif 
 alternates and is cloth-stitched. The pricking is on the diagonal. At the bottom 
 of the Point du Mariage motif where the solid part begins, the two center 
 pairs linen-stitch; a pin is placed, the pairs are twisted twice and the pin is 
 closed. The weaver then works towards the right, working through the right- 
 hand mariage pair, which should first be twisted twice; here the pairs again 
 cloth-stitch; another pin is placed; the pairs around it are twisted twice and 
 weave towards the left. Here at the left, the pair hanging from out the mariage 
 
 □= 
 
186 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 a 
 
 LINE F, COL. 9— Continued 
 
 A Lille Jour. 
 
 motif, must also be twisted twice. At the center left and right of the solid 
 motif, the weaver cloth-stitches through the mariage motif at its side ; pins are 
 placed and closed. The worker here in the space between the two motifs, is 
 twisted only once, in order that the solid part may not be pushed back, but 
 remain as wide as possible. At the bottom of the solid motif, the two center 
 pairs cloth-stitch ; a pin is placed : but here one recommences the mariage stitch. 
 Point du Mariage or Tulle Double is described under Line C, Column 4. At 
 the sides where the mariage motif meets the weaver of the solid spot, the mariage 
 pair should be twisted twice before and twice after the intersection. 
 
 a =Q 
 
RULES FOB MAKING 
 
 187 
 
 =a 
 
 LINE F, COL. 10, 
 Devonshire Toad-in-the-Hole. 
 
 The little cutwork toad is guarded by four cloth-stitch walls; each wall 
 requires four pairs, and each cutwork two. This pricking is made on the 
 diagonal. Each cutwork pair is twisted three times; then the cutwork is made 
 and the weaver and its mate are looped together once to avoid unnecessary 
 pullings. The weaver should be left longer than all the other threads, that it may 
 always be distinguished and not inadvertently pulled. In all cutwork fillings, 
 one should work from the left to the right ; then starting again at the left, so as 
 to secure the two left scaffold or foundation threads of the cutwork with the next 
 stitch before weaving the point d 'esprit worker into its succeeding stitch. After 
 the cutwork and the looping are finished, a supporting pin is placed below the 
 leadwork and both cutwork threads are again twisted three times. These lead- 
 works should come exactly in the middle of each square. The cutwork pairs are 
 
 =□ 
 
138 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 a ' : c 
 
 LINE F, COL. 10— Continued 
 
 Devonshire Toad-in-the-Hole. 
 
 now ready to cloth-stiteli downwards, each couple on its respective side through 
 the four threads on each side that are going to make the wall directly below. 
 This done, the cutwork pairs are again twisted three times and are ready to 
 make new points d 'esprit, the same weaving threads being used throughout 
 from upper row to lower row as workers. 
 
 Before starting a wall one must cloth-stitch the two upper left-hand pairs 
 and the two upper right-hand pairs; when the right-hand inside couple becomes 
 the weaver, working through the remaining pairs at the left, so that the first 
 pin is placed at the upper left. At the edge of the wall, the workers are twisted 
 three times around the winkie pin and woven back into the wall. "When the last 
 of these wall holes has been reached, the bobbins are again divided into two 
 sets; the two wall pairs at the lower right, after having been intei'sected by the 
 weaver, cloth-stitch through each other and pass towards the right; the weaver 
 and the remaining left-hand pair linen-stitch together towards the left. These 
 two sets are now ready to intersect the descending, diagonal, cutwork pairs. 
 When the wall sets thus divide, they run horizontally. 
 
 D — □ 
 
RULES FOR MAKING 
 
 189 
 —n 
 
 LINE F, COL. 11, 
 Trude "F" Ground (original) (American). 
 
 
 >. . o . < 
 
 > ■ o ■ < 
 
 o.-e 
 
 Each shield in this design is made of four threads; two coming from the 
 left and two from the right. The pins are' placed directly below each other 
 and the pricking is on the square ; that is, vertical and horizontal. The pins are 
 placed above the joint to hold it down. The sides are braided four times and 
 the tops and bottoms are twisted twice, crossed and twisted twice. This mesh 
 loses its shape in washing. 
 
 D= 
 
mo 
 
 D- 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 =u 
 
 LINE F, COL. 12, 
 A Fancy Zeccatello. 
 
 Bach linen-stitch spot is made up of eight threads, and each complete motif 
 requires four linen-stitch spots with an open, twisted cross between. All joints 
 are made by cloth-stitching. A weaver and a pendant pair enter at the top of 
 the linen, left-hand, upper square. Here a pin is placed and closed. Then one 
 weaves towards the left corner of the square, places a pin and closes it. Then 
 to the right-hand lower corner of the same square, where another pin is placed 
 and closed, then to the bottom, where a pin is placed and closed, the threads then 
 entering the square directly below. The upper, right-hand, linen square of the 
 motif is made in the same way, but reversed; that is, a pin is placed first at 
 the top, then at the right-hand corner, then at the left, then at the bottom. 
 The other two pairs, which enter at the tops of these two linen spots, after 
 cloth-stitching through their centers, emerge below, coming towards each other, 
 
 □= 
 
 =D 
 
RULES FOB MAKING 191 
 
 3 - - =n 
 
 LINE F, COL. 12— Continued 
 
 A Fancy Zeccatello. 
 
 ready to intersect and form the open cross in the center of the motif. Each 
 pair is twisted once, cloth-stitched, twisted again, cloth-stitched through the 
 second, opposite pair and again twisted once. In finishing the two lower blocks, 
 one is really starting new ones below to the right and left; the right-hand lower 
 square becoming the left-hand upper square of a succeeding motif. The grill- 
 like, twisted, center threads are now cloth-stitched into the lower blocks to form 
 their bodies. It should be remarked that these squares are not exactly opposite : 
 — the uppermost pair in leaving a higher square, crosses through the grilled 
 center and enters the middle of tbe lower square to the other side: the pair coming 
 from the middle of the upper block crosses and enters at the lower part of the 
 side of the square below. 
 
 -□ 
 
192 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 a== ===== — === 
 
 LINE F, COL. 13, 
 Valenciennes Picots. 
 
 
 These plaits are braided in the usual manner, and the linen-stitch joints 
 are made as in Lines D and E, Column 13. 
 
 The right-hand pair is here used to make the picot. It is twisted three 
 times and followed by an ordinary picot as explained under Line B, Column 13. 
 To complete it, one crosses the two threads of the pair, takes the exterior thread 
 alone and places it in the reverse direction over and around the pin. One then 
 twists the pair three times, and having twisted the waiting, unused pair of the 
 braid, recommences plaiting. 
 
 Q= 
 
 =D 
 
EVLES FOB MAKING 
 
 193 
 
 LINE F, COL. 14, 
 Italian Open-eyed, Cable-like Spiders. 
 
 ■"••-•'JSK\W •'!.'■'•& § •'*? 
 
 Eight threads enter at each side of the top of every spider, cloth-stitching in 
 consecutive order through each other. Each spider is closed in the same way, 
 but reversed, at its base. At the upper left of the spider inside the innermost 
 pair, a pin is placed and then this pair linen-stitches through its mates towards 
 the left. Once outside the spider, this pair is twisted once. Here it meets a 
 corresponding pair — also twisted once — coming in the opposite direction from 
 the spider next to the left. These two now cloth-stitch and the joint is sup- 
 ported by a pin, each pair being twisted once after the joint. These pairs there- 
 fore exchange, each one working towards the opposite spider, linen-stitching 
 through it till it reaches the inside, where in the same way that a Bohemian edge 
 is made, the newly-entered pair becomes the inside spider pair and the former 
 inside spider pair exits around a pin by linen-stitching outwards through the 
 other pairs and doing as was done before, just above. In all, there are three 
 such exchanges on each side of every spider, so that three pins are placed be- 
 tween spiders and three pins on the inside of each side of every spider. 
 
 □= 
 
 =D 
 
194 
 
 □= 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 LINE F, COL. 15, 
 
 Demi-Marguerites. 
 
 v.-.T. • 
 
 
 
 These half-daisies alternate with braids that are ornamented with a pieot 
 on each side of the middle of their long sides. The centers of the marguerites 
 should stand up as has been described elsewhere under Line F, Column 2. Pins 
 are placed at the beginning or end, as it may be, of each petal, at the point 
 where it joins a braid. The horizontal leaves have to be added at either the 
 left or the right, according to which marguerite is ready first or according to 
 one's preference of direction in weaving: have to be added in the air; that is, 
 cloth-stitched through an incoming braid, using two threads of the braid as 
 one thread, before the center of the daisy is made, in order that the new pairs 
 may be well anchored. The centers should be made in this case the same as in 
 an eight-leaved daisy. See Line G, Column 15. 
 
 =D 
 
□= 
 
 RULES FOE MAKING 
 
 195 
 
 LINE F, COL. 16, 
 Trade "L" Ground (original) (American). 
 
 
 18ff»fira!a»Sf!ll 
 
 • - ; 
 
 
 k2sL ■•'"•ft :^!?!SrS?J:;<"»: :<•»•"•» *;., 
 
 ■:- - 
 
 See Column 16, Line E, and Column 16, Line G. The method of working 
 is similar to that of Trude"K" Ground, but the bodies of the fish are placed 
 alternately below one another instead of directly below each other as in Trude 
 "K" Ground; and instead of the diagonal pairs passing through each other 
 only once — not counting their exits and entrances into fish — they, in this case, 
 cloth-stitch through each other twice between tails and heads; and are twisted 
 once between stitches. The horizontal workers are also twisted once between fish, 
 but not while working through the bodies ; and the fish pairs themselves are 
 twisted once at the head and tail, where pins are placed before finishing each 
 body with a cloth-stitch. 
 
196 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -u 
 
 LINE F, COL. 17, 
 Dieppe Three-Thread Valenciennes. 
 
 Each braid requires three threads and should be made by placing the right- 
 hand thread over the center thread ; then the left one over the center one. This 
 should be done three times with each braid between intersections. The joint is 
 made by cloth-stitching the four threads nearest the center, placing a pin below 
 the linen-stitch to support it and avoid confusion. Meanwhile one thread should 
 be left idly dangling each side of the joint. These idle, side threads are again 
 taken up and braided after the joint is finished. The braiding is recommenced 
 in the same way as before, by placing the right thread over the center, then the 
 left one over the center. 
 
 D= 
 
 =a 
 
RULES FOR MAKING 
 
 a= 
 
 197 
 
 — o 
 
 LINE F, COL. 18. 
 Tulle Double Done on the Square. 
 
 •IS— A— A— A 
 
 
 This ground is made in the same way as that described under Line D, 
 Column 1, except that the pricking is not on the diagonal, and the threads run 
 vertically and horizontally instead of obliquely: the horizontal threads being 
 used as the weavers, working from left to right on one line and from right to 
 left on the succeeding one; in other words, alternately. 
 
 □= 
 
 -D 
 
198 
 
 0= 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 LINE G, COL. 1, 
 Tulle de Vienne, Genre Valenciennes. 
 
 Pins are used in this net only to sustain the joints, but are not closed. The 
 two pairs, one from the left and one from the right, are each twisted three times ; 
 then crossed, twisted and crossed to form the joint. 
 
RULES FOR MAKING 
 
 D= 
 
 199 
 
 LINE G, COL. 2, 
 Round Spiders in Twice-twisted Hole Ground, les Arraignees Rondes. 
 
 Each of these spiders requires six pairs to form the legs, three at the upper 
 right and three at the upper left. Two more pairs are needed to form the circle 
 around the spider, and another two pairs to form the square around the circle. 
 The spiders themselves are made in the usual way; as, for example, in Line H, 
 Col. 2 ; the legs twisted three times : but the circle around the spider is made, 
 if the pairs have not already been twisted, by twisting them twice and crossing, 
 placing a pin, and crossing to close it. The square outside of the circle is made in 
 the same way. 
 
200 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 =D 
 
 LINE G, COL. 3, 
 Tulle (5 twists). 
 
 The principle of this mesh is the same as that described under Lines E and 
 F, Column 3 ; except that the sides are twisted five times, making it appear less 
 even and well-balanced than the ground of Line F, Column 3. 
 
 n- 
 
 =n 
 
RULES FOR MAKING 
 
 D= 
 
 201 
 
 LINE G, COL. 4, 
 
 Round, Open-eyed, Brabant, Binche Spiders, Oeil de Perdrix, Reseau Rosace, 
 
 Point de Flandre. 
 
 Eight pairs are needed to make this very pretty, but somewhat complicated 
 spider. Six pairs for the body proper ; three entering at the upper left, inside 
 of the circle ; and three at the upper right, inside of the circle. At the top of the 
 circle, the inside, or first two pairs which meet, are cloth-stitched through each 
 other, the joints supported by a pin, partly to avoid confusion. These two en- 
 circling pairs then cloth-stitch through the spider legs, being twisted once 
 between stitches. At the bottom of the spider they meet again and once more 
 cloth-stitch through each other, the joint being supported as before by a pin. 
 Each spicier leg is twisted twice. In order to make this body, the prominent part 
 
 □= 
 
 =□ 
 
202 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 =□ 
 
 LINE G, COL. 4— Continued 
 
 Round, Open-eyed, Brabant, Binche Spiders, Oeil de Perdrix, Reseau Rosace, 
 
 Point de Flandre. 
 
 of which is the open eye at the center, so made that it cannot close, because the 
 pairs pull away from each other, some of the pairs have to be split or separated, 
 one thread from its mate. The top, center or first, upper, right-hand pair 
 passes continuously from the top to the bottom of the spider, cloth-stitching 
 through whatever pairs it meets: but keeping to the right of the pin. The 
 second, upper, right-hand leg does likewise; the third, upper, right-hand leg 
 cloth-stitches through whatever pairs it meets; but keeps above the pin and 
 passes from the upper, right-hand side of the spider to the lower, left-hand side 
 of the spider. The first, upper, inside, left-hand leg separates, its left-hand 
 thread lying idle until there is another separate thread to take for its mate, 
 when it cloth-stitches through the pairs it meets, keeping to the left of the pin. 
 Its right-hand thread does likewise, but passes to the right of the pin, around it, 
 below it, and back to its original mate. The second, upper, left-hand pair 
 splits in the same way. In fact, its two threads become respectively the mates 
 of the two preceding threads. After passing around and under the pin, the 
 original pairs rejoin each other. The third, or lowest, left-hand, upper leg does 
 not separate ; but keeps on the underside of the pin, passing from the upper left 
 to the lower right of the spider. In this way, there are six threads to the left of 
 the central pin and six to the right. Each spider leg is twisted twice just 
 inside of the circle, outside of the spider body, as noted above. The pairs outside 
 of the circle are each twisted once and in couples cloth-stitch through each other, 
 making crosses; are again twisted once, and are then ready to pass into another 
 circle. The top and bottom center legs combine with the wheel or circle : the 
 other two legs crossing each other. 
 
 □= 
 
 =□ 
 
0= 
 
 RULES FOB MAKING 
 
 203 
 
 LINE G, COL. 5, 
 Bohemian Ground. 
 
 
 !:::^«*«4«i0fll«fli49«9*'.-;:: 
 :- : : r -^##§a99»« »»e »•»«►:-;-;■- 
 
 <v>*ftMaaMMfc«)«*ta£:'' : 
 
 JBfiS**#4M*0'a»a*fci 
 
 .. aaa9»s»a««9«9»9»;:: 
 : -:*t^atiaaa99§9at9«^v 
 
 
 •••!( 
 
 ::::::::::::::: 
 
 '.- - 1 1 1 . 1 1 II II I 1 1 
 
 This is a very simple filet mesh, every pair being twisted once between 
 joints, the joints being made by linen-stitching, and the horizontal pair being 
 used as weaver, working from left to right on one line and from right to left 
 on the nest lower one. The joints should be supported here and there by pins 
 in order to retain the alignment: but the pins should not be left in long or 
 they will spread the threads and so leave ugly gaps. 
 
 a= 
 
 =D 
 
204 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 D= 
 
 LINE G, COL. 6, 
 
 Reseau Simple, Analogue a Celui de Lille, d' Arras, de Marche, de Tondern, 
 
 de Buckingham. 
 
 HM:?!^ 
 
 >%H*V^ 
 
 Two pairs are required to make this stitch arid they should be twisted 
 three times between joints. In making the joint, the left-hand thread of the 
 right-hand pair passes under the right-hand thread of the left-hand pair, com- 
 ing out above it and falling forward and downward, now forming a new left- 
 hand pair. The other joint-thread passes forward and downward towards the 
 right, forming a new right-hand pair. A pin should be placed below this knot 
 to sustain it. This is an exceptional stitch in bobbin lace making, as the passing 
 of the bobbin through the loop really forms a loose knot. 
 
 a= 
 
□= 
 
 RULES FOE MAKING 
 
 205 
 — D 
 
 LINE G, COL. 7, 
 
 Round-meshed Valenciennes (singly twisted joint, centuple braid) 
 (Bruges has triple braid). 
 
 
 See Line A, Column 7 and Line F. Column 7. The sides of the meshes in 
 round Valenciennes are made in the same way as those of square or mixed 
 Valenciennes, but the joints are more open and weaker. The sides of this 
 particular ground are braided five times. The joint is made by twisting each 
 of the two inner pairs once after finishing the braid and before cloth-stitching, 
 and twisting once the pair coming towards the left after linen-stitching : but not 
 the pair going towards the right, before beginning the new plait below. The 
 outside hanging pairs should be twisted once between braids. 
 
 □= 
 
 =□ 
 
206 
 
 □= 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -a 
 
 LINE G, COL. 8, 
 Devonshire Cutwork Net. 
 
 
 Si^^s&giia^i « &M 
 
 IB ■ m 
 
 in ■ ni 
 
 • B • III 
 III". Ill' • 
 
 IB • III 
 
 « • Ml • 
 • 'ill'. 'ill' 
 
 III 
 
 hi . Ja • 
 • in'- 'm' 
 m' • 'h( •] 
 m' 'ill' • in' 
 
 This net is much more regular in appearance than Point d 'Esprit Net. 
 It should be worked from the left towards the right in order that the left-hand 
 or foundation pair of the outworks may be pulled into shape and secured with 
 adjoining stitches; as the weaver of the right-hand pair cannot be pulled, but 
 must be left especially long so that it can always be recognized. Any dragging 
 on the part of the weaver would spoil the shape of the point d 'esprit. When the 
 cutwork has reached the desired size, the weaver is passed through a loop made 
 by its mate ; and pulled gently into shape, a pin being placed under the leadwork 
 to support it. The cutwork pairs are now twisted twice and the weaver can be 
 placed carefully aside, temporarily out of the way. The cutwork pairs are now 
 ready to cloth-stitch through the plain net pairs on each side of them. These 
 :plain net pairs are twisted three times between joints and linen-stitched 
 through each other wherever they meet, which is directly above and below the 
 cutwork and to the left and right of it. After passing through the square net, 
 the cutwork pairs are twisted twice before a new leadwork is commenced. 
 
RULES FOB MAKING 
 
 207 
 
 — Q 
 
 LINE G, COL. 9, 
 Devonshire Wire Ground. 
 
 
 The pairs in this case are always twisted four times between joints; the 
 joints are made by cloth-stitching and are supported by pins; but the pins are 
 not closed. 
 
 □= 
 
 =□ 
 
208 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -a 
 
 LINE G, COL. 10, 
 Devonshire Wall Filling. 
 
 Eight threads are required for each wall. The weaver starts at the upper 
 right, cloth-stitching to the upper left, and is twisted three times around the 
 winkie pin. There are three pin holes to each side of the wall. At the bottom 
 of the wall, after the lowest right-hand pin has been placed, the weaver cloth- 
 stitches again to the left and with the left-hand hanging pair, passes over into the 
 top of the left-hand, lower wall, cloth-stitching once en route through the pair it 
 picked lip. The two, right-hand pairs coming out of the upper wall at its base 
 now cloth-stitch through each other and pass into a lower wall at the right. 
 The weaver for this lower wall is the weaver that came from the wall above it, 
 to its right. 
 
 =D 
 
D= 
 
 RULES FOB MAKING 
 
 209 
 
 LINE G, COL. 11, 
 
 Round-meshed Valenciennes of Harlebeke, Bruges, Courtrai, Bailleul 
 (braided 4 times) (often twice, Denlelle episcopale). 
 
 . . J'ii i?'i I r 3; J^~jgti % - 
 
 rt:l&, 
 
 The sides of this Valenciennes each require four threads and are braided 
 four times. "When the sides are braided only twice, the lace is called Dentelle 
 episcopale. 
 
 The joints are quite open, giving the effect of a round Val with two little open 
 dots between the larger holes. The vertical, pendant pairs which hang outside 
 of the joint, are each twisted twice between upper and lower braids, and the 
 interior pairs of the braids which cross each other by means of a linen-stitch 
 between braids, are each twisted twice both before and after the cloth-stitch. 
 
 See Line A, Column 7. 
 
 □= 
 
 =□ 
 
210 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 LINE G, COL. 12, 
 
 Zeccatello. 
 
 Three pairs twisted twice, enter each solid spot at the upper left ; and three 
 pairs twisted twice, at the upper right. The two central pairs of each of these 
 sets, intersect with a linen-stitch, and after a pin is placed at the top of the little, 
 linen-stitch square, are closed. A similar stitch is made at the bottom of the little 
 square. No pins are used elsewhere. 
 
 0= 
 
 =D 
 
RULES FOR MAKING 
 
 211 
 
 LINE G, COL. 13, 
 Irish Ground. 
 
 HmSi3f 
 
 The braids are made in a horizontal zigzag, the downward points held down 
 by pins until a lower line joins and holds them. The braids should not be made 
 too long. When one reaches the second line or lower row, one should pull one 
 pair of the second line bobbins by means of a crochet-hook under and around 
 the downward point of a preceding line ; passing the other pair of the second or 
 lower line into the loop of the two hooked-up threads, pulling the knot thus made 
 well on top of the joint into plain sight. One is then ready to braid again. 
 
 This ground is supposed to look slightly rough and clumsy, giving to the 
 mesh a rustic appearance. 
 
 Cfc 
 
 =D 
 
212 
 
 A LACE (HIDE FOR MAKERS AND COLLECTORS 
 
 -0 
 
 LINE G, COL. 14, 
 Italian Spiders with 2 Horizontal Bars. 
 
 ■■?.-:-.. 
 
 TTnri:;;:t*\?»ajjfrr;";' 
 
 
 This easy ground requires a horizontal weaviug pair and two pairs for each 
 spider. The upper left-hand spider pair cloth-stitches through the upper right- 
 hand spider pair, the joint being supported by a pin. Then the working pair 
 runs from left to right, cloth-stitching through the two spider pairs, being 
 twisted twice between spiders, and immediately returns from right to left 
 through the same spiders in the same way. Bach spider pair is twisted once 
 between spider bodies. The spiders are terminated in the same way that they 
 are begun, only by the reverse process. 
 
 =□ 
 
□= 
 
 RULES FOR MAKING 
 
 213 
 
 LINE G, COL. 15, 
 Marguerites Centres a Huit. 
 
 rs;r5??---?' ; 
 
 
 
 •Hi*. 
 
 •f.trfl 
 
 aSBjSjaaaamg 
 
 JijL 
 
 This firm, attractive ground is easy to execute — provided one enjoys the 
 making of leaves. Each pair can be considered as one thread or each thread 
 can be worked individually. The two left-hand petals cloth-stitch consecutively 
 through the top and upper right-hand petals. Here a pin is placed and closed, 
 the center being arched in the way described under Line E, Column 4. Should 
 one prefer, one can work from right to left instead of from left to right : the idea 
 in either case being to linen-stitch the two, upper petals through two, other, 
 upper petals. "Where the horizontal petals meet each other, a pin should 
 temporarily be placed, but removed before the second petal is entirely woven in 
 order that the threads may slip up and fill the hole left by the pin. Between 
 daisies, where the petals form a cross, they linen-stitch through each other and 
 the joint is supported by a pin. 
 
 □= 
 
 rD 
 
214 
 
 Q= 
 
 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 -o 
 
 LINE G, COL. 16, 
 Fish with 2 Horizontal Bars. 
 
 
 I 
 
 ' i • - : »> iiv. aV ; •«. •* »j ;•• 
 
 • • •..•■ 
 
 •••••• 
 
 '$£'■'■ 
 •Hr; 
 
 
 .■■it 
 
 • •• 
 
 
 
 i 
 
 a::* 
 
 
 The weaver or horizontal bar passes twice through each so-called fish. The 
 weavers and all other threads are twisted twice between fish and between other 
 stitches, but the body of the fish is not twisted after the two pairs which form it, 
 have cloth-stitched together at the top, nor until after they have cloth-stitched 
 together at the tail. The fish are placed alternately below one another. Between 
 bands of fish — that is, below one band and above the next — the passive or oblique 
 pairs cloth-stitch through each other twice, not counting the exit and entrance 
 into the fish bodies. Any pins used as supports, should soon be removed to avoid 
 leaving unsightly gaps behind. 
 
 □= 
 
 =□ 
 
 
a^ 
 
 RULES FOB MAKING 
 
 215 
 
 =□ 
 
 LINE G, COL. 17, 
 Trude "R" Ground (original) (American). 
 
 
 
 ■W 
 
 
 
 
 Tf 
 
 V- 
 
 Vif 
 
 .*_ 
 
 
 
 d 
 
 l?!stt 
 
 = 7* 
 
 > 
 
 ' 
 
 ■; ; 
 
 
 
 
 
 
 
 
 
 
 ' ; 
 
 
 k 
 
 1 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 S= 
 
 5 
 
 f *?■ 
 
 
 
 i 
 
 H 
 
 
 tri 
 
 UJ 
 
 This mesh is strong, hut rather confusing to make. The under or lower 
 ground runs vertically and horizontally, each band having four pairs, twisted 
 four times between the line-stitch squares. No pins are used in this part of the 
 work except to hold up the weaver, which working back and forth from one side 
 of the lace to the other, forms the horizontal lines. 
 
 The superimposed design runs diagonally, two pairs twisted four times 
 between intersections, weaving through each other by means of a cloth-stitch, 
 made just over or above the twisted parts of the under-ground. 
 
 To connect the two grounds, one should lay one thread of the diagonal over- 
 mesh between two threads of the under-mesh, following the direction in which 
 both are travelling, taking care to keep the diagonal threads on top. One ought 
 
 □= 
 
216 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 always to connect the first, two appropriate pairs which meet, so, when travelling 
 
 from right to left: — /^ jj so, when travelling from left to 
 
 ST 
 
 \ * 
 
 When working over 
 right : — 
 
 the horizontal hars, 
 
 111 IV 
 
 the top or next to the top horizontal weaver is twisted once before it connects 
 
 with a diagonal super-band, then it is twisted three times. The diagonal strand 
 is twisted three times before and once after its connection when it meets the top 
 
 or next to the top weaver-band of the under-rnesh, here for example : — — — __ 
 
 VI 
 Then one cloth-stitches this diagonal pair with its mate, placing a pin below the 
 
 cross-joint in the center of the linen-stitch to support the joint. This pin should 
 
 be removed before much work has been done, so as not to leave a hole behind it. 
 
 When the horizontal weaver returns to this spot on the next lower line * 
 
 Y/l 
 the first diagonal pair it meets should have one thread passed through it to 
 
 steady the structure, thus: — /--\._ or, thus: — Z v according to the 
 
 Viii In- 
 
 direction in which the weaver is travelling. This prevents the super-structure 
 
 from slipping up or down. Over the vertical twists, f J / 1 the diagonals are 
 
 X 
 similarly attached to prevent their slipping sideways, thus:- 
 
 thus: — ■ MfN These black dots indicate connections, or slipped-in threads, 
 
 - m - 
 
 Xl/ 
 
 not pin holes. The pins used are placed at the center of the diagonal joints 
 
 thus : 
 
 All £ 
 
 i 
 
 XIII x/v 
 
 D - D 
 
RULES FOE MAKING 
 
 217 
 
 =□ 
 
 LINE G, COL. 18, 
 Trude "T" Ground (original) (American). 
 
 This sample requires ten pairs, four for each outwork, and a weaver. The 
 outwork should be separated by a horizontal weaver bar running from left to 
 right and vice versa, fastened at each end to afford a little firmness. The same 
 design worked with several vertical bars is less satisfactory on account of less 
 stability while working, besides its requiring more threads. 
 
 Each pair is twisted three times between encounters or intersections. Pins 
 should be temporarily placed below the cutwork weaver, and between the other 
 cutwork threads while pulling these gently into position. The left-hand cut- 
 work pair should be adjusted first, and the weaving pair knotted once before 
 
 □= 
 
 =□ 
 
218 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 □ =1: 
 
 LINE G, COL. 18— Continued 
 
 Trude "T" Ground (original) (American). 
 
 twisting it three times. The weaving pair should be kept oh the right hand, 
 and the weaver itself longer than its mate. This same weaver must be used as 
 the conductor on the cutworks below, so as never to use it as a side thread and 
 thereby pull it too hard. After the three other threads are pulled out smooth, 
 the weaver is pulled, and if necessary its knot is slightly lifted up into place 
 close under the outwork or point d 'esprit with the help of a long sharp pin, the 
 weaver's mate being firmly held meanwhile. The pins should be left in place 
 until ready to start a new cutwork. Then the two right above the point d 'esprit 
 should be removed to prevent leaving loops behind. Other pins that are in one 's 
 way, may be pushed down, but not quite all the way in, that they may be easier to 
 grasp and later remove by means of fine embroidery tweezers. 
 
 =□ 
 
RULES FOB MAKING 
 
 D= 
 
 219 
 
 =□ 
 
 LINE H, COL. 1, 
 
 Twice-twisted Hole Ground, Dieppe Gronmd, Hole Stitch with Twice-twisted 
 Thread, Locherschlag mit Zweimal gedrehten Faden. 
 
 This Twice-twisted Dieppe Ground is slightly easier than the regular, 
 French Tulle de Dieppe, as it is twisted twice instead of three times between 
 joints. The joint itself is made in the same way; that is, by crossing, twisting 
 and crossing, placing a pin and closing it by crossing, twisting and crossing. 
 
 □= 
 
 =0 
 
220 
 
 Q— 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -a 
 
 LINE H, COL. 2, 
 Les Arraignees Carees en Tulle Double. 
 
 Each spider requires six pairs, three entering at the upper left and three 
 at the upper right; these pairs or legs are each twisted three times, above and 
 below the spiders. The spider bodies are made in the usual way. That is, the 
 three upper, left-hand legs cloth-stitch through the three upper, right-hand 
 legs. A pin is placed in the center ; the inside pairs are held high in the hand 
 and the outside pairs are pulled specially tight in closing this spider, so as to 
 make a little prominence at the center of the body, and the pairs on the left are 
 cloth-stitched through those on the right to close the pin. The little row of open 
 squares between spiders is made at the points of encounter between three right- 
 hand legs of an upper spider, coming down to meet three, upper, left-hand legs 
 of a lower spider; and at the center, top, bottom, left and right of the square, 
 which frames the spider. At these points, the pairs which meet, if not already 
 twisted, are twisted twice and crossed. Here a pin is placed and closed by 
 twisting twice and closing. This is Tulle Double. 
 
 a= 
 
 =a 
 
RULES FOR MAKING 
 
 221 
 
 LINE H, COL. 3, 
 Fond de Brides. 
 
 m 
 
 mm 
 
 
 .::;. 
 
 I* 
 
 
 The scrolls and figures of bobbin lace were at first made to touch or overlap 
 in order to hold together. Later they were held in place by twisted, braided or 
 f ancily worked cross-bars of thread, known as ' ' brides. ' ' The throwing across or 
 arrangement of these "bridges" became more and more regular as lace-making 
 advanced, until they suggested network and led to the making of established and 
 recognized grounds. 
 
 There is no real rule for the making of Fond de Brides, except that it should 
 be so twisted, braided, or otherwise entwined as to form a more or less equal 
 and evenly spread out amount of open and solid, of light and dark, of evenly 
 arranged, equally large pseudo meshes. 
 
 D= 
 
222 
 
 □= 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -P 
 
 LINE H, COL. 4, 
 Eyeless Spiders, Fond de Neige. 
 
 These eyeless spiders; that is, spider bodies without pin or other holes in 
 the centers, are made with six pairs to each spider. The pairs or legs, entering 
 at the upper left and upper right and leaving at the lower left and lower right, 
 are twisted twice each between spiders ; also the two legs entering at the top and 
 leaving at the bottom. But these last, vertical pairs cloth-stitch through each 
 other at the top of the spider having a pin placed above; and then spread out, 
 cloth-stitching through the legs entering at the upper and lower left and upper 
 and lower right, so as to form a circlet or wheel around the body of the spider, 
 thereby squeezing the center of the body more compactly together. At the 
 bottom of the spider, these encircling pairs cloth-stitch again through each 
 
 D= 
 
RULES FOR MAKING 223 
 
 LINE H, COL. 4— Continued 
 
 Eyeless Spiders, Fond de Neige. 
 
 other, have a pin placed below the joint and are twisted twice. They are then 
 ready to cloth-stitch again and enter the top of a lower spider. Inside of this 
 wheel, the two, upper, left-hand legs cloth-stitch obliquely through the two, 
 upper, right-hand legs and become the two lower, right-hand legs and are twisted 
 twice and are ready to enter a spider below at the right. The upper, right-haud 
 legs become the two, lower, left-hand legs, are then ready to enter another spider 
 below to the left. No pin is placed in the centers of these spiders. 
 
 □ = :D 
 
224 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -a 
 
 LINE H, COL. 5, 
 Genoese, or Reticella Mode. 
 
 
 Z-rfr&^t 
 
 .- -r"?i ■■•■■■ - 
 
 •■(•WMit'llSUHiS.V 
 
 ft'M'lllWtlSiaitito- 
 
 i:;:.*<-«fliii»»iiu««iii<iiii|i|iv 
 
 mmmmm m 
 
 iJ.-vWIiit'miinnnitiiniimL: 
 
 :;; ,f ••!»»«'i'i!S si|i9Ht«ia.5i» ^r 
 
 i 
 
 This ground somewhat resembles Buratto, a textile ground usually woven on 
 a loom and embroidered similarly to the usual filet. The mode here described has 
 a horizontal weaver, twisted once between pairs, which works from left to right 
 and then back, et cetera; cloth-stitching through iintwisted, vertical pairs. 
 These joints should be supported by pins in order to preserve a true alignment. 
 
 □= 
 
RULES FOB MAKING 
 
 225 
 
 LINE H, COL. 6, 
 Lock Stitch or Du Puy Point de Paris Variation, Torchon Mode. 
 
 
 r5*iJ •<■• ••» ««^* 
 
 
 See Line C, Column 5 and Line A, Column 5. Four pairs are required for 
 each stitch, two of them hang vertically, the other two work back and forth 
 obliquely. Every pair is twisted once between stitches. At the point where the 
 two verticals meet each other, a cloth-stitch should be made, and a pin placed 
 and closed by another cloth-stitch. Where the diagonal pairs traverse the 
 vertical ones, a linen-stitch should be made without pin or closure. 
 
 ct 
 
 =0 
 
226 
 
 A LACE GUIDE FOB MAKERS AND COLLECTOR* 
 
 =□ 
 
 LINE H, COL. 7, 
 Round Valenciennes (doubly twisted joint, triple braid). 
 
 See Line G, Col. 7. The sides of these meshes are plaited three times: the 
 inner joint pairs are twisted twice before and twice after the linen-stitch: the 
 idle, outside pairs are also twisted twice between tresses. It may be interesting 
 to compare this ground with that under Line B, Column 5. 
 
 =o 
 
RULES FOR MAKING 
 
 227 
 
 LINE H, COL. 8, 
 Devonshire Point d'Esprit Net. 
 
 
 H ■ M ■ r 
 
 This higgledy-piggledy net requires very little explanation for the making 
 and must be left partly to the eye of the maker regarding the distribution of 
 the spots. One suggestion is to work the first row alternately with net stitch 
 and spot ; the next row all net, and the third again alternated, placing the lower 
 cutworks a little to one side of those above them. The net is made by twisting 
 three times and crossing. Pins should be used to support these crosses. When 
 the maker wishes to form a cutwork, instead of an open, net mesh, the pairs 
 should be twisted twice before beginning the spot. Otherwise there will be an 
 ugly gap at the top of the leadwork, showing an isolated, bridging thread. At 
 the end of the cutwork it is imperative to loop the weaver and its mate before 
 proceeding. 
 
 A simple designing method called Spot Repeat presents an easy way of 
 
 =D 
 
228 
 
 □= 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 LINE H, COL. 8— Continued 
 Devonshire Point d'Esprit Net. 
 
 IS*. 
 I- 
 
 I © r J* 
 
 distributing the outworks in Point d'Esprit Net. One draws a square and 
 divides it vertically and horizontally into four, five, six or seven equal sections 
 or smaller squares. If the original square be divided into four, there will be 
 sixteen little sections, and upon these one places four dots — representing cut- 
 works. No two of these dots should be in a vertical or horizontal line from each 
 other, but always to the right or the left, above or below, so that only one spot 
 appears in each vertical and horizontal space. Arranging them is as much fun 
 as playing a game. When one large square is finished, one places a duplicate — 
 dots and all — adjoining one side of it ; and two others, one below each of these, 
 thus forming a still larger square unit. One can now get the effect of their 
 sprinkling of dots, and see whether these chance to form unexpected and objec- 
 tionable bands or zigzags. "When one cuts a square into five sections each way, 
 one places upon it five spots ; if into six divisions, then six dots, and so on. As 
 the prickings for circular nets in bobbin lace are founded upon squares placed 
 diagonally instead of vertically and horizontally, one should turn the cross 
 section or quadrille paper upon which one has distributed one's dots, in an 
 oblique position. 
 
 =D 
 
RULES FOB MAKING 
 
 229 
 
 LINE H, COL. 9, 
 Flemish Filling. 
 
 
 This is an easily made, strong ground. Each pair is twisted three times. 
 One coming from the upper left and one from the upper right, cloth-stitch. 
 A pin is placed, the pairs are again twisted three times and the pin closed by 
 cloth-stitching. 
 
 =□ 
 
230 
 Q= 
 
 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 -a 
 
 LINE H, COL. 10. 
 
 This ground has a sort of double-lattice background, each pair of which is 
 twisted three times on its long, uninterrupted sides and twice on its short sides, 
 where the little squares are formed. Interwoven through this is a fancier mesh 
 which meets in the center of the little squares, cloth-stitching and closing around 
 the central pin. The pairs that make this joint are twisted once around the 
 pin, but are not twisted afterwards until they have cloth-stitched out through 
 the center of the sides of the little square (between its two twists). Now being 
 out, they are twisted once and then cloth-stitch through the once-twisted side of 
 the big square just encountered, which here exchanges to form the fancy mesh 
 in the center of the succeeding little square, each pair being twisted once after 
 the cloth-stitch, which is supported by a pin. Thus the centers of the big 
 squares are empty. 
 
 □= 
 
 =□ 
 
RULES FOR MAKING 
 
 231 
 =□ 
 
 LINE H, COL. 11, 
 
 Five or Six Sided Milanese Mesh. 
 
 
 ^y 
 
 This sample requires only four bobbins altogether, and is worked from one 
 side to the other; the lower row sewing or crocheting into the one above. The 
 pricking is made on the diagonal. A pair should be braided twelve times be- 
 tween joints. Here the two lower pairs are left untwisted; one of the upper 
 threads is hooked over and above the preceding row, and its mate put through 
 the loop, when one twist is made and these two threads looped or sewed once 
 around each other. A pin is placed below this joint between the two pairs, and 
 braiding is recommenced. 
 
 =□ 
 
232 
 
 □= 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 =□ 
 
 LINE H, COL. 12, 
 
 "Sunspots." 
 
 
 Twelve threads grouped into three braids enter near the top of each ' ' Sun- 
 spot" and leave towards its base. The left-hand pair of the right-hand braid 
 becomes the weaver. It half-stitches through the right-hand pair of the center 
 braid. A pin is then placed and closed. The work is continued towards the left, 
 taking in the two pairs of the left tress. Another pin is placed and closed, the 
 work now going towards the right, taking in the last right-hand pair. Here 
 it pins, closes, and works to the left. After closing here, one pair makes its 
 exit. One then works again to the right, pins and closes, where another pair 
 makes its exit. Again towards the left. Here, after closing, one pair exits. 
 These two left-hand pairs are now braided and enter at the right of the "Sun- 
 
 D= 
 
 i 
 =□ 
 
RULES FOB MAKING 233 
 
 3 =n 
 
 LINE H, COL. 12— Continued 
 
 "Sunspots." 
 
 spot" to the lower left. One then works back towards the right and here, after 
 closing, makes a plait that will enter the lower right-hand "Sunspot." The 
 two remaining pairs at the bottom are then braided without closing and enter 
 the top of the "Spot" almost directly below. These "Spots" are intended to 
 be a trifle irregular in shape, and the tresses to slope a bit. The spots should 
 be a little smaller than the ink lines on this pricking indicate. A cordonnet or 
 gimp outline can be used and worked through the vertical top and bottom braids. 
 
234 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -a 
 
 LINE H, COL. 13, 
 Medici, Florentine, Byzantine Knots. 
 
 Two pairs are used on each side to make the braids, and the two center 
 ones used after the braid joint is made, to make a small leaf or petal (the size 
 of the petal should be in proportion to the size of the mesh made by the braids). 
 Before a petal is started, a pin should be placed above the joint to hold it down- 
 wards. After the petal is finished, a simple granny knot is tied with the weaver 
 and its mate — the right-hand, leaf thread. Then a pin is placed below the joint 
 to hold the petal up, and the braiding is continued, plaited especially tight just 
 around the joint. 
 
□= 
 
 RULES FOR MAKING 
 
 235 
 
 =□ 
 
 LINE H, COL. 14, 
 
 Italian 6 Legged Spiders with Ribbons. 
 
 1ZT4B&*.-.: v, :"i*-~r:;: -:;"•;*" -**«-" *.*-.-* -™-=itt;--. 
 
 
 
 !!lt^A«5'!S 
 
 
 Starting at the apex of the little open square, one twists two pairs, makes 
 a cloth-stitch with them, places a pin, twists, closes and twists. One of these 
 pairs now works towards the left and one towards the right. The left-hand 
 pair cloth-stitches with the once-twisted pair now entering at the upper left— that 
 is with the upper left-hand leg of this little, open, spider square. A pin is placed 
 here and the pairs twist, close, twist. One should do likewise at the right-hand 
 with the right pair and right leg. Again the same at the bottom with the two 
 remaining central pairs, for the two legs that enter at the upper left and right 
 exit at the lower left and right. The two center pairs now cloth-stitch six times 
 untwisted down through a twisted weaver and then commence another spider 
 similar to the one just described. But it is well to be careful that the weaver 
 
 □= 
 
 =0 
 
236 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 □ — ~ c 
 
 LINE H, COL. 14— Continued 
 
 Italian 6 Legged Spiders with Ribbons. 
 
 really does make six horizontal trips. This worker is twisted once each side 
 of the pendant legs of the spider, between them and the wavy ribbons, but is 
 not twisted in weaving through the legs. 
 
 A wavy, eloth-stitch, three-pair band or ribbon separates one column of 
 spiders from another. Opposite a spider on one side of the upright, wavy border, 
 come six weaver crossings on the opposite side, then another vertical, waving 
 ribbon; then again a spider. 
 
 "Where the weaving pair of the ribbon meets the diagonal leg of the 
 spider, it should be noted that it weaves through the ribbon once above the 
 leg and downward through the leg and then drops to the position of a passive 
 pair. The inside, passive pair on the other margin of the ribbon now becomes 
 the new worker, cloth-stitching once through the descending leg, and linen- 
 stitching through to the other side of the ribbon. 
 
 a =□ 
 
D= 
 
 RVLES FOR MAKING 
 
 237 
 
 LINE H, COL. 15, 
 Trude "J" Ground (original) (American). 
 
 Each leaf requires four threads, and two leaves make a spot. At the 
 top of the spot, where two leaves meet, one coming from the left and one 
 from the right, they are cloth-stitched through each other, each pair being 
 used as one thread. The next right-hand pair then becomes weaver, and works 
 toward the right through the right-hand pair, where a pin is placed to the 
 
 right, just below the top of the spot. 
 
 The edge is made Winkie Pin fashion, 
 
 without twisting around the pin. At the two central, side, pinholes, two other 
 leaves touch. The nearest pair to the incoming or approaching petal is used 
 as a new weaver, and exchanges with the old one which goes out into the side 
 petal. A pin is placed at the base of the spot, where the two, left-hand pairs 
 are cloth-stitched together and the two, right-hand pairs together. The pin 
 is then closed by linen-stitching the two, inner pairs. 
 
 =D 
 
238 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -a 
 
 LINE H, COL. 16, 
 Abruzzian "Point and Flat." 
 
 I 
 
 I 
 
 I 
 
 I 
 
 I 
 
 I 
 
 m 
 
 Five pairs are required for each little square: but the fifth or outermost 
 pair of one square is also the fifth or edge pair of the adjoining check — being 
 shared between them at the top and bottom and both sides, and being worked 
 without twisting whether it is a pendent, vertical pair or the weaver. At the 
 corner of each check, in the center of the stitch, between the threads, a pin 
 should be placed to keep them in line as well as to avoid confusion. Every 
 other square is made of linen-stitch, and the alternate ones are grilles: the 
 threads in each direction being twisted once between encounters. 
 
 =□ 
 
a= 
 
 RULES FOR MAKING 
 
 239 
 
 LINE H, COL. 17, 
 Tresses with Open Hooked Joints. 
 
 A quickly, easily made stitch. This sample can be done in either of two 
 ways: — by weaving several parallel, upright braids, or by making one horizontal 
 plait, running first in one direction, then returning below in the opposite 
 direction. This sample was made by the first of these two methods, which 
 places the two holes of the joint side by side between the upper and lower 
 braids: — the second method would place these two, little holes one above the 
 other. There should be four threads to the braid and four braid stitches tightly 
 done between joints. The actual joint will pull a little to one side of the 
 pin hole, as the pin of the preceding plait or braid is removed when the joint 
 is made, and the second braid of the joint pulls the first one towards it. No 
 pin is needed to hold the joint in position. 
 
 The first braid is plaited four times, then each of its pairs is twisted 
 
 O- 
 
 =□ 
 
240 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 D 
 
 LINE H, COL. 17— Continued 
 
 Tresses with Open Hooked Joints. 
 
 twice and a pin is placed in the opening between the two twists, and the braid- 
 ing is continued another four times, when this braid makes a joint with the 
 one preceding it, — unless it happens, of course, to be the first braid, either 
 topmost or farthest to the left. A joint is made where a later braid in its 
 zigzags meet a preceding one. Then the pair in the second braid nearest the 
 first plait, is twisted once, and one thread is hooked into the former pin space 
 while the mate is passed into this crochetage loop. The threads are pulled up 
 smoothly, the working pair twisted once, and the idle, hanging pair twice. Then 
 regular braiding is recommenced. In making the first two, tress stitches after 
 the joint, the braid should be held in a line continuous to its direction before 
 the joint was made, as this helps to pull out the preceding braid more smoothly. 
 
 a □ 
 
OF 
 
 RULES FOR MAKING 
 
 241 
 
 LINE H, COL. 18, 
 ? ? 
 
 
 v%1 
 
 Upper Half. 
 
 This sample requires twelve, vertical pairs and a weaver. 
 
 Two horizontal threads, twisted four times between the flat, spread-out, 
 vertical bands, act as a conductor, weaving from one side of the lace to the 
 other and back, cloth-stitching through the four, untwisted, vertical threads. No 
 pins are necessary, except as occasional supports to keep the lines straight and 
 in plumb. 
 
 a= 
 
 =□ 
 
242 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 -u 
 
 LINE H, COL. 18, 
 Lower Half. 
 
 This sample requires fourteen, twisted pairs. 
 
 The sides of the ellipses are twisted three times between stitches to keep 
 them open, and each section of the cross inside of the ellipse is twisted three 
 times to round out the ellipse. Supporting pins are placed under, but not 
 inside of the joints to support these crosses. The bars between one ellipse and 
 another should be twisted only once. 
 
 □= 
 
 =D 
 
BIBLIOGRAPHY 
 
 This list was started soon after the author left school. Unfortunately, she then 
 had no definite object in keeping it : hut did so simply because anything to do with 
 lace, appealed to her. She therefore noted books and articles so connected when she 
 saw them in museums, public libraries, private collections, catalogues, books, mag- 
 azines, newspapers or at sales : but she did not always keep an account of where 
 she had come across the works. The descriptions of the many different editions 
 of the Vinciolo and Vecellio pattern books, are largely quoted from Mrs. Bury 
 Palliser, whose splendid "History of Lace" is well worth perusal or consulta- 
 tion. Although the following bibliography has been compiled from many sources, 
 thanks are particularly due to the Needle and Bobbin Club for kindly allowing 
 its list to be reprinted; to the author's friend and schoolmate, Miss Ruth S. Gran- 
 niss, Librarian of the Grolier Club ; to Miss Frances Morris, Assistant Curator 
 at the Metropolitan Museum and Vice-President of the Needle and Bobbin 
 Club; and to Mr. William M. Ivins, Junior, Curator of Prints at the Metro- 
 politan Museum. As it is practically impossible to see personally every book 
 described in a list of this sort: but it is nevertheless desirable to make such a 
 bibliography as nearly complete as possible in order that it may be of the great- 
 est service, the author has included books which she, not having already come 
 across herself, found listed elsewhere ; or she added to her own nucleus of in- 
 formation, items that seemed desirable. But feeling that the compilers of such 
 matter, should have the credit for the fine detailed work they have done, the 
 author has used only such parts of their descriptions as are essential to the 
 identification of the different volumes. It has also seemed more accurate not 
 to translate the descriptions given by others. In cases where the differences 
 between the two books are very slight, both volumes are noted, as without in 
 each instance seeing the actual work, it is impossible to decide which annota- 
 tion is the more exact. Readers are referred especially to the catalogues of 
 the South Kensington Museum, Mrs. Bury Palliser, Mr. E. F. Strange, Mr. 
 Emmanuel Bocher, and Professor Eugene van Overloop. 
 
 Mr. Edward F. Strange in the VTIth Volume of the Transactions of the Bib- 
 liographical Society gives the following interesting and enlightening account: 
 The earliest known Lace-book now appears to be that of Jorg Castel, 
 of Zwickau, Ein Neiv Modelbuch, etc., 1525, a copy of which has recently 
 been added to the collection in the Konigliche Kunstgewerbe Bibliothek, 
 Dresden. This furnishes the originals, of which six plates in the book of 
 Pierre de Sancte Lucie, Diet Le Prince, successor to Claude Nourry, of 
 Lyons (1530-1533) are copies. Its title page shows it, however, to have 
 had at least one earlier edition; and others followed in 1527 and 1529. 
 
 Next in order of date seems to come the publication of Peter Quentell, 
 of Cologne, Eyn ney Kunstlich boich . . . Gedruckt tzu Collen up dem 
 
 243 
 
244 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 Doemhoff dwrch Peter Quentell. Anno MDXXVII. 1 In the same year, 
 and at the same town, appeared Linre noveau et subtil touchant lart et 
 sciece tant de brouderie fronssures, tapisseries .... En primer -e a culoge 
 [Cologne] par matrepiere quinty deupre leglie de Hi roies. Then come two 
 rare volumes, of which copies, said to be unique and hitherto undescribed, 
 were offered for sale by Rosenthal, of Munich, a short time since: Ein 
 new Furm buchlein (c. 1528-29, with 32 plates, said to be entirely original) 
 and Ein new getruckt model Biichli; auff nehen vnnd bortten wircken ynn 
 der laden vnnd lanngenn gestell. Ganntz gerecht nach abteilung der 
 Feden tzal. (1529. Forty-five cuts of needlework and lace.) It appears, 
 however, to be an edition of GrastePs book. [The last two are now (1918) 
 in the Metro. Mus., N. Y. Gertrude Whiting.] 
 
 The earliest Italian book of which a record exists is A. Paganino's 
 De rechami . . . (Venice, 1527). Then comes an edition dated 1528 
 (noted by Brunet and Merli), of Giovanni Antonio Taglienti's Opera 
 nuova che insegna a le Done a cuscire, the edition of 1530 being printed 
 at Venice "per Giovan Antonio Tagliente & i Fratelli de Sabbio." 
 Tagliente was the compiler of one of the earliest and best of the writing- 
 books ( 1524) . This publication has a title in red gothic letters ; four wood- 
 cuts, with women at work. Its contents are of a somewhat fanciful nature, 
 and include several symbols, such as hearts transfixed with arrow and 
 sword, several pages of examples of lettering, designs of animals and vases, 
 a good border of angels on the reverse of Aiiii, and six pages of instruc- 
 tions ; from which we see that the patterns were intended to be executed in 
 various coloured and black silks, gold and silver thread, etc., for em- 
 broidery, for the use of both men and women. The next is Esemplario di 
 lavori dove le tenere, etc.: Venice, "per Moolo DAristotile detto Zoppino 
 MDXXIX," of which a copy is in the Bodleian Library; and in 1531 
 appears Gr. A. Vavassore's Esemplario di lavori che insegna alle donne, etc. 
 Of this a copy is in the Kunstgewerbe Museum, Berlin. The earliest edi- 
 tion described by Mrs. -Palliser, is only dated 1546, but Dr. Jessen has 
 doubtless had good reasons for dating his copy as above, and Professor 
 Kumsch agrees with him. An interesting point in it is, that a design of 
 Orpheus charming the Beasts, which in Tagliente 's volume appears in 
 simple line only, is in that of Vavassore shown in squares for making 
 "lacis." 
 
 Of the French books, the honour of being the first belongs to a Floren- 
 tine who published in 1530 la fleur de la science de pourtraicture et pat- 
 rons de broderie. Facon arabicque et ytalique. . . . Ce present livre a este 
 imprime a paris par jaques nyverd. Le IV jour daoust. Lan de grace mil 
 cinq ces XXX. Pour noble home messire Francisque Pelegrin de florence. 
 It is of value as showing how wide was the diffusion of patterns, though 
 these contain neither animals nor other natural objects, and are confined 
 to moresques. Of about the same date is that published by Claude Nourry 
 at Lyons. 
 
 (1) Transcribed M.D.XXXVII by Mrs. Palliser. I have not seen a copy, but the mistake, whether hers or 
 Quentell's, is evident, as the earlier date is inserted at the back of the title. [See Egenolff, 1527. Gertrude Whiting.] 
 
BIBLIOGRAPHY 245 
 
 So far as the beginnings of our subject in other countries are con- 
 cerned, we may note A nea/ive treaty s: as coernynge the excellency of the 
 nedle worcke so playnli made & set tout in portrature, the whiche is 
 difficyll; and natoly for crafts me but also for gentlewome & ioge damosels 
 that therein may obtayne greater conynge delyte and pleasure. These 
 books be to sell at Andwarp in the golden Unycorne at Willm Vorster- 
 mans. As W. Vorsterman worked from 1514 to 1542, we have here limiting 
 dates which show the work to have been quite early, and the fact that it 
 was worth while to produce it with an English title is interesting evidence 
 of the closeness of the commercial intercourse between this countiy and the 
 Netherlands. The first genuinely British pattern-book I have been able 
 to trace was printed at London by J. Wolfe and Edward White for Adrian 
 Poyntz in 1591: New and singular patternes and ivorkes of Linnen, etc. 
 It has an interesting "Epistle to the Reader," and dedication: — "To the 
 Right Worshipful Gentlewoman, Mistress Susan Saltonstall, wife to the 
 right Worshipfull Mr. Richard Saltonstall, Alderman of the City of Lon- 
 don," both given at full length by Mrs. Palliser. In the latter the author 
 alludes to "certaine paternes of cut-worke and others brought out of For- 
 eign Countries which have been greatly accepted of by divers Ladies and 
 Gentlewomen of sundrie nations and consequently of the common people," 
 and states his hope "to increase and augment with more paternes of 
 work. ' ' 
 
 It is a surpi'ising fact that no one, so far as I am aware, has yet noted 
 the existence of any Spanish book of the kind, though, as Mrs. Palliser 
 says, "Dominique de Sera, in his Livre de Lingerie, published in 1584, es- 
 pecially mentions that many of the patterns of point couppe and passe- 
 ment given were collected by him during his travels in Spain." The 
 Spanish writing-books, though few in number, are among the finest of 
 their class; and one would have expected at least some sets of patterns to 
 have been published in that country, though they would have probably been 
 devoted to gold and silver thread-work rather than lace, the use of which 
 was restricted by ordinances and heavy duties, and the supply derived from 
 the Low Countries and Prance. The 1597 edition of Parasole's Studio 
 delle Virtuose Dame has a dedication in Spanish, to Bona Joana de Ara- 
 gon y Cardona, a member of the family of the Dukes of Segorbe. Her arms 
 appear on the title-page; and one of its quarterings — the "Moorish King" 
 of the Cordova shield — forms the central ornament of the first cut, with 
 other heraldic devices ; and the inscription Nichil sine ipso factum est. 
 
 ABBREVIATIONS 
 
 B. K. M. . . . . . . Berlin Kunstgewerbe Museum. 
 
 D. K. S Dresden Kunstgewerbe Schule. 
 
 B. M British Museum. 
 
 Metro Mus Metropolitan Museum, New York. 
 
 S. K. M South Kensington Museum. 
 
 V. & A. M Victoria and Albert Museum. 
 
246 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 Fuller descriptions of the following early pattern books can be found in the 
 "Manuel des Travaux k l'Aiguille," 1911, by Emmanuel Bocher, in "A History 
 of Lace," 1902, by Mrs. Bury Palliser, or in "Early Pattern Books of Lace, Em- 
 broidery and Needlework" by Edward F. Strange in the Transactions of the 
 Bibliographical Society, December, 1904,London : — 
 
 Listed in 
 
 Present Listed by Listed by Listed by 
 
 Volume Mr. Bocher Mrs. Palliser Mr. Strange 
 
 as book No. as book No. as book No. as book No. 
 
 Listed in , 
 
 Present Listed by Listed by Listed by 
 
 Volume Mr. Bocher Mrs. Palliser Mr. Strange 
 
 as book No. as book No. as book No. as book No. 
 
 17. 
 47. 
 48. 
 49. 
 
 .93 
 
 .179 
 .1S3 
 
 104 74 
 
 105 106 
 
 106 166 bis 
 
 162 
 
 197 52 
 
 202 12S 
 
 203 
 
 204 174 
 
 205 175 
 
 522. 
 546. 
 553. 
 554. 
 579. 
 587. 
 589. 
 590. 
 591. 
 
 .130 
 
 '. .32 
 ..31 
 ..45 
 ..46 
 
 ..48 
 ..64 
 
 .111 
 
 53 
 
 
 
 92 
 
 58. . . . 
 59. ... 
 60 
 
 27 
 
 141 
 
 . 30 
 
 
 61 
 
 
 
 . .1 
 
 62 
 
 
 
 o 
 
 63 
 
 
 
 :; 
 
 64 
 68 
 71 
 
 145 
 4 
 
 
 4 
 
 77 
 
 
 
 
 78. 
 
 83 
 
 109 
 
 
 <; 
 
 S6, 
 
 S7 
 
 
 
 
 .103 
 
 239 
 
 
 . .19 
 
 
 240. . 
 
 
 
 s 
 
 241 , , . 
 250. . 
 
 9 
 
 
 2S 
 
 268 
 
 269 
 
 . . ,164 
 
 
 9 
 
 356 
 
 
 
 10 
 
 357 
 
 365 
 
 382 
 
 114 
 SS 
 
 
 11 
 
 383 
 
 384 
 
 , . 113 
 
 
 13 
 
 385 
 
 
 63 
 
 
 386 
 
 
 
 12 
 
 387 
 
 473. . . . 
 496 
 
 ... .184 
 129 
 
 29 
 
 
 517 
 
 
 
 16 
 
 518 
 
 
 
 17 
 
 519. . 
 
 
 . .35 
 
 
 520 
 
 
 
 IS 
 
 521 
 
 
 
 19 
 
 .11 
 
 .65 
 .03 
 
 .149 
 
 .137 
 
 ..43 
 .171 
 
 51 
 
 592. . . . 
 593. . . . 
 594. . . . 
 598.... 
 599.... 
 600.... 
 
 601 
 
 606.... 
 610... 
 
 615 
 
 617. . . . 
 61S.... 
 619. . . . 
 
 621 
 
 622 
 
 624.... 
 
 625 
 
 626 149 bis 
 
 030 33 
 
 644 71 
 
 646 22 
 
 648 23 
 
 650 24 
 
 651 21 
 
 652 131 bis 
 
 660 163 
 
 662 
 
 667. . . . 
 6S6.... 
 694. . . . 
 695.... 
 700.... 
 722.... 
 752. . . . 
 771.... 
 781.... 
 
 782 
 
 789.... 
 808.... 
 809.... 
 
 .115 
 ..55 
 
 .122 
 ..69 
 
 .ISO 
 "53' 
 
 .21 
 
 950. 
 
 951. 
 1004. 
 1005. 
 1027. 
 1029. 
 1030. 
 1031 . 
 
 .168 
 
 .107 
 
 .170 
 
 .so 
 
 .S7 
 
 .43 
 
 .04 
 
 . 10 
 .70 
 
 .62 
 
 .SI 
 
 .US 
 ..32 
 
 .88 
 
 .85 
 
 .90 
 
 .23 
 
 .20 
 
 .29 
 
 810 
 
 
 31 
 
 811 
 
 
 30 
 
 867 
 
 S71 
 872 
 
 ... 165 
 14S 
 
 32 
 
 S73 
 
 
 33 
 
 
 
 34 
 
 875 
 
 876 
 906 
 
 146 
 
 . . 147 
 
 ..35 
 
 
 
 
 .37 
 
BIBLIOGRAPHY 
 
 247 
 
 Listed in 
 
 Present Listed by Listed by Listed by 
 
 Volume Mr. Bocher Mrs. Palliser Mr. Strange 
 
 as book No. as book No. as book No. as book No. 
 
 Listed in 
 
 Present 
 
 Volume 
 
 as book No. 
 
 Listed by 
 Mr. Boeher 
 as book No. 
 
 Listed by 
 Mrs. Palliser 
 as book No. 
 
 Listed by 
 Mr. Strange 
 as book No. 
 
 1402 
 
 
 
 
 59 
 
 1403 
 
 
 
 ....101 
 
 
 1409 
 
 
 
 
 57 
 
 1410 
 
 ....ITS 
 
 
 
 
 1411 
 
 ....176 
 
 
 
 
 1413 
 
 177 
 
 
 
 
 1420 
 
 
 
 74 
 
 
 1421 
 
 
 
 47 
 
 
 1422 
 
 
 
 
 61 
 
 1032 
 
 
 
 10S4 
 
 1109 
 
 121 
 
 105 
 
 1110 
 
 
 106 
 
 1111 
 
 1141 
 
 156 
 
 
 1155 . 
 
 
 18 
 
 1195 
 
 
 102 
 
 1203 
 
 1214 
 
 ....83 
 26 
 
 
 1217 
 
 
 38 
 
 1218 
 
 
 SO 
 
 1219 
 
 1220 
 
 ....134 
 
 34 
 
 1231 
 
 1232 
 
 1233 
 
 72 
 
 ..73 
 
 
 1234 
 
 1250 
 
 
 OQ 
 
 1253. 
 127S. 
 1285. 
 1296. 
 1297. 
 129S. 
 1311. 
 1313. 
 1316. 
 1317. 
 1318. 
 1319. 
 1320. 
 1322. 
 1323. 
 
 .187 
 ..26 
 ..79 
 
 .123 
 .153 
 
 .108 
 
 .109 
 
 .84 
 
 1370. 
 1371. 
 1372. 
 1374. 
 1398. 
 1400. 
 
 .49 
 
 .13 
 
 .24 
 
 38 
 
 39 
 
 41 
 
 42 
 43 
 
 .44 
 
 .45 
 
 .46 
 
 .4S 
 .49 
 
 1341 
 
 56 
 
 
 1342 
 
 57 
 
 
 1343 . 
 
 . .58 
 
 
 1344 
 
 
 ...28 
 
 1345 
 
 60 
 
 
 1346 
 
 61 
 
 
 1347 
 
 60 bis 
 
 
 1348 
 
 81 
 
 
 1349 
 
 81 bis 
 
 
 1350 
 
 
 ...39 
 
 1351 
 
 1352 
 
 
 ...'7 
 
 1354 
 
 . . . .110 
 
 
 1355 
 
 111 
 
 
 1356 
 
 151 bis 
 
 
 1358 
 
 154 
 
 
 1359 
 
 155 
 
 
 1360 
 
 75 
 
 
 1361 
 
 76 
 
 
 1362 
 
 
 
 1363 
 
 
 
 1364a.... 
 
 6 
 
 
 1365 
 
 ....116 
 
 
 1366 
 
 117 
 
 
 1367 
 
 ....118 
 
 
 1368 
 
 ....119 
 
 
 1369 
 
 
 
 56 
 
 1425. 
 
 1429. 
 
 1438. 
 
 1440. 
 
 1441. 
 
 1461. 
 
 1462. 
 
 1463. 
 
 1465. 
 
 1466. 
 
 1490. 
 
 1491. 
 
 1492. 
 
 1493. 
 
 1498. 
 
 1523. 
 
 1537. 
 
 1566. 
 
 1567. 
 
 1575. 
 
 1580. 
 
 1581. 
 
 1.-.S2. 
 
 1583. 
 
 15S4. 
 
 15S6. 
 
 1596. 
 
 1624. 
 
 1625. 
 
 1626. 
 
 162S. 
 
 1636. 
 
 1637. 
 
 1638. 
 
 1639. 
 
 1642. 
 
 1644. 
 
 1645. 
 
 1646 
 
 1649 
 
 54 
 
 50 
 .51 
 .52 
 .53 
 
 .58 
 
 1736. 
 1737. 
 1755. 
 1758. 
 1759. 
 1767. 
 1769. 
 1791. 
 1795. 
 
 .70 
 
 ..78 
 .172 
 .173 
 ..89 
 ..90 
 
 .91 
 .92 
 .28 
 .29 
 
 ..30 
 .126 
 .181 
 ..62 
 .162 
 .161 
 .144 
 ..80 
 .125 
 .124 
 .159 
 .160 
 ..87 
 ...1 
 .112 
 
 .42 
 
 .133 
 
 .139 
 .140 
 
 .150 
 .151 
 .127 
 ..54 
 ..63 
 .182 
 .158 
 ..50 
 ..46 
 
 .54 
 
 .62 
 
 .63 
 
 .61 
 
 .65 
 
 .110 
 
 .94 
 .93 
 
 .109 
 
 .90 
 
 1650 
 
 1651.. 
 
 1667 
 
 1686 
 
 
 12 
 
 1713 ' 
 
 1722 
 
 
 79 
 
 1730 
 
 1731 
 
 1734 
 
 142 
 143 
 
 
 69 
 
 70 
 67 
 71 
 
 72 
 
 73 
 
248 
 
 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 Listed in 
 
 Present Listed by 
 
 Volume Mr. Bocher 
 
 as book No. as book No. 
 
 Listed by Listed by 
 
 Mrs. Palliser Mr. Strange 
 as book No. as book No. 
 
 Listed in 
 
 Present Listed by Listed by Listed by 
 
 Volume Mr. Bocher Mrs. Palliser Mr. Strange 
 
 as book No. as book No. as book No. as book No. 
 
 1796 
 
 35 
 
 
 1797 
 
 36 
 
 
 179S 
 
 
 
 1799 
 
 37 
 
 
 1800 
 
 3S 
 
 
 1S01 
 
 
 ....20 
 
 1802 
 
 39 
 
 
 1803 
 
 
 21 
 
 1S04 
 
 41 
 
 
 1805a.... 
 
 40 
 
 
 1806 
 
 120 
 
 
 1809 
 
 152 
 
 
 1810 
 
 
 22 
 
 1S11 
 
 
 23 
 
 1814 
 
 85 
 
 
 1815 
 
 12 
 
 
 1817 
 
 11 
 
 
 1S18 
 
 
 
 1869 
 
 .136 
 
 1S19. 
 1820. 
 1821. 
 1822. 
 1823. 
 1824. 
 1825. 
 1826. 
 1828. 
 1829. 
 1830. 
 1831. 
 1832. 
 1836. 
 1842. 
 1843. 
 1868. 
 
 .14 
 
 .15 
 .16 
 .17 
 .18 
 
 .19 
 
 .20 
 
 81 
 
 . i ( 
 .11 
 .11 
 
 .S3 
 
 .78 
 
 .78 
 
 .SO 
 
 .84 
 .79 
 
 .108 
 
 1870 
 
 1871 
 
 1872 
 
 9S 
 
 
 1873 
 
 
 ..98 
 
 1874 
 
 
 65 
 
 1875 
 
 
 65 
 
 1876 
 
 
 66 
 
 1878 
 
 
 67 
 
 1879 
 
 1880 
 
 96 
 
 68 
 
 1881 
 
 
 69 
 
 1882 . . . 
 1885 
 
 97 
 
 70 
 
 18S6 
 
 1887 
 
 99 
 
 
 1888 
 
 1889 
 
 1S90 
 
 1891 
 
 . . 100 
 
 . 101 
 
 102 
 
 71 
 
 1892 
 
 1893 
 
 189S 
 
 1899 
 
 1908 
 
 1909 
 
 103 
 106 
 
 S 
 
 2 
 
 ...,186 
 
 119 
 
 1910 
 
 1937 
 
 1S9 
 
 73 
 
 1948 
 
 1949 
 
 1950 
 
 . . 1S5 
 10 
 
 5 
 
 1951 
 
 1952 
 
 34 
 
 
 1954 
 
 1955 
 
 68 
 
 67 
 
 
 90 
 89 
 
 86 
 
 91 
 
 For the facsimiles here noted of early pattern books, see : Amand-Durand, 
 Cocheris, Munster, Ongania, Quariteh, Eicci, Seemann, Wasmuth. 
 
 NOTE 
 
 Owing to a re-arrangement made necessary by the inclusion of several new titles, the fol- 
 lowing numbers have been omitted from the Bibliography: — 794, 1055, 1307, 1424, 1456, 1464, 
 1478, 1479, 1576, 1658, 1883. 
 
 For the same reason the following interstitial ones have been added: — 747a, 881a, 902a, 
 1516a, 1756a, 1805a, 1889a, 1949a. 
 
BIBLIOGRAPHY 249 
 
 1.— Acker, M. E.— Crocheted Doilies. Harper's Bazaar, V. 36, pp. 275-277, 
 
 March, 1902. 
 2 — Adda, Girolamo d' — IV Art et 1 'Industrie auxXVIe et XVLTe siecles. Essai 
 
 bibliographique sur les aneiens modeles de lingerie, et de dentelles et de 
 
 tapisseries, etc., en Italie. Paris, 1863. 
 3 — Adda, Marqnis Girolamo d' — Essai bibliographique sur les aneiens Modeles 
 
 de Lingerie, Dentelles, etc. Gazette des Beaux Arts, 1863, V. 15, pp. 342- 
 
 359; 1864, V. 17, pp. 421-429; 1864, V. 17, pp. 430-436. 
 4 — -Adda, Grirolamo d' — Essai bibliographique sur les aneiens modeles de lin- 
 gerie, de dentelles et de tapisseries, graves et publies en France, en Al- 
 
 lemagne et en Flandre. Paris, 1864. 
 5 — Adda, Girolamo d' — Le Lit de Castellazzo. Gazette des Beaux Arts, 1863, 
 
 V. 14, p. 97. 
 6 — Agnew, Lilly, at Dublin — Projets de dentelles modernes. Paris, Art ap- 
 plique, 2e annee. 
 7 — Aktion zur Hebung der Spitzenhausindustrie in Osterreich, Die. Kunst und 
 
 Kunsthandwerk, 1905, Vienna. 
 8 — Album de 1 'Elegance Franchise (Exposition Internationale de Liege, 1905). 
 
 Couture, Dentelle, Broderie, Passementerie. Numero special de Dentelle 
 
 et Broderie, Paris, 1905. 
 9 — Album de 1 'Exposition de Part ancien Brux. 1884. La Dentelle. 30 pho- 
 
 togr. avec notice par Beusens. Paris gr. in-fol. 
 10 — Album of 2241 original, pricked, pen and ink patterns for bobbin lace (Lille 
 
 type), Couvet (Canton de Neuchatel, Switzerland), April 6. 1796, Chev. 
 
 Amy (see pricking No. 322). On pattern No. 310 is written "Justicier 
 
 Besancent": on pattern No. 311 — "Justicier Besancenet": on pattern No. 
 
 347 — "pour Leonard": on pattern No. 606 — "fait par Petitpierre " : and 
 
 several are marked "Henriod Nre." Owned by Miss Gertrude Whiting. 
 11 — Album russischer Leinenstickereien. 2 Lieferungen. 21 Blatt sehr fein in 
 
 Farben ausgefiihrt. 4to. St. Petersburg, 1882. 
 12 — Alco, Madam Louise D' — Traite de la dentelle aux fuseaux. Paris. 
 13 — Aldisio, Nicolas de — Les Tissus et les Dentelles de Perouse. Art decoratif, 
 
 Paris, 1912. Tome 14, pp. 343-350. 
 14 — Alexandre, A. — Les Beines de 1 'Aiguille, Modistes et Couturieres. With 
 
 about 50 charming etchings (several full-page) by Francois Courboin, 
 
 Paris, 1902. Collection of upwards of 200 original drawings of designs 
 
 for Lace of various and elegant patterns. 
 15 — Alexander, Mrs. Hirst — Art Handicrafts for Gentlewomen. The Lady's 
 
 Realm, London, 1901. 
 16— Allen, M. E.— Handicrafts in Old Deerfield, Outlook, V. 69, pp. 592-597, 
 
 Nov. 2, 1901. 
 17 — Allerhand Model zum Stricken un Nahen. Cat. Evans, Strand. Obi. 4to, 
 
 64 plates. No date. 
 18 — Alphabets for Samplers, etc. — Pott, A. — Neue Zierschiften fiir Weissund 
 
 Kunst— Steckerei. Obi. fol. Hamburg, 1869. S. K. M. 
 
250 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 19 — Alq, L. d'— Traite de la deritelle au fuseau. Dentelles de Mirecourt, Valen- 
 ciennes, Malines, Flandre, etc. 112 engravings. Paris, 1879. 
 
 20 — Alvin, L. — Les anciens patrons de broderie, de dentelle et de guipure. Brus- 
 sels, 1863. 
 
 21 — Ambrosiani, Vincent — L 'Exposition romaine de tapisseries, tissus, dentelles, 
 etc. Revue de V Art chretien, 1887. 
 
 22 — American Eevival of an ancient craft ; Italian embroidery. Outlook, V. 96, 
 pp. 800-801, Dec. 10, 1910. 
 
 23 — Anker, E. — Muster — Album fur Haekel-Arbeiten. (18 double plates, con- 
 taining 137 examples). 4to. Leipzig, 1887. S. K. M. 
 
 24 — Antonelli, Dott. Nicola — Dell' Arte dei Merletti. Letto a Pisoniano il 30 set- 
 tembre, 1901 — Annexe: Genoveffa Frigerio in Borzaccbini. Como ebbi 
 idea cli istituire la Scouola di Merletti a fuselli. Enrico Boretti, Rome, 
 1902. 
 
 25 — Archives de la ville de Grand. Begistre G. G. Fo. 123V. — Voorgeboden, serie 
 108 bis, No. 184. 
 
 26. — Arendt — Becbercher les origines de la fabrication des dentelles. Speciale- 
 ment dans les Flanders, specifier leurs diverses especes, etc. 
 
 27 — Aristotle, Nicolo d' — Gli universali de i belle ricami — anticbi e moderni. 
 Anno, 1530, Venice. 
 
 28 — Aristotile, Nicolo d' — Esemplario di lavori doue le tenere fanciulle et altre 
 donne nobili potranno facilmente imparare il modo et ordine di lavorare, 
 cusire, etc. 1878, facsimile of edition of 1530. [See Zoppino (Aristo- 
 tile detto.)] 
 
 29 — Armand-Durand — Livres a. Dentelles. Paris, 1887. 
 
 30 — Armand-Durand — Reproductions and prints of laces. Vol 1-5. (Collection 
 of Kursbeedt Manufacturing Co.) 
 Armand-Durand. See No. 623. 
 
 31 — Arts de la Vie et du Foyer, Les. La Dentelle. Revue Univ., March, 1901, 
 Paris. 
 
 32 — Aubert, Felix — Dentelles, etc. : Col en dentelle polychrome : volants et even- 
 tail, etc. L'Art decoratif. Paris, 1901. 
 
 33 — Aubert, Felix — Entwiirfe fur Spitz en und Stickereien. 
 
 34 — Aubert, Felix — Nouveaux even tails et chale en dentelle polychrome. L'Art 
 decoratif, Paris, 1899. 
 
 35 — Aubert, Felix — Projets de Dentelles et de Broderies. Paris, Librairie cen- 
 trale, 1904. 30 pla.tes, folio. 
 
 36 — Aubrey, Felix — Dentelles de 1 'Exposition Universelle de 1867. Rapport du 
 Jury International. 
 
 37 — Aubrey, F. — Rapport sur les Dentelles, etc. fait a la Comm. Franchise du 
 Jury International de 1 'Exposition Universelle de Londres. 8vo. Paris, 
 1854. S. K. M. 
 
 38 — Aubrey, F.i — Dentelles, tulles, broderies, et passementeries. Paris Exhib. 
 1867, Reports, vol. IV., p. 233. 13 vols. 8vo. Paris, 1868. S. K. M. 
 
 39 — Aufseeser, Ernst and Kathleen— Gauze Embroideries. International Studio, 
 V. 46, pp. 153-154. April, 1912. 
 
BIBLIOGRAPHY 251 
 
 40 — Austin, Ern. J. at Norwood — Projets de dentelles niodernes. Art applique, 
 2e annee, Paris. 
 
 B 
 
 41 — Babbitt, Florence S. — Samplers I Have Bead About, Seen and Owned. Mich- 
 igan Pioneer and Historical Society, Collections and Researches. V. 38, 
 pp. 351-355, 1912. 
 
 42 — Babrfeldt, E. — Die Ausstellung von Stickereien, Hakel und Knupfarbeiten 
 des Museums scblesischer Alterthumer zu Breslau. "Kunstund Gewerbe," 
 Vol. XVII., p. 368, 4to. Nurnberg, 1883. S. K. M. 
 
 43 — Bainbridge, Mabel P. — A Beginner's Lace Collection. House and Garden, 
 Dec, 1918. 
 
 44 — Bainbridge, Mabel P. — Early Lace Making in America. House and Garden, 
 April, 1916. 
 
 45 — Balachoff, L. L. — Recueil d'Ornement. 55 plates. P. Ducber. (Collection of 
 Kursbeedt Manufacturing Co., N. Y.) 
 
 46 — Baldwin, E. F. — Woman's Work for Women in Italy. Outlook, V. 81, pp. 
 185-189, Sept. 23, 1905. 
 
 47 — Baler, James — The Needles Excellency, a new Booke wherein are divers ad- 
 mirable Workes with the Needle. Newly inuented and cut in Copper for 
 the pleasure and profit of the industrious. Le frontispice represente trois 
 dames, Sagesse, Industrie, Folie, au milieu d'un jardin. Puis viennent 
 plusieurs pieces de vers composees par John Taylor a la louange de 1 'ai- 
 guille et aussi en l'honneur de quelques dames industrieuses telles que la 
 reine Elisabeth et la comtesse de Pembroque. Au-dessous de cette 
 gravure : Printed for James Baler and are to be sold at the signe of the 
 Marigold in Paules Church yard. The 12th Edition in larged Wth divers 
 newe workes as needle workes, purles et others neuer be fore printed, 1640. 
 Piece de vers intitulee The Fraise of the Needle. Puis commencent les 
 broderies qui ne sont imprimees qu'au recto et qui sont toutes numerotees 
 en chiffres arabes en bas a la pointe, a gauche de la planche. Ces broderies 
 jusqu'a la planche 23, paraissent etre des copies de l'ouvrage allemand de 
 Siebmacker.. Les autres sont d'un caractere different. Elles sont au nom- 
 bre de 29. Done en tout: le Frontispice, 4 feuillets preliminaires et 29 
 planches de broderies. In-4° oblong. [See No. 48.] B. M. L. 
 
 48 — Baler, James — The needles excellency, a new booke wherein are divers ad- 
 mirable workes wrought with the needle. Newly invented and cut in cop- 
 per for the pleasure and profit of the industrious. Printed for James Bo- 
 ler, &c, 1640. Beneath this title is a neat engraving of three ladies in a 
 flower garden, under the names of Wisdom, Industrie, and Follie. It ap- 
 pears the work had gone through twelve impressions. . . From the cos- 
 tume of a lady and gentleman in one of the patterns, it appears to have 
 been originally published in the reign of James I. — (Douce.) From this 
 description of the frontispiece, it seems to be copied from Sibmacher. The 
 Needle's Excellency, or a new Book of Patterns, with a poem by John Tay- 
 lor, in Praise of the Needle. London, 1640. Obi. 4to, engraved title, and 28 
 plates of patterns. Another copy of the same date, marked 12th edition, 
 
252 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 is in the Library of King's College, Cambridge. It consists of title, four 
 leaves with the poem, subscribed John Taylor, and 31 leaves of copper 
 cuts of patterns. [See No. 47.] 
 — -Balthazar, Sylvius — see DuBois. 
 
 49 — Balthaazar, Sylvius — Variarum protractionum (1) quas Vulgo Maurusias 
 vocant (2) omnium antehac excusarum, libellus longe copiosissimus pic- 
 toribus, aurifabris, polymitariis (3), barbaricariis (4), variis que id genus 
 artificibus, etiam acu operantibus, utilissimus, nuncque primun in lucem 
 editus, anno 1554. Balthazar Sylvius (5) fecit. Io Theodor, et lo. Is- 
 rael de Bry, excud (6). 24 feuilles gravees sur cuivre y compris le titre. 
 Les feuilles sont toutes imprimees d'un seul cote. (1) Entrelacs, mean- 
 dres, arabesques. (2) Moresques. Voyez Ducange, Glossarium medice et 
 infimce latinitatis, qui cite ce livre a propos du mot Maurusias. (3) Tis- 
 serands. (4) Damasquineurs. Azzimistes. (5) II est ainsi nomme a, la 
 page 104 de l'ouvrage de Firmin Didot. Essai sur 1'histoire de la gravure 
 sur bois. Paris, 1863. (6) Plusieurs pieces parmi les faiences dites de 
 Henri II, sont ornees d 'entrelacs dont le dessin se trouve dans cet ouvrage 
 de Balthazar Sylvius. In-4° oblong. Bibliotheque Nationale. — Cabinet 
 des Estampes. 
 
 50 — Barber, Bernard, at Nottingham — Projets de rideaux de dentelles. Art ap- 
 plique, Ire annee, Paris. 
 
 51 — Barbour Bros. Imperial Macrame Lace Book. New York, 1882. 
 
 52 — Barcelo G. — La Barcelo tecnia ossia Parte di ritessere e di restaurare ogni 
 specie di stoffa di imitare e restaurare qualunque sorta di merletti e di cos- 
 truire delle tappezzerie in figure, fiori e rabeschi in mosaico di panno. 1 
 vol. de texte et 1 vol. de 47 planches grav. Eoma, 1859. 
 
 53 — Barley, William — A Booke of Curious and strange Inuentions, called the 
 first part of Needleworkes, containing many singuler and fine sortes of Cut- 
 workes, Baisde-workes, Stiches, and open Cutworke, verie easie to be 
 learned by the diligent practisers, that shall follow the directions herein 
 contained. Newlie augmented. First imprinted in Venice and now agame 
 neaivly printed in more exquisite sort for the profit and delight of the Gen- 
 tlewomen of England. For William Barley, 1596. B. M. 
 
 54 — Barrett, L. — New Ideas in Lace-making. Ladies Home Journal, V. 19, p. 
 23, February, 1902. 
 
 55 — Bartko, Kurt — Blumen und praktische Muster fur Spitzen. Plauen. C. 
 Stoll, 1910. 
 
 56 — Bartko, Kurt — Irish Lace. Plauen, K. Bartko, 1910. 
 
 57 — Baseus, Nicholas — Pattern Book, 4 editions. Frankfort, 1568. 4to, 40 pp. 
 
 58 — Basset, Nicholas — Ein new getruckt model Buchli, auff ausz nehen unnd bort- 
 ten wircken ynn der laden, unnd lanngenn gestell. Ganntz gerecht nach 
 abteilung der feden tzal. Sans lieu. In-4° gothique. Titre a. clairevoie, 
 sans encadrement. En resume 24 feuillets dont 45 pages de dentelles et 
 de broderies a deux ou plusieurs modeles a la page. La plupart de ces 
 patrons se retrouvent dans les volumes publies par Claude Nourry. Us 
 ont de nouveau vu le jour dans le New Modelbuch, publie a, Francfort en 
 1569, par Nicolas Basset. Vente Destailleurs, 1895. 
 
BIBLIOGRAPHY 253 
 
 59 — Basset (Baseus), Nicolas — New Modelbuch, von allerhandt Art Neliens uud 
 Stickens jetz mit viellerley welshe arbeyt, model und stahlen alien stein- 
 metzen, seidenstickern, und Naterin, sehr nietzlich und Kiinstlich von 
 newen zugericht. Getruckt zu Francfnrt am Meyn. Anno 1569. En des- 
 sous du titre et au-dessus de l'adresse de l'imprimeur et du millesime, un 
 medaillon circulaire dans lequel se detache snr un fond noir, un profil d'hom- 
 me regardant vers la droite. C 'est le portrait de l'imprimeur Nicolas Basset. 
 Ce medaillon est encastre dans le haut d'un ovale entoure de cuirs roules, 
 de rinceaux et porte en haut au milieu, un petit vase aux deux cotes duquel 
 est un oiseau. Au-dessus du medaillon dans l'interieur de 1 'ovale, N. B. 
 In-4°. Page non cotee. Au verso de cette page, la marque de Nicolas 
 Basset. 52 feuillets. Le marquis d'Adda dans sa bibliographie en sig- 
 nale une edition de 1568. Vente Destailleurs, 1895. 
 
 60 — Baseus, N. — New modelbuch. Von allerhandt Art, Nehens und Stickens, 
 jetzt mit viellerley Welscher Arbeyt, Model und Stahlen, alien Steinmet- 
 zen, Seidenstickern und Neterin, sehr niitzlich und kunstlich, von newen 
 zugericht. Getruckt zu Frankfurt am Mayn, 1571. Device and motto of 
 Nicolas Baseus on title-page. Sm. 4to. 153 woodcut patterns. Lib- 
 rary V. and A. Museum. 
 
 61 — Basset, N. — New modelbuch von Allerhandt Art, Nehens und Stickens . . . 
 Getruckt zu Franckfurt am Mayn, M. D. LXXI. [Mark of Nicolaus Ba- 
 seus, dated 1570, on titlepage.] 4°. Title and 39 cuts. On sheet 1-4 is 
 a design of the Wounds of Christ, dated 1564. V. & A. M. 
 
 62 — Basset, N. — [45 leaves of similar patterns, printed on both sides. On last 
 page:] Getruckt zu Franckfurt am Mayn, in dem Rosen Eck, by Niclas 
 Bassee. V. & A. M. [See No. 61.] 
 
 63 — Basset, N. — [Another edition.] Gedruckt zu Franckfurt am Mayn. M.D.- 
 LXXXVIII . . . durch Nicolaun Basseum. B. K. M. [See No. 61.] 
 
 64 — Baseus, N — New Medelbuch von allerhandt art Nehens, Wirckens, und 
 Strickens, ietz mit vielerley welscher arbeyt modelvncl stahlen alien stein- 
 metzen Gei denstickern und naterin sehr niitzlich und Kunstlich von neu- 
 wen zugericht. Gedruckt zu Francfnrt am Mayn, MDLXXXX (1590). 
 Sur ce titre, un neuron compose d'un ovale encastre dans un cartouche or- 
 nemente de rinceaux sur lesquels on voit en bas debout a, gauche Adam, 
 a droite Eve. En haut assis tous les deux, a gauche Aaron, a droite Mo'ise. 
 Dans l'interieur de 1 'ovale, un personnage agenouille de profil a droite, les 
 deux mains jointes devant lui. En haut le bon Dieu sur un nuage. Au 
 fond deux collines sur le haut desquelles on voit des villes et leurs murail- 
 les. Sur la bordure qui entoure la composition on lit : Nicolaus Baseus 
 excelsus. Dominus & humilia respicit et alta. A. Loge Considerat. P. S. 
 138, 1590. Gedruckt zu Franchfurt am Mayn durch Nicolaum Bassacum 
 MDLXXXX (1590). En tout 40 feuillets, 77 planches de broderies im- 
 primees au recto et au verso. II existe de ce livre une edition datee 1569. 
 Voir vente Destailleurs. In-8° Oblong. Bibliotheque Nationale. 
 
 65 — Battenberg Manual (Renaissance, Flemish, Arabian Lace). Henry Franken- 
 berg, New York, 1901. (Collection of Kursheedt Manufacturing Co., 
 N.Y.) 
 
254 .1 LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 66— Battey, E. V.— Love of Lace. Harper, V. 53, p. 679. 
 
 67 — Bayard, Einile — L'Art cle Reconnaitre les Dentelles, Guipures, etc. Paris, 
 1914. R. Roger et F. Chernoriz. 
 
 68 — Be, Pierre Le — Bele Prerie, contenant divers caracteres et differentes sortes 
 de lettres alpbabetiques, a scavoir letteres Romaines, de formes, lettres 
 pour appliquer sur le reseuil, ou lassis et autres pour marquer sur toile 
 et linges, par Pierre Le Be, Paris, 1601. In-4°, oblong. Cite dans le cata- 
 logue de monsieur Picard, 1780. 
 
 69 — Beal, J. — Les Dentelles anciennes — nouveau Cboix de Specimens de tout 
 Styles, Reproductions d'apres les Originaux. Paris, A. Calavas, 1887. 28 
 plates. 
 
 70 — Beal, J. — Dentelles, Guipures et Broderies de differents Styles. Paris, A. 
 Calavas, 1892. 47 plates, folio. 
 
 71 — Beatus, M. Georgius — [Dedication to] Der Durchleuchtigen Hochgebornen 
 Furstin und Frawen Loysen Julianen, Ehur Furstin unnd Psalbgraffin bey 
 Rbein, Herzogin in Obern, und Nidem Bayern, ii. Gebornen Princessin zu 
 Oranien, & unser Gradigen Furstin und Frawen [by] M. Georgious Beatus 
 und Jobannes Ludovicus Bitcbius als Romani Beati Seligen Erben da- 
 selbst. Gedruckt zu Franckfurt am Mayn bey Romani Beati Seligen Er- 
 ben M. Georgii Beati unci Joliaun Ludwig Bitchen. Im Jar 1601. 77 
 plates. Hamburg Mus. 
 
 72— Becker, B. H.— Lace-Making at Nottingbam. Blackwood, V. 132, p. 477. 
 
 73 — Becker, B. H. — Lace-Making at Nottingbam. Eclectic Magazine, V. 99, p. 
 755. 
 
 74 — Becker, B. H. — Lace-Making at Nottingbam. English Illustrated Magazine, 
 May 1884, London. V. 1, p. 467. 
 
 75 — Becker, Marie — Renaissance-Spitzen. Yelhagen & Klasings Monatshefte, 
 Marcb, 1898, Leipzig. 
 
 76 — Becker, M. — Scbon newes Modelbucb, von bundert und acbtzig scbonen 
 kunstreicben und gerecbten Modeln, Teutscbe und Welscbe, welscbe auff 
 mancberly Art Konnen geneet werden, als mit Zopffnatb, Creutz und Kbn- 
 nen Judensticb, aucb auff Laden zu wirken, etc. 12 plates, sm. obi. 
 Franckfurt am Mayn, Mattbes Becker, 1601, (Bound witb it, tbe orna- 
 mental title and two leaves of a Basel pattern book of 1599). S. K. M. 
 
 77 — Becker, M. — Scbon newes modelbucb Von bundert vnd acbtzig scboren kun- 
 streicben vnd gerecbten Modeln Teutsche vnd Welscbe, welcbe auff man- 
 cberly Art konnen genoet werden, als mit Zopffnatb Creutz vnd Juden- 
 sticb aucb auff Laden zu Wircken-Dessgleicben von ausserlesenen Zinnigen 
 oder Spitzen. Allen Seydenstickern Modelwurckerin Naderin, vnd sol- 
 cber Arbeit geslissenen Weibsbildern sebrn dienstlicb, vnd zu andern Mus- 
 tern anleytlicb vnd verstandig. Franckfurt am Mayn, In Verlegung 
 Mattbes Beckers. M.D.C.L. 4°. 4 pp. test. Copy of Vecellio. V. & 
 A.M. 
 
 78 — Beckers, Matthes — Scbon Newes Modelbucb von bundert vnd acbtzig scbonen 
 Kunstreicben vnd gerecbten Modeln, Teutscbe vnd Welscbe auff Mancber- 
 ley art Konnen genut werden, als mit Zopffnatb, Creutz vnd Judensticb, 
 aucb auff Laden zu wircken. Defsgleicben von auserlesenen Zinnigen oder 
 
BIBLIOGRAPHY 255 
 
 Spitzen. Allen Seydenstickern, Modelwurckerin, naderin, und solcker ar- 
 beit geflissenen "Weibsbildern sebr dienstlicb vnd zu andern Mustern, an- 
 leytlicb vnd vesrtandig. Franckf urt am Mayn, In Verlegung Mattbes, 
 Beckers, MDCI (1601). In-4° oblong. Titre et 2 fenillets. 57 fenillets. 
 Cet onvrage n'est mentionne dans aucune bibliograpbie et est complete- 
 ment inconnu. Le titre inrprime en rouge et noir est entoure d'un large 
 dessin representant des femmes qui travaillent. Mme. Bury-Palliser dans 
 sa bibliograpbie en mentionne une edition de 1605. 
 
 79 — Beebe, Mrs. C. D. — Lace, ancient and modern. New York, Sbarps Publisb- 
 ing Co., 1880. 
 
 80 — Belgian Lace-Makers. International Magazine, V. 1, p. 123. 
 
 81 — Belin, A. — Sensuyent lis patrons de Messire Ant. Belin, etc. sm. 4to. (im- 
 perfect copy; 28 designs on 14 leaves of lace patterns, 16tb cent.) Pierre 
 de Saicte Lucie, called le Prince, Lyon, n.d. S. K. M. 
 
 82 — Belin, A. — Sensuyent les Patrons de Messire A. Belin, etc. Sm. 4to, mounted 
 imperfect copy, ornamental title, and 22 patterns. Lyon, P. de S. Lucie, 
 called Le Prince, n.d. S. K. M. 
 
 83 — Belin, A. — Sensuyuent les Patrons de messire Antoine Belin, Beclus de 
 sainct Marcial de Lyon. Item plusieurs aultres beaulx Patrons nouueaubr, 
 qui ont este inuentez par frere Jeban mayol, carme de Lyon. 4°. 11 
 leaves of cuts. V. & A. M. 
 
 84— Belin, A., see Saincte Lucie. Also Jeban Troulon. 
 
 85— Bell, Mrs. A.— Breton Caps. Connoisseur, V. 23, pp. 44-48, Jan. 1909. 
 
 86 — Belleze de Eecami et Dessegni, opera nuova, nella quale si ritrovano varie 
 et diverse sorti di mostre, di punti tagliati, et punti in aiere a fogliami, 
 punti in stuora et altra sorte. In venetia. MDLVIII. In-8 C oblong. 1 
 feuillet prelirninaire, 19 fenillets, 37 plancbes de broderies imprimees au 
 recto et au verso sauf la derniere qui n'est imprimee qu'au recto. Vente 
 Biva, 1856, Vente Yemenitz, 1867, Catalogue Cicognara. 
 
 87 — Bellezze. — Bellezze de Becami, et Dessegni. Opera noua, nella quale si rit- 
 rovano, uarie, & diuerse sorti di mostre, di punti tagliati, et punti in aiere, 
 a fogliami, punti in stuora, et altre sorte, come nella presente uedrai. Doue 
 le belle, et virtuose donne potrano fare ogni sorte di lauori, sopra Colari 
 Manegbetti, & sopra tutte quelle cose, doue uanno simil lauori. Opera 
 non men bella, cbe vtile, & necessaria. Et non piu ueduta in luce. In 
 Venetia. L'Anno MDLVIII. Sm. Ob. 4to. 20 plates of patterns. V. & 
 A. M. 
 
 88 — Belleze de recami et dessegni, etc. Venice, 1558. Facsimile edition. 
 
 89 — BejiOBHh, J. — CpncKH HapoAHH Bee h TeKcrajma opHaMeHTHKa. . Ca 
 14 opHrHHajiHHx cjiHKa. pp 254. 1907 AKaAeMHj'a HoBHcaA. Mani- 
 lla CpncKa. Ktbure. Bpoj 21. 
 
 90 — Belovic — Vezilacka unjetnost u Hrvata i Srba. 1906. Zborink za narodni 
 zivot i obicaje iuznib slavena kn. 11. 1. 
 
 91 — Berain, Oeuvres completes de— Library of tbe Musee des Arts Decoratifs, 
 Paris. Manueli Hoepli, Milan. 
 
 92 — Bernbard and Ellen. Puntas and Passamenterie. Connoisseur, V. 24, pp. 
 82-88, June, 1909. 
 
256 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 93 — Berry, Marguerite du — La Dentelle. Paris, Gamier, Freres, 1906. B. M. 
 
 94 — Bert, F. — Musee de Fabrique de F. B. Professeur de Theorie de Tissage, 
 a Lyon. (Cat.) fol. Lyon, 1855. S. K. M. 
 
 95 — Bertling, Richard — Anton Moeller's Danziger Frauentrachtenbuch, 1601. 
 Facsimile, mit Text von A Bertling. Danzig, Bicb. BertUng, 1886. 
 
 96 — Bertrand, Jules — Le Livre d'or de St. Pierre les Calais. Histoire des den- 
 telles, des tulles et de leur fabrication. Calais, Imp. Tartar-Crespin, 
 1885. 
 
 97 — Bethune, Bon Joseph — Pour le commerce de Dentelles. Cercle historique et 
 archeologique de Courtrai, 1903-1904. 
 
 98 — Bezon— Dictionnaire general des tissus anciens et modernes. Lyon, 1836. 
 
 99 — Biais, Th. — Etude sur les Broderies, Dentelles et Etoffes a, 1 'Exposition d'An- 
 vers, en 1885. Paris, Impr. A. Lahure, n.d. 
 
 100 — Biddle, C. H. — Mansion house exhibition, 1883. Irish lace : a history of the 
 industry with illustrations and a map. (Signed at the end by Ben Lind- 
 sey and C. H. Biddle.) London. (1883.) 8°. 
 
 101 Biechy, Elise — Spitzenmuster. Zeitschrift des Kunstgeiverbevereins in 
 Miinchen, 1881. 
 
 102 — Bille, Jacques — Carton de dentelles. L'Art decor atif. March, 1902, Paris. 
 
 103 — Binding or Overcast Stitch. Ladies Home Journal, V. 24, p. 39, March, 
 1907. 
 
 104 — Bindoni, Giov. ant. — II monte (Libro secondo). Opera nuova di recami, di 
 punto tagliato a fogliami, dove ogni bella donna potra fare ogni sorte di 
 lavori cioe colari, fazzoletti, maneghetti, avertadure. In Venetia, 1560. 
 Au verso du titre une dedicace : Giov. ant. Bindoni, alia signora Vittoria 
 da Cordova dans laquelle il faut noter les mots suivants. . . . Ho presso 
 ardimento di presentavi questo secondo monte, il quale. ...,&. The dedi- 
 cation dates 1559. Suivent 15 feuillets chiffres avec 25 planches de bro- 
 deries. Vente Santarelli, Chez M. Bigazzi a Florence. 
 
 105 — Bindoni, G. Antonio — Ricchezze, Opera di Recami intitulata le Richezze. 
 Delle bellissime et virtuosissime donne, Nella quale si ritrova varie sorti 
 di punti tagliati, et di punti in aire, dove facilissimamente, et senza fatica 
 alcuna, ogni virtuosa donna, potra lavorare cavezzi di varie sorti, colari, 
 merli, da cavezzi, avertadure da huomo et da donna, manegheti, merli da 
 mele da cusini, over forete, maneghe da camise et da vesture, et altre varie 
 sorte di frisi, et mostre, si come veder potrai, ridotte alia vera grandezza, 
 forma et misura che debbono essere, ne mai piu pu l'adietro vedute da 
 niuno. Opera non meno utilissima che necessaria. A la fin. In Venetia 
 l'anno MDLVII (1557) a la Libreria de la Gatta. Des exemplaires por- 
 tent MDL VIII. Premiere edition d'un ouvrage tres rare et non cite. Elle 
 comprend en tout 10 feuillets et 13 planches de broderies, dont 5 sont de 
 doubles grandeurs. Le recto du premier feuillet contient le titre donne 
 ci-dessus, et une dedicace, de G. Antonio Bindoni, datee du 3 avril 1557. La 
 souscription occupe seule le verso du dernier feuillet. Vente Benedetto 
 Maglione, 1894. 
 
 106 — Bindoni, Gio. Antonio — Riochezze, Opera nova di Recami intitulata le 
 Richezze delle bellissime et virtuosissime donne nella quale si ritroza varie 
 
BIBLIOGRAPHY 257 
 
 sorti di punti tagiiati et punti in aiere, dove facilissimamente et senza fa- 
 tica alcuna ogni virtuosa donna potra la vorare cavezzi. . . . 
 
 A la fin, In Venetia l'anno MDL Villi (1559.) A la libreria de la 
 Gatta. 3 parties en un volume in-folio. Libro primo. 12 ft:, avec 
 planches de broderies gravees sur bois, dont plusieurs sont de double 
 grandeur. La primiere page contient le titre et au-dessous un avis 
 de Gio- Antonio di Bernandino Bindoni alle virtuose donne, date de Venise, 
 3 avril 1557. Libro seeondo, 12 ff. avec broderies, titre et dedicace de Bin- 
 doni a Lucretia Soncina gentil donna Paduana sur la premiere page. La 
 derniere page est blanche. La 3° partie a pour titre : Bichezze. Opera di 
 Becami intitulata : Le Bichezze. Elle a 22 ff. Le premier feuillet con- 
 tient le titre et au-dessous une dedicace de Bindoni. Au-dessous de la 
 planche au recto du dernier feuillet, se trouve la mention : II fine. Plu- 
 sieurs planches sont de double grandeur. Vente Piot, 1891. 
 
 107 — Binetti-Vertua, Caterina — Trine e Bonne Siciliane. Ulrico Hoepli, Milan, 
 1911. 
 
 108 — Birdwood, Sir G. C. M. — Industrial arts of India. (Lace and Needlework, 
 Vol. 2, p. 68.) S. Kensington Mus. Art Handbook, 2 vols. 8vo. London, 
 1880. S. K. M. 
 
 109 — Black, C— Lace Industry. Living Age, V. 237, pp. 415-425, May 16, 1903. 
 
 110 — Black, C. — The Lace Industry. Monthly Review, 11, No. 1, p. 92. Eclectic 
 Magazine, 141 -.65. 
 
 Ill — Blackborne, Arthur — Catalogue of the famous Blackborne Collection of 
 Laces. New York, American Art Association, 1908. See "Lace Collec- 
 tion of Arthur Blackborne." 
 
 112 — Blackburn, Miss G. — Volant de berthe en dentelles. L'Art decoratif, 
 November 1899, Paris. 
 
 113 — Blais, T. — Exposition universelle, 1878. Les Tisus et les Broderies. Extr. 
 de la Gaz. de Beaux Arts, Dec. 1878. 8 vo. Baris, 1879. S. K. M. 
 
 114 — Blais, T. — Les Industries d'Art au Champ de Mars. Les Tissus et les 
 Broderies. "Gas de Beaux Arts" 2nd ser., Vol. XVIII, p. 931. 8vo. 
 Paris. 1878. S. K. M. 
 
 115 — Blanc, C. — L'Art dans la Parure et dans le Vetement. 8vo. Paris, 1875. 
 Another ed. (Dentelles, p. 188. 8vo. Paris, 1887.) 
 
 116 — Blanc, C. — Art in Ornament and Dress. (Translation of the above.) 8vo. 
 Lond. 1877. 
 
 117 — Blanc, Charles — Grammaire des Arts decoratifs. Dentelles. Gazette des 
 Beaux-Arts. 1874, Paris. 2nd Series, Vol. IX, p. 211, 8vo. 
 
 118 — Blanchon, H. L. Alph. — Au pays des dentellieres (Le Puy). Le Monde 
 moderne, October 1902, Paris. 
 
 119 — Bland, Mrs. — Malacca Lace. (Boval Asiatic Society — Straits Branch.) 
 Journal No. 45, 1906, pp. 273-277. 
 
 120 — Blau, Josef — Die Spitzenkloppelei in Neuern (Bohmerwald). Extr. Zeit- 
 schrift fur osterreichische Volkskunde, 1904. Vienna, 1905. 
 
 121 — Blaufuss, Frl. H. — Spitzeneinsatz. Zeitschrift des Kungstgeiverbe-Ver- 
 eins in Miinchen, 1881, Munich. 
 
 122— Bloch, Sol. M.— On vogue for laces. N. Y. Times, July 15,11 :4. 
 
258 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 123 — Booker, Emmanuel — Livres a dentelles reproduits pur Amand-Durand 
 
 sous la direction d 'Emmanuel Booker, Paris, Amand-Durand, 1883 and 
 
 1887. 
 124 — Booker, Emmanuel — Manuel des Travaux a 1 'Aiguille. 3 vols., Le Filet 
 
 Brode, La Frivolite, Les Glands, etc. Paris, Librairie Damascene Mor- 
 
 gand, 1911. 
 125 — Bock (Dr. F.) — Besckrebender Katalog einer Sammlung von Spitzen und 
 
 Kanten, etc. (Coll. purckased by tke Museum at Dresden.) 8 vo. Aix, 
 
 n.d. S. K. M. 
 126 — Bock, Dr. Franz — Die textilen Byssus. Aacken, 1895. 
 127 — Bock, (Dr. F.) — Gesckickte der Liturgiscken Gewander des Mittelalters, 
 
 etc. Plates. 3 vols. 8vo. Bonn, 1859-71. S. K. M. 
 128 — Bock, Dr. Fr. — Les Dentelles religieuses d'apres les modeles du Moyen 
 
 Age. Le Beffroi. Vol. Ill, 1866-1870, Bruges. 
 129 — Bodli, J. — Magyar czipesz szakismertclo konyv. Ill pp. Budapest, 1892. 
 
 8vo. B. M. 
 130 — Boekn, Max von — Die Mode, Menscken und Moden im 17., 18. und 19. Jakr- 
 
 kundert. Nack Bildern und Kupfern der Zeit, ausgewaklt von Ostr. 
 
 Finkel, mit Text von Max von Boekn. 5 vols. 
 131 — Bofarull, Carles de — Encajes a Mano. Museum Barcelona, 1912. 
 132 — Boisseree (S) — Ueber die Kaiser- Dalmatika in der St. Peterskircke zu 
 
 Bom. Plates. 4to. n.p., n.d. S. K. M. 
 133 — Bonnand, Etienne — Autour d'une loi (sur la Dentelle). La Dent elle ,1905, 
 
 Paris. 
 134 — Bonnand, Etienne — Comment on cree un dessin de dentelle. La Dentelle, 
 
 1904, Paris. 
 135 — Bonnand, Etienne — La dentelle et dessin dans nos establissements d'edu- 
 
 cation. La Dentelle, 1904, Paris. 
 136— Book of Patterns for Point Lace. Paris 1623. 4to. Walpole's sale, 1842. 
 137 — Borckgrave, E. de — Histoire des colonies beiges en Allemagne et en 
 
 Autricke. 
 138 — Borner, Bruno — Colored Patterns for Cross Stitok Work. 25 patterns. 
 
 (Collection of Kurskeedt Manufacturing Co., New York). 
 139 — Borner, Bruno — Colored Patterns for Cross-stitck. 51 plates. (Collection 
 
 of Kurskeedt Manufactm-ing Co., N. Y.) 
 140 — Bottomley, H. T. — How to make tke faskionable filet lace. Harper's 
 
 Bazaar, v. 47, p. 241, May 1913. 
 141— Bowdoin, W. G.— Point and Pillow Lace. Artist, v. 27, pp. 257-262, 312- 
 
 316. 
 142 — Brackett, A. M. — Italian Lace. The Art Workers Quarterly, July, 1902, 
 
 London. 
 143 — Branckardiere, Mile. R. de la — Tke Book of Greek and Roman Lace. 
 
 Illus. London, 1859. obi. 24o. 
 144 — Branckardiere, Mile. R. de la— Tke crocket book. London, 1847. So. 
 145 — Branckardiere, Mile. R. de la — Tke Crotcket Book of Emblem Antima- 
 cassars, etc. obi. 4to. Lond. 1874. S. K. M. 
 
BIBLIOGRAPHY 259 
 
 146 — Brancliardiere, Mile. R. de la — The Irish Lace Instructor: containing 
 original designs for Spanish Point, etc. (Illus.) obi. 4to. Lond. 1886, 
 Simpkin, Marshall & Co. S. K. M. 
 
 147 — Brancliardiere, Mile. R. de la — Lacework, etc. Selected. Vol. 2. 1905. 
 
 148 — Brancliardiere, Mil. Riego de la — Modern Orris Lace. 20 pp. London, 
 1885. obi. 8o. B. M. 
 
 149 — Brancliardiere, Mile. Riego de la — The Netting Book for Guipure d'Art, 
 etc. London, 1868. 16 mo. 
 
 150 — Brancliardiere, Mile. Riego de la — The Point Lace Sampler, 1871. 
 
 151 — Brancliardiere, Mile. R. de la — Royal Jubilee Crochet Book. 1887. 
 
 152 — Brancliardiere, Mile. Riego de la — The Royal Point Lace Instructor, 1870. 
 
 153 — Braun, Jos. — "Winke fur die Anfertigung und Verzierung der Paramente. 
 Fribourg in Brisgau, Libr. Herder, 1904. 
 
 154 — Braunmiihl, C. von — Das Kunstgewerbe in Frauenhand. 4to. Leipzig 
 (1885). S. K. M. 
 
 155 — Braunmiihl (C. von) — Uber Technik und Entwickelung der Spitzen. 
 "Kunst und Gewerbe," Yo\. XVI., pp. 33, 65. 4to. Niirnberg, 1882. 
 S. K. M. 
 
 156 — Brazza, Cora A., Slocomb di — A Guide to old and new Lace in Italy, ex- 
 hibited at Chicago in 1893. Chicago, W. B. Conkey & Co., 1893. B. M. 
 
 157 — Brenan, James — Marketing of Irish Lace. See : Ireland Industrial and 
 Agricultural, Dublin, 1902. 
 
 158 — Brenan, James — The Modern Irish Lace Industry. Journal and Proceed- 
 ings of the Arts and Crafts Society of Ireland, 1898. 
 
 159 — Brenan, James — The Modern Irish Lace Industry. See: Ireland Indus- 
 trial and Agricultural, Dublin, 1902. 
 
 160 — Brenan (J.) — Report on a visit to Paris and Belgium respecting the 
 manufacture of needlepoint lace. By J. B. School of Art, Cork, 1887. 
 Sm. 4to. ph. S. K. M. 
 
 161 — Breton, Gaston le — La Tissuterie Ancienne. Gazette des Beaux Arts, 
 Paris, 1883. Tome 27, pp. 61-76, pp. 170-175. 
 
 162 — Bretschneider, A. — New Modelbuch Darinnen allerley kunstliche Virsirung 
 und Muster artiger Zuege und schoner Blummen zu zierlichen Ueber- 
 schlagen, Haupt Schurtz Schnuptuchern Hauben Handschuhen, TJhren 
 (!) gehenzen, Kampfii tern und dergleichen auf Muhler naht und Seiden- 
 stucker arbeit gantz Kunstlich gemahlt und vorgerissen, dergleichen sie 
 bevorn noch nie in Druck ausgegangen. 16 Leipzicht 19. Inn Verlegning 
 Henning Grosseren, de Jungeren Andreas Bretschneider Mahller. Small 
 folio, 53 plates, and half a sheet of text. Bibliotheque publique de Cassel. 
 Leipzig, 1619. 
 
 163 — Brieuves, De — La Dentelle — Historique de la Dentelle a travers les ages 
 et les pays. Modeles et dessins de Songy. Un volume lin-12 de 196 pages, 
 illustre de 83 figures et planches dans le texte. 
 
 164 — Brockhaus — Kunst Kloppeln. Conversations Lexicon. 
 
 165 — Brooks, Beatrice, at Comberwell — Plastron en dentelle de Carrickmacross. 
 Art applique, Ire annee, Paris. 
 
260 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 166 — Brown, Margaret--Duogate, at Dover — Couverture en dentelle pour calice. 
 
 Art applique, Ire annee, Paris. 
 167— Brown, N. C— Arabian Lace. limpet's Bazaar, V. 41, pp. 886-888, Sep- 
 tember, 1907. 
 168 — Brown, Nellie Clark — How to Make Battenberg and Point Lace. Boston, 
 
 Priscilla Publishing Co., 1900. 
 169— Brown, N. C— Lace Table Set. Harper's Bazaar, V. 41, pp. 1116-1119, 
 
 November 1907. 
 170 — Brown, M. M. — How lace-making industry in Belgium was subsidized by 
 
 Commission for Belgian Relief. N. Y. Times, Mar. 3, V. 2:1. 
 171 — Browning, H. Ellen — Some beautiful Lace at Nottingbam Castle. The 
 
 Lady's Realm. June 1903, London. 
 172 — Bruges, Musee de Gruutbuus. Anciennes Dentelles beiges. Anvers, 1889. 
 
 B. M. 
 173 — Brunot, H. S. — Lace Industry of Prance. Scientific American Supple- 
 ment, V. 57, p. 23817, June 25, 1904. 
 174 — Briissel — Historische Spitzenausstellung. Kungstgewerbeblatt, 1893-1894, 
 
 Leipzig. 
 175— Brussels, Expos. Nationale de 1880.— Cat. Officiel. (Sect. IV., Classe C, 
 
 Dentelles et Broderies.) 16 mo. Bruxelles, 1880. S. K. M. 
 176— Brussels Lace— All the Year, V. 36, pp. 296, 353. 
 177 — Brussels — Musees des Arts decor atifs. Catalogue des ouvrages se rap- 
 
 portant a l'industrie de la dentelle. 433 pp. Bruxelles, 1906. B. M. 
 178 — Buckinghamsbire, Countess of — Tbe Buckingbamsbire Lace Industry and 
 
 its Revival. The Girl's Own Paper, 1876, London. 
 179 — Buckingbamsbire, Countess of — Revival of Lace. Argosy, V. 63, p. 156. 
 180 — Buckley, Agnes, at Limmerick — Composition pour berthe en dentelle. Art 
 
 applique, Ire annee, Paris. 
 181 — Buhring, W. — Scbulen fur kunstleriscbe Nadelspitzen in Hirschberg. 
 
 Schleisen, In die Kunst, 1910, v. 22, pp. 412, 413. 
 182 — Bulletin commercial, organe hebdomadaire du Musee commercial de Brux- 
 elles, 1902, Nos. 33-50, about exporting lace to out-of-way places and 
 
 about possible agents. 
 183 — Bulletin mensuel de 1 Association generale du commerce et de l'industrie 
 
 des tissues et des matieres textiles. Paris, 14e Annee, 25 mars 1898, Seance 
 
 de la Cbambre syndicale des dentelles et broderies. 
 184 — Bulletin of tbe Needle and Bobbin Club. Pub. semi-annually beginning 
 
 Dec. 1916, New York. 
 185 — Bunner, K. — Lace-makers of Aspley Guise. Craftsman, V. 17, pp. 85-89, 
 
 October 1909. 
 186 — Bunsen, Marie von and Heiden, Max — Berliner Spitzen-Ausstellung, 1905. 
 
 Plauen, C. Stoll. 
 187 — Burando (?), Lace-making at— "Art & Letters," Vol. I., pp. 12, 42. 4to. 
 
 Lond. 1881. 
 188— Burando (?)— Patterns of Lace made at. 100 Pbotos. Fol. Burando, 1884. 
 
 S. K. M. 
 
BIBLIOGBAPHY 261 
 
 189 — Burato — Libri ii, iii, et iv, De Re eh ami per le quale se impara in diversi 
 modi l'ordine e il modo de recamare, etc. Venice, 1527. The whole con- 
 taining over 150 plates of designs. Venezia, 1878-80. Only a small num- 
 ber reprinted in facsimile of the originals. Metro. Mus. 
 
 190— Burrell, Mrs. J. Knitted Lace Edgings. 3 pt. Wisbech, London 1845-6. 
 In British Museum. 
 
 191 — Burrowes, M. E. B. — Buckinghamshire Lace. Art Workers' Quarterly, 
 v. 3, (No. 9), pp. 15, 16. 
 
 192 — Busse, G. F. — Die Se-hatzkammer der Marienkirche zu Danzig. (Photos, 
 of Needlework). 2 vols. 8vo. Danzig, 1870. S. K. M. 
 
 193 — Butterick Publishing Co. — The Art of Crocheting. Butterick, New York, 
 1891. (Collection of Kursheedt Manufacturing Co.) 
 
 194— Butterick Publishing Co.— The Art of Drawn Work. Butterick, N. Y., 1897. 
 (Collection of Kursheedt Manufacturing Co., N. Y.) 
 
 195— Butterick Publishing Co.— Art of Drawn Work. 1901. (Collection of 
 Kursheedt Manufacturing Co., N. Y.) 
 
 196 — Butterick Publishing Co. — The Art of Modern Lace-making. Butterick, 
 1891. (Collection of Kursheedt Manufacturing Co.) 
 
 197 — C, A. — Furm oder Modelbiichlein darin zu lernen vnnd gantz Lentlich zu 
 begreyffen die recht und war Kunst auch die ausz teylung aller hand 
 gewirck in der ram in der lade und mit der Kand ausz zu Nehen ganntz 
 Neygemareht. Gedruckt zu Augspurg, D. H. S. Sans date, vers 1550. 
 Titre et 12 feuillets signes : A. C. 24 planches sur bois. Modeles de tapis- 
 serie. Catalogue Tross, 1867. 
 
 198— C, E. M.— The Lady's Crochet-book, 3rd series. London, 1877. 8°. 
 
 199— C, E. M.— The Lady's Knitting- book. Series I-IV. 4 vols. 16 mo. Lon- 
 don, 1875. S. K. M. 
 
 200 — Calais Lace Trade. Board of Trade Journal, May 16, 1901, London. 
 
 201 — Calavas, A. — (Dentelles diverses). Portef., Paris, A. Calavas, n.d. 
 
 202 — Calepino, Francesco — Lucidario di Recami nel qval si contengono molte 
 et varie sorti di dissegni a pvnti in aere et pvnti tagliati et a fogliami et 
 con figure et di piu altre maniere, come al presente si vsano, non piu ven- 
 ule in luce per leqvli ogni devato ingegno potra in diuersi modi comme 
 dissimamamente seruirsi. In Venetia appresso Jeronimo Calepino, 1563. 
 Au-dessus de l'adresse de l'editeur, un fleuron rectangulaire, compose de 
 rineeaux des deux cotes d'un vase, et au-dessous un autre fleuron a, claire- 
 voie. Verso. Dedicace : Alia molto Honorata M. Anzola, ingegniera suo- 
 cera mia digniss. Francesco Calepino. S. Puis une lettre ornee V. entre 
 les branches de laquelle on voit une femme tenant dans ehacune de ses 
 mains levee en Pair une couronne. Cette lettre ornee est en tete de 21 
 lignes de texte finissant par les mots: Div. vara et singular virtu. Fran- 
 cesco Calepino affettionatiss. Puis les broderies. Page non cotee, verso. 
 An verso de cette page une marque d'imprimeur consistant en rineeaux 
 avec un ecusson au milieu, dans lequel on voit un animal de profil a gauche. 
 En resume 16 feuillets contenant 27 planches de broderies seulement, a 
 
262 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 cause des planches doubles. C'est pour ue pas avoir observe ce detail que 
 dans sa bibliograpbie Mme Bury-Palliser indique cet ouvrage comme con- 
 tenant 29 planches de broderies. Bibliotheque Nationale. Bibliotheque 
 de 1 'Arsenal. 
 
 203 — Calepino, Jeronimo — Splendore delle virtuose giovani dove si contengono 
 molte, & varie mostre a fogliami cio e punti in aere, et punti tagliati, bel- 
 lissimi, & con tale arteficio, che li punti tagliati serveno alii punti in aere. 
 Et da quella ch' e sopragasi far si possono, medesimamente molte altre. 
 In Venetia Appresso Jeronimo Calepino, 1563. 8vo, 20 ff., 35 plates of 
 scroll patterns in the style of "II Monte." Venice, 1563. Dedication 
 "Alia molto honorata M. Anzola ingegniera suoceramia digniss." Fran- 
 cesco Calipino wishing, he says, to "ristampare la presente opera," he 
 dedicates it to her. Bib. Nat. Bib. de l'Arsenal. Cat. d'Estrees. 
 
 204 — Calepino, Francesco — Splendore delle virtuose Giovani dove si contengono 
 molte et varie mostre a fogliami. Cioe punti in aere et punti tagliati bell- 
 issimi & con tale artificio che li punti tagliati serueno alii punti in aere et 
 da qvelle che sopragasi far si possono medesimamente molte altre. In 
 Venetia appresso Jeronimo Calepino, 1563. Ce titre est inscrit sur une 
 draperie encadree dans deux colonnes sur socle et surmontees enhaut d'un 
 fronton surbaisse portant au milieu un gros anneau. Au verso une dedi- 
 cace: Alia molto honorata, M. Anzola Ingegniera suocera mia digniss 
 Francesco Calepino S. Une lettre ornee, c'est un V entre les branches du- 
 quel on voit une femme tenant dans chacune de ses mains, levees en l'air, 
 une couronne. Vingt et une lignes de dedicace se terminant par les mots : 
 Div. rara & singular virtu Francesco Calepino affectionatiss. Au verso 
 d'une page deux gravures sur bois, l'une au-dessus de l'autre. En haut, 
 c'est un ornement rectangulaire, forme, d'un motif central et de deux 
 rinceaux. Au-dessous c'est une marque d'imprimeur au milieu de laquelle 
 on voit dans une sorte d'ecusson, un animal de profil a, gauche. En resume, 
 16 feuillets dont un titre et 29 planches de broderies. Vente Santarelli. 
 Bibliotheque Nationale. Biblotheque de l'Arsenal. 
 
 205 — Calepino, Jeronimo — Splendore delle Virtuose Giovanni dove si conten- 
 gono molte et varie mostre di fogliami, cioe punti in aere et punti tagliati 
 bellissimi et con tale artificio che li punti tagliati serueno alii punti in 
 aere et de qvelle che so pragasi far si possono medesimamente molte 
 altre. In Vinegia appresso Jeronimo Calepino del 1567. In 4°. Fron- 
 tispice, gravures, 20 feuillets, 35 planches. Bibliotheque Melzi, a, Milan. 
 
 206 — Calmettes, Fernand — L 'Exposition Universelle (1900). Les tissus d'art, 
 III, Dentelles. Revue de I' Art ancien et moderne, 1900. 
 
 207 — Calmettes, Pierre — Dentelles et Dentellieres. Grande Revue, March, 1904, 
 Paris. 
 
 208 — Calori, E. — Travaux en guipures, etudes. Arte Italiana, 1901, Milan. 
 
 209 — Camerino, J. G. — Collection J. G. Camerino, Paris. Les Points de Venise. 
 Paris, Librairie des Arts Decoratifs, 1907. 
 
 210 — Campbell, Mrs. — Care of Lace. Chamber's Journal, V. 80, p. 743. 
 
 211 — Cardevaque, M. de — Histoire de la Dentelle a Arras. 
 
BIBLIOGRAPHY 263 
 
 212 — Carita — Lacis (Filet Brode) : practical instructions in Filet Brode or 
 darning on net. Diagrams for working old designs of Lacis. Sampson 
 Low, 1909 etc. B. M. 
 3 ser., Sampson Low, 1910. B. M. 
 
 213 — Carlier, Antoine — La Belgique Dentelliere. Brussels, 1898. B. M. 
 
 214 — Carlier, Antoine — Les crises dentellieres en Belgique. Musee social, De- 
 cember 1901, Paris. 
 
 215 — Carlier, Antoine — Les Dentelles a 1 'aiguille. Extr. Bulletin des Metiers 
 A' Art, 1903-1904. Brussels, Vromant et Cie., 1904. 
 
 216 — Carlier, Antoine — Les Dentelles au Fuseau (Malines, Lille, Chantilly, 
 Blondes.) Technique evolution des formes. 1 vol., 4to, 100 plates. J. 
 Poisson, Paris. Also edition de luxe with 450 engravings. Vromant & 
 Co. 
 
 217 — Carlier, Antoine — Les Dentelles a l'aiguille, leur technique. Bull. Metiers 
 d'Art, 1904, Brussels. 
 
 218 — Carlier, Antoine — Les dentelles a. l'aiguille, origine, luxe, histoire. Bull. 
 Metiers d'Art, 1903, Brussels. 
 
 219 — Carlier, Antoine — Les Dentelles a l'aiguille. Petit brochure in 4to, 50 en- 
 gravings. 
 
 220 — Carlier, Antoine — Les dentelles a l'aiguille, "points," technique. Bull. 
 Metiers d'Art, 1904, Brussels. 
 
 221 — Carlier, Antoine — Les Dentelles a la Main, Dentelles au Fuseau, a 1 'Aiguille, 
 Points melanges. Plauen. 
 
 222 — Carlier, Antoine — Dentelles des Temps passes. Illustration Europeene, 
 October 1901, Brussels. 
 
 223 — Carlier, Antoine — Les Duchesses anciennes et modernes. 61 engravings, 2 
 plates. Petit brochure. 
 
 224 — Carlier, Antoine — Le jeu des fuseaux. -Patriote illustre, March 1901, Brus- 
 sels. 
 
 225 — Carlier, Antoine — De Kantveraardiging in Nederland en Belgie. Else- 
 vier' 's Geillustreerd Maandschrift, April, 1904. The Hague. 
 
 226 — Carlier, Antoine — Le Point de Venise. 1 f., n.p., n.d. 
 
 227 — Carlier, Antoine — Les Valenciennes. Brussels, 1902. 64 pages. 8vo. 42 
 figs, and plates. B. M. 
 
 228 — Carlile, Blanche — Lace and the North Buck Lace Association. Empire Re- 
 vieiv, January, 1903, London. 
 
 229 — Carter, Miss Sybil — Brochure without title, New York, n.d. 
 
 230 — Carter, Miss Sybil, and Miss Margaret A. Tomes — Lace made by North 
 American Indians. New York, 1904. 
 
 231 — Caster, G. Van — La Dentelle de Maline. Acad. Roy. d'Archeol. de Bel- 
 gique Annates, V. 62, pp. 5-51. 
 
 232 — Caster, G. van — Etude sur la Dentelle de Malines. Malines, L. and A. Go- 
 denne, 1909. 
 
 233— Catalogue, Daily Mail Exhibition of British Lace, March, 1908. 
 
 234 — Catalogue des objets d'art . . . dentelles . . . ayant appartens a Mme. la 
 Comtesse Gatterburg Morosini, a Venise. Venice, 1904. 
 
264 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 235 — Cau, James L. — The Mortons of Darvel. Art Journal, n.s. 1900. London. 
 
 Pp. 7-11, 78-82. 
 236 — Caulfeild, S. F. A., and Saward, B. C, — Dictionary of Needlework. An 
 encyclopaedia of plain and fancy needlework. History of the various 
 works, etc. (Illus.) 4to. London, 1881, L. Upcott Gill. S. K. M. 
 237 — Caulfeild, S. F. A. and Blanche C. Saward — Supplement to the Dictionary 
 
 of Needlework. London, 1902. 
 238 — Caulfeild, S. F. A. — Papers on Needlework in The Queen, The Girl's Own 
 
 Paper, and Cassell's Domestic Dictionary. S. K. M. 
 239 — Celle, D. — "Ce livre est plaisant et utile. A gens qui besongnent de leguille," 
 etc. 28 ff., 27 plates. Title in Gothic Letters. Dedication to the Reader, 
 in which it states the hook is for the profit of "tant hommes que femmes." 
 Patterns mediaeval. At the end of the Preface, "Finis coronat opus." — 
 Lyons, N. D. Bib. de l'Arsenal. No. 11,953. Cat. d'Estrees. No. 8,843. 
 1. Bib. Ste. Genevieve. V. 634. 
 240 — Celle, D. — Ce liure est plaisant et vtile &c. . . . Corrige est uouuellement 
 . . . par . . . Dominicque celle . . . Taille il est totallement Par Jehan 
 coste . . .A Lyon . . . Quatre vingtz fassons a vrayement Tous de dif- 
 ferente maniere. Imprime a Lyon par Jehan coste. Lan de grace mil 
 cinq cens trente vng. Le premier jour du moys de Decembre. Dominieus 
 de celle fecit, 4°. B. K. M. 
 241 — Celle Dominique — Ce livre est plaisant et utile 
 
 A gens qui besongnent de l'eguille. 
 
 Pour comprendre legerement 
 
 Damoyselle bourgoyse ou fille. 
 
 Femmes qui ont l'esperit agille 
 
 Ne scaur oient fallir nullement. 
 
 Corrige est nouvellement. 
 
 Dung honneste homme par bon zelle 
 
 Son nom est Dominique Celle. 
 
 Qui a tous lecteurs s' humilye 
 
 Domicille a en Italie. 
 
 En Thoulouse a prins sa naissance. 
 
 Mise il a son intelligence 
 
 A lamander subtillement. 
 
 Taille il est totalement. 
 
 Par Jehan Coste de rue Merciere. 
 
 A Lyon est consequemment. 
 
 Quatre vingtz fassons a vrayment. 
 
 Tous de differente maniere. 
 Sans date. In-4°. Livre de toute rarete, non mentionne par Brunet. Le 
 titre indique ci-dessus est dans un encadrement. Au verso on lit un avis 
 au lecteur, imprime en gothique. Suivent: 27 feuillets contenant 54 plan- 
 ches de patrons de lingerie ou de broderie. Vente Pichon, 1869. 
 242 — Celnart, Madame — Manuel des Demoiselles, ou Arts et Metiers qui leur 
 
 conviennent, etc. (Illus.) 12mo. Paris, 1830. S. K. M. 
 243 — Ceresole, V. — Les Origines de la Dentelle de Venise et l'Ecole du Point 
 de Burano a Exposition Universe lie de Paris en 1878. "L'Art," Vol. 
 XIIL, pp. 80, 105. Fol. Paris, 1878. S. K. M. 
 
BIBLIOGRAPHY 265 
 
 244 — Cesares, G. A. — Arazzi, Tessuti e Merletti. La Rassegna degli Interessi 
 Femminili. March. 15, 1887, Rome. 
 
 245 — Chambre de Commerce d'Alost — Rapport general sur la situation commer- 
 ciale et industrielle, en 1874. 
 
 246 — Chambre de Commerce de Bruges — Rapport general sur la situation du 
 commerce et de 1 'Industrie, en 1864. 
 
 247 — Chambre de Commerce de Roulers — Rapport general sur la situation de 
 l'industrie et du commerce pendant l'annee 1864. 
 
 248 — Chambre des Representants de Belgique — Ecoles dentellieres, avril 1884. 
 
 249 — Chambre des Representants de Belgique — Patentibilite des Ecoles dentel- 
 lieres, 1859. 
 
 250 — C, H. N. D. — Winter und Sommer-Wartlein, aller wol-konnenden Jung- 
 frauen; aus welchen unterschiedliche Friicht und Blumen alzubrocken, 
 auch zu einem Dantzerl gegenwartiges als Musicalische Noten alien emb- 
 sigen Frau-und Jungfrauen zu sonderlichem Lieb und Nutzen gegen hun- 
 dert neue Arien, Sarabanden, Ballet und Capricien composirt und heraus- 
 gegeben Durch H. N. D. C. 1691. 8°, 16 pp., 36 engravings. B. K. M. 
 
 251 — Champeaux, A. de — Les Arts du Tissu. Etoffes. Tapisseries. Broderies. 
 Dentelles. Reliures. Paris, J. Rouan et Cie., 1892. 144 pages. In B. M. 
 
 252 — Champeux, M. A. — Dessins et Modeles. Les Arts du Tissu. 
 
 253 — Chandler, Mabel S., at London — Projets de dentelles modernes. Art ap- 
 plique, 2e annee, Paris. 
 
 254 — Channer, C. C, and Roberts, M. E. — Lace Making in the Midlands, past and 
 present. London, Methuen & Co., 1900. B. M. 
 
 255 — Chapman, J. J. — St. Anne's Embroidery School, Nara. Spirit of Missions, 
 V. 74, pp. 418-422, May, 1909. 
 
 256 — Charles, Marguerite — La Dentelle a 1 'Exposition de Liege. Paris, A. Ros- 
 seau, 1905. 
 
 257 — Charles, Mile. M. and Pages, Laurent — Les broderies et les dentelles. 
 Cours en quarante lecons? Premiere serie. Broderie. Origine, instru- 
 ments et materiaux. Expose des points. Histoire. Fils tires. Les jours 
 sur toile. Point coupe. Broderie de Nancy, Anglaise, piquee, Colbert, 
 Richelieu, Venitienne, au Passe, Application, (a la main). Dentelles a, 
 1 'aiguille, les filets, les lacis. Points de Venise France, Argentan, Sedan, 
 Espagne, Flandres, Dentelles au fuseau. Les principaux points. Ori- 
 gines. Etc. Un volume grand in-8° de 240 pages, illustre de 200 figures 
 documentaires dans le texte et 16 belles planches phototypiees. F. Juven, 
 Paris (1905). B. M. 
 
 258 — Charles, Mile. M., and Pages, Laurent — Seconde Serie Dentelles frangaises 
 et etrangeres. Les broderies au point sur toile. Tapisserie. Crochet. Per- 
 les. Jais. Soutache Lacet, Galons d'or, en ruban, en relief, mecanique, 
 melangee, etc. Dentelles sur tulle, Renaissance, Guipure d'Irlande, Chan- 
 tilly, Valenciennes, Flandre. Point d'Angleterre, Bruxelles, etc Un beau 
 volume de 240 pages illustre de 200 figures documentaires dans le texte et 
 1*6 belles planches phototypiees. F. Juven, Paris (1905). B. M. 
 
 259— Chayele, Joannes— Le Puy Spitzen, Plauen, C. F. Schulz & Co., 1910. 30 
 plates. 
 
266 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 260 — Chayllery, Gabrielle, at Paris — Projet de col en dentelle. Art applique, 2e 
 annee, Paris. 
 
 261 — Cherbuliez, Mile. Ernilie — Musee d'Art et d'Histoire, Geneve. Les Den- 
 telles de la Salle Amelie Plot. Geneve. 
 
 262 — Chevalier de Wouters de Marines — "Une Industrie que se meurt, la den- 
 telle de Malines." Bulletin du Cercle archeologique, artistique et litte- 
 raire de Malines, 1901. 
 
 263 — Ckinesische Spitzen — Illustrirte Zeitung, June, 1845, Leipzig. 
 
 264 — Ckoix de dentelles faisant partie de la collection du Musee Historique des 
 Tissus de Lyon. Paris, A. Calavas. (1904.) 
 
 265 — Christian, Princess — Article in Murray's Magazine, 1883. 
 
 266— Church, A. H.— Some Italian Embroideries. (Sins.) "The Portfolio." 
 Vol. XIL, pp. 32, 50, 111. 4to. London, 1881. S. K. M. 
 
 267 — Church Needlework, — Book of symbols for, Plates. 2nd edit. 4to. London, 
 n.d. S. K. M. 
 
 268 — Ciotti, Giovan Battista — Prima parte de Fiori e disegni di Varie sorti di 
 Ricami, Moderni come Merli, Bavari Manichetti, & altri nobili Lauori che 
 al presente sono in vso. In Venetia appresso Francesco di Franceschi, 
 senese all'insegna diella Pace, 1591. Sur le titre un cartouche dans lequel 
 on voit une femme, de face, tenant d'une main levee en l'air un rameau 
 d'olivier, de 1 'autre une torche allumee dont la flamme est dirigee vers le 
 sol. In-4° oblong. Dedicace : Alia Clarissima Signora et Padronna mia 
 Colendissima la Signora Gabriella Zeno Michele. Au verso de cette page, 
 fin de la dedicace par les mots : Di Venetia, alii 19 di Marzo 1591. Div. s. 
 Clarissima, humilissimo et diustissimo servitore giouan battista Ciotti. 
 Titre, dedicace et 14 feuillets, en tout 16 feuillets, dont 14 planches de bro- 
 deries. Vente Yemenitz, Vente Labitte, 1877. Bibliotheque Nationale. 
 Bibliotheque de 1 'Arsenal. 
 
 269 — Ciotti, Giouanbattista — Prima parte de' Fiori, E Disegni Di varie sorti di 
 Eicami Moderni. Come Merli, Bavari, Manichetti, & altri nobili lauori, 
 che al presente sons in vso. In Venetia. Appresso Francesco di Fran- 
 ceschi Senese all' insegna della Pace, 1591. [At end:] Appresso Nicolo 
 Moretti, ad instantia di Francesco di Franceschi. 4°. 2 pp. 15 cuts. Re- 
 produced by Wasmuth, Berlin, 1891.) B. K. M. 
 
 270 — Claesen, Joseph — La Dentelle (Album de 1 'Exposition de l'Art ancien, 
 Bruxelles, 1884). Paris, C. Claesen, 1884. 
 
 271 — Clark, Will. Alex. S. — Lace Industry in England and France. 
 
 272 — Clark, Will. Alex. S. — Swiss Embroidery and Lace-making. 
 
 273— Clarke, Effie B.— Amateur Lace of Olden Times. Art Journal, 1899. Pp. 
 366-370. 
 
 274 — Clarke, E. B. — Amateurs in Lace. Art Journal, V. 54, p. 381. 
 
 275— Clarke, E. B.— Design in a Dead Century. Art Journal, 1900, pp. 208-212. 
 
 276— Clarke, E. B.— English Lace in 1896. Art Journal, 1899, V. 48, p. 297. 
 
 277— Clarke, E. B. — Irish Lace. The Art Journal, December, 1897, London, V. 
 49, p. 358. 
 
 278— Clarke, E. B.— "Of 'Kerchiefs." Art Journal, 1900, pp. 361,365. 
 
 279 — Clarke, E. B. — Lace Amateur of Olden Days. Art Journal, V. 51, p. 141. 
 
BIBLIOGRAPHY 267 
 
 280— Clarke, E. B.— Lace Designs of 1899. Art Journal, V. 52, p. 208. 
 
 281 — Clarke, E. B. — The Laces of Queen Margerita of Italy. Art Journal, 1895. 
 
 pp. 296-300. V. 47. 
 282— Clarke, E. B.— Modern Amateur in Lace. Art Journal, 1902, pp. 381-384. 
 283— Clarke, E. B.— Old Masters in British Lace. Art Journal, 1899, pp. 141- 
 
 145. 
 284 — Clay, M. S. — Design Applied to Needlework. Manual Training, V. 15, pp. 
 
 110-113, December, 1913. 
 285 — Clerget, D. E. — Tracings by, filled in as in fac-similes, of the following lace 
 
 pattern books : — La fleur de la Science de Pourtraicture, et patrons de Bro- 
 
 derie, etc. (69 pp. of designs.) Sm. fol. Paris. F. Pelegrin, 1530. 
 
 S. K. M. 
 286 — Clerget, D. E. — Tracings by, filled in as in fac-similes. Patrons de divers 
 
 manieres, etc. (11 tracings.) Sm. obi. 4to. Lyons, Pierre de Ste. Lucie, 
 
 1590. S. K. M. 
 
 287 — Clerget, D. E. — Tracings by, filled in as in fac-similes. Patrons pour Brod- 
 eurs, Lingeres, Massons, Verriers, et autres gens d 'esprit. (6 tracings.) 
 Sm. obi. 4to. Paris, Vve. Jean Buelle. n. d. S. K. M. 
 
 288 — Clerget, D. E. — Tracings by, filled in as in fac-similes. Splendora del virtu- 
 ose giovane. (42 pp. of designs.) Sm. obi. 4to. Venise, Francesco Cale- 
 pino, 1563. S. K. M. 
 
 289 — Clerget, D. E. — Tracings by, filled in as in fac-similes. Triompho di Lavori, 
 etc. (9 designs.) Sm. obi. 4to. Padoue, Fra Hieronimo de Cividad di 
 Friuli. (1555). S. K. M. 
 
 290. — Clerget, D. E. — Tracings by, filled in as in fac-similes. La vera perfezione 
 del Disegna, etc. (23 tracing's.) Sm. obi. 4to. Venice, Francesco Senese, 
 
 1591. S. K. M. 
 
 291. — Clermont Tonnerre, Cesse. Gedeon de — Histoire de la Dentelle (Trans- 
 lation). 
 
 292 — Clever Copy, A. — The Connoisseur, III, No. LT, London. 
 
 293 — Clifford, Chandler Bobbins — Chart of Handmade Laces. Lace and Em- 
 broidery Review, Sept. 1915, New York. 
 
 294— Clifford, Chandler Bobbins— The Lace Dictionary. New York, Clifford & 
 Lawton, 1913. 
 
 295 — Clowes, Bonald. — Lace and Needlework. The collection of Mons. G. Selig- 
 man, The Connoisseur, Jan., 1912, V. 32, pp. 27-36. 
 
 296 — Cockeris, H. — Patrons de Broderie et de Lingerie du XVI e Siecle. (Be- 
 productions of Lace books in the Mazarine Library, Paris.) 8vo. Paris, 
 1872. 2nd ed. 8vo. Paris, 1873. S. K. M. 
 
 297 — Cocheris, Hippolyte — Beeueil de documents graphiques pour servir a 1 'his- 
 toire des arts industriels. Paris, 1872. Cocheris Beprint — See No. 1297. 
 
 298 — Colaert — Discours prononce a la Chambre des Bepresentants, le 8 avril, 
 1884. 
 
 299 — Cole, A. S. — Ancient Needlepoint and Pillow Lace. (20 Photographic 
 illus.) fol. Lond. 1875. S. K. M. 
 
 300 — Cole, Alan S. — Cantor Lectures on Means for Verifying Ancient Enbroi- 
 deries and Laces. March, 1893, London. Wil Trounce, 1895. 
 
268 A LACE GUIDE FOE MAKERS AND COLLECTORS 
 
 301 — Cole, Alan S.- — Cantor Lectures on the Art of Lace-making, delivered be- 
 fore the Society of Arts, April and May, 1881. London, 1881. B.M. S.K.M. 
 302 — Cole, Alan S. — Cantor Lectures. The Art of Lace-making. Journal of the 
 
 Society of Arts, Sept., 1881, London. 
 303 — Cole, Alan S. — Catalogue of Antique Lace. Cork School of Art, 1884. 
 304 — Cole, A. S. — Catalogue of Lace. 23 pp., 1899. Lublin Science and Art 
 
 Museum. General Guide, pt. 4. 1908. 
 305 — Cole, Alan S. — Catalogue of Special Loan Exhibition of Lace at the Mid- 
 land Counties Fine Art Museum, 1878. 
 306 — Cole, Alan S. — Copy of Eeport on the Honiton Lace Industry, etc. Vol. 
 
 LXXX. Ordered by the House of Commons to be Printed, April 19, 1888. 
 307 — Cole, Alan S. — Les dentelles anciennes, traduit par Ch. Haussonilier, 1878, 
 
 Paris. 
 308 — Cole, Alan S. — Irish Lace and Embroidery. Great Britain Science and 
 
 Art Department, 45th Annual Report, 1897, pp. 93-104. 
 309 — Cole, Alan S. — The Irish Lace Industry. Journal of the Society of Arts, 
 
 March, 1889, London. 
 310 — Cole, A. S. — Irish Lace-Making. Journal of the Society of Arts, V. 37, 
 
 p. 317. 
 311 — Cole, Alan S. — Irish Lace, Report upon visits to Convents, Classes and 
 
 Schools, etc. London, 1887. 7 photos, 4 to. 
 312 — Cole, Alan S. — Irish Papal Jubilee Lace. Magazine of Art, 1888, V. 11, pp. 
 
 200-204. 
 313 — Cole, Alan S. — Iriscbe Spitzen — translation. Plauen, C. Stoll. 30 plates. 
 314 — Cole, Alan S. — Lace at the South Kensington Museum. The Magazine of 
 
 Art, Sept. 1895, London. V. 18, p. 419. 
 315 — Cole, Alan S. — Lace (Encyclopaedia Britannica). London, A. C. Black, 
 
 1902. 
 316 — Cole, Alan S. — Lace-making in Ireland. The English Illustrated Magazine, 
 
 June 1890, London. V. 7, p. 655. 
 317 — Cole, Alan S. — Lace-making in Ireland. Art Workers' Quarterly, V. 3 (No. 
 
 9), pp. 4-7. 
 318— Cole, A. S.— Lace-Making. Journal of the Society of Arts, V. 29, pp. 769- 
 
 799. 
 319 — Cole, Alan S. — Lace. The Magazine of Art, Sept. 1879, London. V. 2, p. 
 
 249. 
 320 — Cole, Alan S. — Means for Verifying Ancient Embroideries and Laces (Can- 
 tor Lectures). Journal of the Society of Arts, July 1895, London. V. 
 
 43, pp. 757, 769, 781. 
 321— Cole, Alan S.— Needlework and Lace. Pattern Books XVEtb Century. The 
 
 Bibliographer, March, 1882, London. 
 322 — Cole, Alan S. — A Renascence of the Irish Art of Lace Making. London, 
 
 Chapman & Hall, 1888. B. M. 
 323 — Cole, Alan S. — Recent Developments in Devonshire Lace-making. Journal 
 
 of the Soc. of Arts, April, 1904, London. V. 49, p. 192. 
 324— Cole, Alan S.— Recent Honiton Lace. Magazine of Art, 1892, V. 15, pp. 
 
 30-33. 
 
BIBLIOGRAPHY 269 
 
 325 — Cole, Alan S. — Eeport by Mr. Alan Cole upon his visits to Irish Lace-rnak- 
 ing and Embroidery Schools, in 1897. London, 1897. 
 
 326 — Cole, Alan S. — Eeport on Northampton Bucks and Beds Lace-making. No- 
 vember, 1891, London, Eyre & Spottiswoode, 1892. 
 
 327 — Cole, A. S. — Eeport on the visits to convents, classes, etc., where lace- 
 making and designing for lace are taught . . . in Ireland. 8vo. (Lond.) 
 1885. S. K. M. 
 
 328 — Cole, Alan S. — Eeport upon the "Exposition Eetrospective" of the 
 "Union Centrale des Arts Decoratifs" exhibited in the "Palais de 1 'In- 
 dustrie," 1882. London, G. E. B. Eyre & W. Spottiswoode, 1883. 
 
 329 — Cole, Alan S. — Science and Art Museum, Leinster House, Dublin. Cata- 
 logue of Lace, with an Introduction by Alan S. Cole. Dublin, Alex. Thorn, 
 1878. 
 
 330 — Cole, Alan S. — Some Eecent Irish Laces. The Magazine of Art, April, 
 1891. London. V. 14, p. 211. 
 
 331 — Cole, Alan S. — A Supplemental Descriptive Catalogue of Specimens of 
 Lace Acquired for the South Kensington Museum Between 1880 and June, 
 1890. 46 pages, 14 plates. 1 portfolio. London, Eyre and Spottiswoode. 
 
 332 — Cole, Alan S. — A Supplemental Descriptive Catalogue of Specimens of Lace 
 acquired for the South Kensington Museum between June, 1890 and 
 June, 1895. London, 1895, Eyre & Spottiswoode. 48 pages. B. M. 
 
 333 — Cole, Alan S. — Studies from the Museums. Hand-made Laces from the 
 South Kensington Museum, London. E. Sutton & Co., 1890. B. M. 
 
 334 — Cole, Alan S. — Two Lectures on the Art of Lace - making. Dublin, Alex. 
 Thorn Co., 1884. B. M. 
 
 335 — Cole, Alan S. — A Word on the Outlook of Lace-making in Ireland. The 
 Magazine of Art, April, 1888, London. V. 11, p. 202. 
 
 336 — Cole, H. H. — Cat. of the objects of Indian Art in the South Kensington 
 Museum. Illus. (Embroidery, p. 216.) 8vo. London, 1874. S. K. M. 
 
 337 — Coles, Fred E., of the Scottish Museum of Antiquities. — Two articles in 
 The Reliquary for Jan. and April, 1899, on spindles and distaffs. 
 
 338 — Collection de dentelles au musee des tissus de Lyon, La. — 114 plates. 
 Paris, 1909. En portefeuille. 
 
 339 — Collection de Dentelles du Musee de Cluny a Paris. Plauen, Chr. Stoll, 
 n.d. 
 
 340 — Collezione Arrigoni, La. Emporium, 1902, Bergamo. 
 
 341 — Collier, Louis C, at Nottingham — Dessin pour rideau de dentelle. Art ap- 
 plique Ire et 2e annee, Paris. 
 
 342 — Colored Italian Patterns for Cross-stitch Work. 23 photographs. (Col- 
 lection of Kursheedt Manufacturing Co., N. T.) 
 
 343— Colored Lace. Review of Reviews, v. 21, pp. 732-733, June, 1900. 
 
 344 — Comment discerner les Styles enseignes par 1 'Image — La Dentelle. Trans- 
 formations progressives, XVI et XVII siecles. Paris, Ed. Eouveyre, n.d. 
 
 345 — Commission d'Enquete sur la Condition des Ouvriers et sur le Travail des 
 Femmes et des Enfants. Brussels, 1843. 
 
 346 — Commission du Travail. Brussels, 1886 and 1887. 
 
 347 — Conde, Mme. de — The art of making Valenciennes lace. London, 1844. 8°. 
 
270 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 348 — Contributions toward Bibliography. J. P. Briscoe & S. J. Kirk, 189(1 
 
 349 — Cook, C. — Making of Macrame Lace. Scribner's, V. 15, p. 844. 
 
 350 — Cook, C. — Making of Macrame Lace. Living Age. V. 112, p. 541. 
 
 351— Cook, M. E.— History of Lace. Palliser's Dial. V. 33, p. 13. 
 
 352 — Cork; School of Art — Cat. of ooll. of antique lace, by A. S. Cole. 10 plates. 
 8vo. Cork, 1884. S. K. M. 
 
 353 — Cornaro, C. — Bevival of Burano Lace. Century. V. 1, p. 333. 
 
 354 — Cornu, P. — Le Concours de dessins de la Dentelle de France. Art et Dec- 
 oration, 1909. V. 25, pp. 163-168. 
 
 355 — Corona of Italian Lace Work. (Collection of Kursheedt Mfg. Co.) 
 
 356 — Corte, Armenio. — Libro de Mostre di Ponti in Aere, Intitolato Corona de la 
 Mostre. Opera nuoua et non piu veduta. Dedication Alia Magnifica et 
 illustre Madonna Helena Barozza, honoratissima Consorte del Clariss. S. 
 Antonio Zantani, Conte & Caualiero . mio Signore . [with initial E]. 
 mark of Vincenzo Valgrisi (Venice, 1548-73). II fino del primo libro. 4°. 
 Cuts. 16 leaves. V. & A. M. 
 
 357 — Corte, Armenio — Libro del Mostre di Ponti in aere, intitolato Corona de 
 le Mostre. Opera Nuova et non piu veduta. Sans lieu ni date. In-4° 
 oblong. Dedicace: Alia Magnifica et illvstre madonna Helena Barozza, 
 honoratissima consorte del Clariss. S. Antonio Zantani Conte et Caualiero 
 mio signore. La dedicace est signee: Armenio Corte. Page non cotee. 
 Elle est blanche et au verso on voit la marque d'imprimeur bien connue: 
 une lance tenue par deux mains et autour de laquelle sont enroules un ser- 
 pent et une branche de feuillage. Cette marque d'imprimeur parait etre 
 celle de Valgrisius de Venise. On lit sur ce verso: II fine del primo libro. 
 Vente Benedetto Maglione, Paris, 1894, Vente Piot, 1891. 
 
 358 — Cortyl, Eugene — La Dentelle a Bailleul. Bull, du Comite Flamand de 
 France, 1903. 
 
 359 — Costenoble, S. van — Kostclooze Nijverheidsschool voor het aanleeren der 
 Mechelsche Kanterrj. Malines, Steursbussers, n.d. 
 
 360 — Cotillon — Vieilles dentelles. Journal des Dames et des Demoiselles. Jan. 
 16, 1899, Paris-Brussels. 
 
 361 — Courteix, P. — Col, broderie, et dentelle. L'Art decoratif, Dec, 1901, Paris. 
 
 362— Courteix, P.— Dentelles. Col. L'Art decoratif, 1903, Paris. 
 
 363 — Courteix, F. et Prouvet — Dentelles. L'Art decoratif. Dec. 190.1, Paris. 
 
 364 — Courteix, Fernand — Dentelles. Art applique, Ire et 2e annee, Paris. 
 
 365 — Cousin, Jean — Le livre de lingerie, compose par maistre Dominique de Sera, 
 Italien, enseignant le noble et gen til art de l'esguille, pour besongner en 
 tous points : vtile et profitable a toutes dames et damoyselles, pour passer 
 le temps et euiter oysivete. Nouuellement augmente et enrichi de plu- 
 sieurs excelents & diuers patrons, tant de point coupe, raiseau, que passe- 
 ment de 1 'invention de M. lean Covsin, Peintre a Paris. A Paris, chez 
 Hierosme de Marnef & la veufue de Guillaume Cauellat, au mont S. Hi- 
 laire a, l'enseigne du Pelican, 1584, auec priuilege du Roy. Ce titre est 
 inscrit dans le milieu de la page et tout autour sont disposees quatre gra- 
 vures sur bois, dont la reunion forme encadrement. Ces gravures sont 
 
 , rectangulaires et disposees, deux horizontalement en haut et en bas et 
 
BIBLIOGRAPHY . 271 
 
 deux verticalenient a droite et a gauche. Dans celle qui est en haut, on 
 remarque au milieu une tete cornue, et des deux cotes de cette tete, deux 
 aniniaux fantastiques, tenant dans leurs bras une branclie de feuillage. 
 Dans celle qui est en bas, trois femmes travaillant; celle qui est au milieu 
 de la composition, travaille a un metier de basse lisse. Celle de gauche a 
 aupres d'elle un petit enfant, celle de droite s'occupe a un travail a 1 'ai- 
 guille. Les gravures verticales representent a droite un homme coiffe 
 d 'une toque a plumes et tenant un metier devant lui, a gauche une f emme 
 travaillant a un metier a broder qu'elle tient sur ses genoux. Au verso de 
 ce titre on lit: l'extrait du Privilege date du sept septembre 1583. Les 
 trois premiers feuillets du cahier G, d'un gout excellent, doivent seuls, ce 
 nous semble, etre du dessin de Jean Cousin. Pour s'en assurer d'une 
 maniere positive, il faudrait avoir vu 1 'edition anterieure de 1583 que cite 
 d'apres du Verdier, M. Brunet. (Manuel du Libraire, derniere edition, 
 tome V, colonne 300.) La marque de Jerome de Marnef reproduite 
 par Silvestre (Marques typographiques, n° 812) se voit sur le dernier 
 feuillet de cet ouvrage, et s'il faut admettre comme le pretendent quel- 
 ques auteurs que Jean Cousin donna le dessin de plusieurs marques de 
 libraires, on pourrait compter au nombre de celles qu'il a inventees, celle- 
 ci qui est en tout point digne d'une semblable attribution. Page non cotee. 
 Le recto contient quatre bandes horizontales. Celle du haut renferme des 
 oiseaux. Le verso contient deux dessins. Celui du bas presente les 
 lettres I H S et M S E F. Au bas de cette planche, dans l'exemplaire 
 de le bibliotheque de 1 'Arsenal, qui a servi a la presente description, on 
 lit a l'encre d'une eeriture de l'epoque le mot Fin. Ce qui tendrait a 
 faire croire qu'il y a eu des editions anterieures a celle-ci, comme semble 
 du reste 1 'indiquer la phrase du titre : Nouuellement augmente et en- 
 richi, etc. . . Dans le haut d'une page quadrillee, on voit a gauche, 
 un exemple ou par un trait continu a la plume, on indique la maniere 
 d'ebaucher un dessin a points comptes. A droite sur la meme feuille 
 la maniere de terminer ce dessin, et de le mettre au net en noircis- 
 sant chacun des carreaux par ou a passe le trait de plume. Verso, 
 grande marque d'imprimeur que l'on peut hardiment attribuer a Jean 
 Cousin, tant le style en est large et grandiose. Au centre de la composi- 
 tion, un cartouche ovale dans lequel on voit un pelican perche sur un tronc 
 d'arbre.- Son sang s'echappe d'une blessure qu'il s'est faite a la poitrine 
 avec son bee, et va nourrir trois de ses petits qui sont en bas a ses pieds. 
 Deux grandes cariatides, une femme a droite, un satyre a gauche, s'appui- 
 ent sur les cotes du cartouche et soutiennent d'un de leurs bras leve en 
 Pair, un motif en rinceaux sur lequel sont assis deux petits enfants ados- 
 ses. En bas deux autres enfants des deux cotes d'un cartouche, sur le- 
 quel se voit un mascaron. Seguin dans son livre sur la dentelle dit . . . 
 notre grand peintre Jean Cousin a enrichi le recueil de l'ltalien Domin- 
 ique de Sera, publie a peu pres en 1584, de plusieurs planches de patrons 
 de dentelles a 1 'aiguille de son invention. . . Nous ne pouvons, dit M. Dup- 
 lessis dans le tome 9, du peintre graveur francais (Continuation faite par 
 lui de 1 'ouvrage de Robert Dumesnil) mettre au nombre des ouvrages 
 
272 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 composes entierement par Jean Cousin, le volume suivant, dont M. de Mon- 
 taiglon nous a revele 1 'existence (Archives de l'art Francais, documents, 
 tome V, page 356) et que nous avons vu nous-meme a la Bibliotheque de 
 1 'Arsenal. 
 
 366 — Cox, Raymond — La Collection de Dentelles Jose Pasco. Revue de I'Art 
 ancien et Moderne. V. 24, pp. 373-386, Paris, 1908. 
 
 367 — Cox, Eaymond — Les Dentelles precieuses. Revue de I'Art, 1903. V. 14, 
 pp. 141-161. 
 
 368 — Cox, Raymond — Le Musee Historique des Tissus de Lyons. Lyons, 1902. 
 
 369 — Crane, Josepha — Broderie, dentelle. The Lady's Realm, July, 1898, Lon- 
 don. 
 
 370 — Crawford, E. W. — Original Hand- made Lace. Harper's Bazaar. V. 37, 
 pp. 676-678, July, 1903. 
 
 371 — Cronback, E. — Die osterreichische Spitzenhausindustrie. 211 pp. 1907. 
 Wiener staatswissenschaftliche Studien, Bd. 7, Hft. 1. 
 
 372 — Curtis, E. A. — Needlework: Schedule III. exemplified and illustrated for 
 teachers, and upper Standards in Schools. 30 Diagrams. 12mo. Lond., 
 1879. S. K. M. 
 
 373 — Cushion Lace, How Invented. Sharpe. V. 40, p. 156. 
 
 374 — Cushion Lace, How Invented. Eclectic Magazine. V. 52, p. 267. 
 
 375 — Cushion Lace, How Invented. Godey. V. 63, p. 25. 
 
 376 — Cushion Lace, How Invented. Chamber's Journal. V. 34, p. 332. 
 
 D 
 
 377— D., M. A. W.— Old Lace. Once a Week, March, 1865, London. 
 
 378 — Daimeries, Mme. — La Dentelle en Belgique. Extr. Manuel sur le travail 
 de la femme. Exposition de Chicago, 1893. Brussels, Impr. A. Lesigne, 
 n. d. 
 
 379 — Daimeries, Mme. — La Dentelle de Bruxelles. Extr. Annates de la Societe 
 d'archeologie de Bruxelles, 1892. Brussels, 1892. 
 
 380 — D'Alcq — Album d'ouvrage de fantaisie des modes de saisons. Broderies 
 Tapisseries, marqueterie de paille et de bois, Peinture sur bois et sur 
 verre. Application Orientales, etc. 26 planches colories, representant 
 environ 200 objets differents avec 25 notices descriptives. En portefeuille 
 in. 4°. 
 
 381 — D 'Alcq — Traite de la dentelle au Fuseau — Dentelles de Mirecourt, Valen- 
 ciennes, Malines, Flandres, Bruxelles, Venise, dentelle cousue. Illustree 
 de 112 gravures sur bois. 
 
 382 — Danieli, Bartolomeo — Fiore pretioso d'ogni virtue. Per le nobili et honeste 
 donne con li disegni di recami sul velo la prima volta dati in luce Da Bar- 
 tolomeo Danielli In Siena, MDCX. 4°. 2 pp., 11 engravings. Registro 
 A, a, b, c. B. K. M. 
 
 383 — Danieli, Bartlomeo — Libro di diversi disegni per Colari, Punti per Faz- 
 
 zoletti et Reticella di varie sorti fatto da Bartolomeo Danieli Recamatore. 
 
 Sans date. In-4° oblong. Ce titre est inscrit sur une coquille posee sur 
 
 un culot de feuillage, entoure a droite et a gauche de deux rinceaux de 
 
 ■ feuillages entremele de branches de chene garnies de leurs glands. En bas 
 
BIBLIOGRAPHY 273 
 
 de la planclie a la pointe a gauche : Agost°. Parisini Forma in Bologna. 
 Gravures sur cuivre tirees au recto seulement et portant toutes en bas a la 
 pointe soit a droite, soit au milieu de la planclie, la signature : Bartolomeo 
 Danieli F. Eien au verso. 23 planches de broderies. Les pages n'ont 
 aucune cote. En resume 24 feuillets dont 23 planches de broderies repre- 
 sentant des guipures et des modeles de dentelles. Vente Pirovano, Eome, 
 1901. Vente Destailleurs, 1895. Half bound. Ellis, London, 1918. 
 
 384 — Danieli, Bartolomeo — Libro di Diversi Disegni per Colari, Punti per fazzo- 
 letti, & Eeticelle di varie sorti. Fatto Bartolomeo Danieli Eecamatore. 
 Agost . Parisini forma in Bologna, [n.d.] 4°. Title and 22 plates, en- 
 graved. V. & A. M. 
 
 385 — Danieli, Bartholomeo — Danieli Bartholomeo Eecamatore libro di diversi 
 disegni per Collari, punti per Fazzoletti et Eiticelle divarie sorte. .Agostino 
 Parisini forma in Bologna. 15 leaves obi. 8vo, entirely engraved au burin, 
 towards the end of the sixteenth century. Milan. Bib. Marquis Giro- 
 lamo d'adda. 
 
 386 — Danieli, Bartholomeo — Operetta d'intagliati lauori. In Bologna, August. 
 Parisini et Gio. Batt. Negroponte forma, 1639. 
 
 387 — Danieli, Bartholomeo — Vari disegni di Merletti inuentati e tagliati da Bar- 
 tolomeo Danieli e dedicati all' Illma Sigra la sigra Barbera Eangona 
 Mariscotta. Ce titre est au milieu d'un ovale entoure de rinceaux et de 
 fleurs au haut duquel on voit des armoiries surmontees d'une icouironne. 
 Le tout est entoure d'un trait car re et de trois filets. Dans les encognures 
 de ce rectangle oblong on voit de petits motifs rectangulaires formes ega- 
 lement de rinceaux et de fleurs. Au bas de 1' ovale central on lit: Agos- 
 tino Parisini e. Gio. Battista Negroponte form, in Bologna, 1641. In-folio 
 oblong, entierement grave sur cuivre. Dedicace, All. Illmio sig. Tomaso 
 Cospi. Puis 5 lignes de texte finissant par les mots: e dedica Bartolomeo 
 Danieli Bolognese. Cette dedicace est entouree d'un cadre rectangulaire 
 en broderies, dont la bordure est decoupee en dents de lambrequin. En 
 haut au milieu de cet eneadrement un ecusson surmonte d'un casque avec 
 rinceaux entourant l'ecusson. En bas de la page a droite: In Bologna, 
 1639. Agont°. Parisini e. Gio. Batta Negroponte forma. Puis 12 planches 
 de broderies imprimees seulement au recto et portant toutes au bas dans 
 1 'angle gauche : Bartolomeo Danieli F. Les ouvrages de dentelles de 
 Danieli sont peu connus. Les des sins de cet artiste sont de la plus grande 
 richesse. Les planches sont de grandes dimensions et ne mesurent pas 
 moins de 30 cent, de large sur 19 de hauteur. Les 12 planches represen- 
 ted 12 coins de mouchoirs ou de nappes en dentelles et guipures et 7 orne- 
 ments divers. Vente Pirovano, Eome, 1901. Vente Destailleurs, 1895. 14 
 engravings. B. K. M. 
 
 388— Danish Embroidery. Delineator, V. 63, p. 473, March, 1904. 
 
 389 — Davydoff, or Davindova. S. — La Dentelle Eusse. Histoire, technique, sta- 
 tistique. Translated from the Eussian under the author's direction. 80 
 plates, folio. Leipzig, Karl W. Hiersemann, 1895. B. M. 
 
 390 — Davydoff or Davuidova, S. A. — Pycckoe Kypkebo. Yeopbi N. Ckoakn. 
 pp. 7. pi. 50, 1909. Fol. & 8°. 
 
274 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 391— Day, L. F. and Buckle, M.— Art in Needlework. Nation, V. 71, pp. 234-235, 
 September 20, 1900. 
 
 392 — Day, Lewis F. and Buckle, Mary — Art in Needlework. New York, Scrib- 
 ner's, 1908. 
 
 393 — Dean, Samuel Bridge — The Anna Dike Scott Collection of Old Lace. Bos- 
 ton, April, 1905. 
 
 394 — De-Chagrin, K. — Modeles pour la broderie au plumetis. 64 plates, 4to. St. 
 Petersburg, 1890. 
 
 395 — Decline in the Calais Lace Trade, The — Board of Trade Journal, May, 
 1893, London. 
 
 396 — Dedekam, Hans — Norske folkebrodier. 50 plates, $28.00. Albert Bonnier 
 Publishing House. 
 
 397 — De G-reef, Guillaume — L'ouvriere dentelliere en Belgique. Brussels, 1870. 
 
 398 — De Haerne, Mgr. — Discours pronon ce a la Chambre des Representants, le 
 2 avril, 1884. 
 
 399 — Dehowe, E. — Documents pour Broderies, Dentelles. St. Quentin, E. De- 
 howe, 1908. 
 
 400 — Dengler, G. — Kirchenschmuch. Neue Folge. Sammlung von Vollagen 
 fur kirchliche Stickerien, etc. (Text in German, French and English.) 
 Obi. fol. Amberg, 1873. S. K. M. 
 
 401 — Denicourt, Leon, at Caudry — Projets pour col et mouchoir en dentelle. Art 
 applique. 2e annee, Paris. 
 
 402— Denk— Denk's Kreuzstich-Monogramme. Obi. 8vo. "Wien, (1885). S. K. M. 
 
 403 — Dentelle aux fuseaux, La. Journal des Dames et des Demoiselles, March 1, 
 1900, Brussels. 
 
 404 — Dentelle, La. — Histoire, description, fabrication, bibliographie, ornee de 
 cinquante planches photo-typographiques. Fac-simile de dentelles de 
 toutes les epoques; passements aux fuseaux, points coupes a l'aiguille, 
 points de Venise, de Genes, de France, guipures, Valenciennes, Malines, 
 points d'Alencon, de Sedan, de Bruxelles, d' Angleterre, blondes, Chan- 
 tilly, etc. Et de nombreuses gravures d'apres les meilleurs maitres des 
 XVIe et XVIIe siecles. Paris, Rothschild, 1875. 4to. 
 
 405 — Dentelle Irlandaise et des jours a l'aiguille (point d'Alencon) — (woodcut 
 illus. of materials, stitches, and designs.) 8vo. Paris, n.d. S. K. M. 
 
 406 — Dentelle, La — (magazine). Paris. 
 
 407 — Dentelle, La — Mustergultige Spitz en aus Deutschland, Frankreich und Ital- 
 ien vom 16 and 17. Jahrhundert. 500 Aufnahmen in Mappe. 80 Tafeln. 
 From the catalogue of Karl W. Hiersemann, Leipzig. 
 
 408 — Dentelle a la main et la loi Engerand, La — Musee Social, Feb., 1904, Paris. 
 
 409 — Dentelles a l'aiguille et au fuseau en Points d'Angleterre et d'Irlande, exe- 
 cutes dans les Couvente, etc., d'apres les originaux conserves au South 
 Kensington Museum a Londres. Paris, A. Calavas, 1892. 
 
 410 — Dentelles anciennes de la ville de Geneve. Album with 36 plates. 
 
 411 — Dentelles anciennes, vieux Venice, guipures, Alencon, Malines, Argentan. 
 Avec 52 figures sur 3 planches, folio. Paris, n.d. From the catalogue 
 of Karl ~VV. Hiersemann, Leipzig. 
 
BIBLIOGRAPHY 275 
 
 412 — Deutelles ancieunes en genre venise en ce moment a Rome. 25 plates. 
 Folio. Paris, 1891. 
 
 413 — Deutelles de Belgique, Les — Album with 32 plates. Ch. Massin, Paris. 
 
 414 — Dentelle du Havre — Intermediaire des Chercheurs et Curieux, 1896. 
 
 415 — Dentelles du Musee de Cluny in Paris. 20 plates. Containing many ex- 
 amples of old and real hand-made laces. Patterns from the collection in 
 the Musee de Cluny. Edinburgh, n.d., folio. 
 
 416 — Dentelles du Musee Galliera. I album with 36 plates. 
 
 417 — Dentelles et Broderies — Le Marche alimentaire, Sept. 11, 1904, Brussels. 
 
 418 — Dentelles et Guipures. 30 plates, P. Claesen, 1884. (Collection of Kur- 
 sheedt Manufacturing Co., N. Y.) 
 
 419 — Dentelle, La — Journal de la dentelle a la main. Mensuel. Paris, 1903-05. 
 
 420 — Dentelles, Les — Journal des Demoiselles, 1843, Brussels. 
 
 421 — Dentelle Renaissance, La — La Femme chez elle, Aug. 15, 1899, Paris. 
 
 422 — Dentellieres et Dentelles de Venise. Le Vie Heureuse, August, 1903, Paris. 
 
 423 — Dentellieres Malgaches. Le Matin, June 26, 1905, Paris. 
 
 424 — De Ridder, M. R. — De l'enseignement professionnel dans ses rapports avec 
 l'enseignement prirnaire en Belgique. Brussels, 1883. 
 
 425— Derode— Histoire de Lille, 1848. 
 
 426 — Descriptive Catalogue of the Collections of Lace in the Victoria and Albert 
 Museum, 1881. 
 
 427 — Design Piracy — Co-operation needed for prevention, letter by Vivian Bur- 
 nett, N. Y. Times, May 12, 8:7; letter from S. Lubarsky urges protec- 
 tion of lace designs, N. Y. Times, May 13, 10 :5 ; European manufacturers 
 guilty according to H. M. Heston, N. Y. Times, May 16, 14 :3. 
 
 428 — Designs — 200 drawings for lace of various and elegant patterns. E. P. 
 Dutton & Co., New York. 
 
 429 — Designs for Lace and Embroidery, in chalks and pencil. Bound in Volume. 
 Fol. S. K. M. 
 
 430— Designs for Needlework. Crafts man, V. 13, pp. 226-228, November, 1907. 
 
 431 — Designing in Cross-stitch. International Studio, V. 46, pp. 79-81, March, 
 1912. 
 
 432 — Despierres, Gr. — Origine du poin d'Alengon. Alengon, 1882. 
 
 433 — Desperres, Madme. Gr. — Histoire du Point d Alengon depuis son origine 
 jusqu 'a nos jours. (Plates and Vignettes.) 8vo. Paris, 1886, H. Laurens. 
 S. K. M. B. M. 
 
 434 — Dessins Ornementaux clans les styles Louis XVI et Empire applicables a 
 la peinture decorative et a l'ornementation des tissus. Nouvelles com- 
 positions par H. Frilling. Paris, n.d. One vol., folio, original boards in 
 portfolio. 32 plates of textile ornamentation. 
 
 435 — Destree — Tapisserie et Sculpture Bruxelloise a 1 'exposition d'art ancien a 
 Bruxelles, organisee a Bruxelles, au cercle artistique et litteraire de Juil- 
 let a Octobre, 1905. Un volume in-folio de 95 pages de texte descriptif 
 avec figures de marques et monogrammes et 50 superbes planches en pho- 
 totypie coloriee. Publie a 400 exemplaires. 
 
 436 — Devonia — Honiton Lace-making. London, 1874. 8vo. 
 
 437 — Devonshire, or Honiton Lace. 28 pp. London, 1889. 8vo. B. M. 
 
276 A LACE GUIDE FOE MAKERS AND COLLECTORS 
 
 438 — De Winne, Aug. — L 'Industrie Dentelliere. Les Ouvriers dentelliers. Le 
 
 Penple, May 8, 1903, Brussels. 
 439 — Dicks, Tiros. — Is Beal Lace a Luxury? The Home Woman, December, 
 
 1917, Toledo, Ohio. 
 440 — Dictionnaire du Citoyeu. Paris, 1761. 
 441 — Didron, Ed. — Septierne Exposition de 1 'Union centrale des Arts decoratifs, 
 
 1882. Eapport sur le 2e groupe : Tapisseries, Tissus, Broderies et Den- 
 
 telles. Paris, A. Quantin, n.d. 
 442 — Dierolf, Gr. — La Dentelle francaise. A propos de l'Exposition du Musee 
 
 Galliera. Le Gaulois, April, 1904. Paris. 
 443 — Dietrich, Bernhard — Die Spitzeiii ndustrie in Belgien und Prankreich zu 
 
 Ende des XlXn Jahrhunderts. 
 444 — Dietrich, Frl. K. — Tauftuch in Leinenstickerei. Zeitsclir. des Kunst-gew. 
 
 — Vereins in Milnchen, 1883. 
 445 — Dillmont, Th. de — Album de broderies au point de croix. Vol. 1, 32 plates ; 
 
 Vol. 2, 40 plates. P. Dollfus-Meig. (Collection of Kursheedt Manufac- 
 turing Co., N. Y.) 1886. S. K. M. 
 446 — Dillmont, Therese de — Album de broderies au point de croix. 3 series, 
 
 1897, Mulhouse. Each series consists of text and plates in a portfolio. 
 
 Soc. Anon, d 'Industrie Textile. 
 447 — Dillmont, Th. de — Album of Cross-stitch Embroidery. 52 plates. T. de 
 
 Dillmont. (Collection of Kursheedt Manufacturing Co., N. Y.) 
 448 — Dillmont, Therese de — Alphabet de la brodeuse, lettres, chiffres, mono- 
 grammes et ornements a points comptes suivis d'une serie de modeles 
 
 avec caiques pour broderie de blanc: 92 plates. Dornach, 1898, Soc. 
 
 Anon, d 'Industrie Textile. 
 449 — Dillmont, Therese de. — Alphabets e t monogrammes, with supplement : 60 
 
 plates. Dornach, Pub. by Th. de Dillmont, 1897. 
 450 — Dillmont, Therese de — L'art chretien en Egypte. Motifs de broderie copte. 
 
 2 parts, 30 plates. Dornach, Pub. by Th. de Dillmont, 1897. 
 451 — Dilmont, Therese de — La broderie Sur lacis. 2 series, 20 plates. Dornach, 
 
 Pub. by Th. de Dillmont, 1897, (in two portfolios). 
 452 — Dillmont, Therese de — La broderie au passe. 20 tracings in a portfolio. 
 
 Dornach, Pub. by Th. de Dillmont, 1897. 
 453— Dillmont, Therese de— Le crochet. Dornach, 1897, Pub. by Th. de Dill- 
 mont. 
 454 — Dillmont, Therese de — La DentelleRenaissance. Mulhouse, Pub. by Th. de 
 
 Dillmont, n.d. 
 455 — Dillmont, Therese de — Encyclopedia of Needlework. Mulhouse, 1907. New 
 
 Edition. Pub. by Th. de Dillmont (D. M. C. Library). 
 456 — Dillmont, Therese de — Encyclopedia of Needlework. Dornach, 1890, Pub. 
 
 by Th. de Dillmont. 
 457 — Dillmont, Therese de — Encyclopedic des ouvrages de dames. Paris, Ch. 
 
 Delagrave, n.d. 
 458— Dillmont, Therese de— La Filet Richelieu. Dornach, 1897, Pub. by Th. de 
 
 Dillmont. 
 
BIBLIOGRAPHY 277 
 
 459— Dillmont, Tberese de— Filet Richelieu. Mulhouse, Pub. by Tb. de Dillmont, 
 n.d. 
 
 460— Dillmont, Tb. de— 20 plates of Cross-stitch Embroidery. Series 1 & 2. 
 (Collection of Kursbeedt Manufacturing Co., New York.) 
 
 461 — Dillmont, Tb. de — Recueil d' ouvrages divers avec les fils et le coton, D.M.C. 
 T. Dillmont. (Collection of Kursbeedt Mfg. Co.) 
 
 462 — Dilmont, Tberese de — La soutacbe et son emploi. Mulbouse, Soc. Anon, 
 d 'Industrie Textile. 
 
 463— Dilmont, Tberese de— Verlagen fur Stickereien. (Bibliotbek D.M.C. Doll- 
 fus-Meig & Co.) Series 2-5. Mulbouse, 1900-1908. 
 
 464— DTvoy, P.— L'Art Industriel, la Dentelle. "L 'Artiste," 6tb Series, 
 Vol. I., p. 66. 4to. Paris, 1857. S. K. M. 
 
 465 — Documentary Post Cards — 400 cards of the Museum of Decorative Art of 
 Paris. Sloog, New York. 
 
 466 — Documentary Post Cards — 200 cards of lace specimens. Sloog, New York. 
 
 467 — Document du Decorateur, Le — Eeceuil de Modeles pouvant etre copies ou 
 interpretes. Peinture decorative, Tissus, etc. Paris, n.d. 3 vols., 2 folio, 
 one 4to, original boards, in portfolio. 108 plates of drawings for crafts- 
 men. Sloog, New York. 
 
 468 — Documents et decorations moderne. Modeles de tissus. Tapis, etoffes de 
 tentures, broderies, dentelles d'apres les compositions de Bacard, Pren- 
 cbais, Benedictus, etc. Un recueil in 4° de 30 plancbes en couleurs. 
 
 469 — Documents pour dessins de tissus. Series I, 19 plates, folio. Paris, 1894. 
 Series Gr, 20 plates. Series M, 20 plates. 
 
 470 — Dodd, A. B. — Royal School of Embroideries in Atbens. Century, V. 72, 
 pp. 120-126, May, 1906. 
 
 471— Dooley, "W. H.— Knitting by Machinery. Textiles, 141-9. 
 
 472— Dooley, W. H.— Lace terms defined. Textiles, 150-7. 
 
 473 — Douat, pere Dominique — Metbode pour faire une infinite de desseins dif- 
 ferens avec des carreaux, mi partis de deux couleurs par une ligne diago- 
 nale, ou observations du pere Dominique Douat religieux, carme de la 
 Province de Toulouse, sur un me moire insere dans l'bistoire de l'aca- 
 demie Royale des sciences de Paris, 1'annee 1704, presente par le Reverend 
 pere Sebastien Trucbet, Religieux du meme ordre, ancien Honoraire. A 
 Paris cbez Florentin de Laulne rue Saint Jacques, Claude Jombert rue 
 Saint Jacques, Andre Cailleau a la place Sorbonne, MDCCXXII (1722). 
 In-4°. L'ouvrage va de la page 1 a la page 189. II se termine au recto 
 de cette 189° page au bas de laquelle on lit: De l'lmprimerie de Jacques 
 Quillau, Rue Galande, 1722. Ce recueil contient des instructions a 1 'usage 
 des arcbitectes, peintres, brodeurs de tous ceux qui se servent de 1 'aiguille 
 et autres. Bibliotbeque de L 'Arsenal. 
 
 474 — Douglas, Mrs. — Tbe Imperial Macrame Lace Book. Illustrations and In- 
 structions: tbree series, 4to. London, (1879). S. K. M. 
 
 475 — Doumert, A. — La Dentelle. Origin es. Histoire. Lieux de production. 
 Paris, Licene, Oudin et Cie. (1886). B. M. 
 
 476 — Draban, E. — K. K. Oesterr. Museum Stickmuster . . . mit Beniit- 
 zung der besten Vorbilder entworfen von E D. 8vo. Wien, 1873. S. K. M. 
 
278 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 477 — Dreger, Dr. Moriz — Die Entwicklung der Spitze. Westermanns Illustrierte 
 Deutsche Monatshefte, Novembre, 1901, Brunswick. 
 
 478 — Dreger, Dr. Moritz — Entwieklungs-geschiehte der Spitze init besonderer 
 Riicksicbt auf die Spitzen-Sainmlung des K. K. Oestericbisehen Museum 
 fur Kunst und Industrie in Wien. Wien, 1900. 8°. 
 
 479 — Dreger, Moritz — Entwicklungs Geschicte der Spitze. V. 1-2, Vienna. A. 
 Schroll & Co., 1901. Contains some patterns from Pattern-book by "R. 
 M." published by Christoff Froschower. 
 
 480 — Dreger, Dr. Moriz — Kunstlerische Entwickelung der Weberei und Stick- 
 erei. Vienna, K. K. Hof und Staatsdruekerei, 1904. 
 
 481 — Dreger, Moriz — Ornamentale und Kunstgewerbliehe Sammelinappe. Serie 
 IX, Die Wiener Spitzenausstellung, 1906, in zwei tielen. 
 
 482 — Dreger, Moriz — Die Spitzenausstellung in Ostreichischer Museum. Kunst 
 und Kunstbandwerk, 1906. V. 9, pp. 366-426. 
 
 483 — Dreger, Dr. Moriz — Die Textilausstellung des Leipziger Kunstgewerbe- 
 museums. Kunst unci Kunsthandwerk, Vienna, 1902. 
 
 484 — Dreger, Moriz — Uberblick iiber die Entwicklungsgesckichte der Spitze. 
 
 485 — Dreger — Die Wiener Spitzenausstellung 1906. Exposition de Dentelles a 
 Vienne en 1906 publie par le Musee Royal Autriebien d'art et d'industrie 
 de Vienne. Deux volumes de 60 photographies donnant 206 reproduc- 
 tions documentaires de Dentelles avec texte descriptif et coivp d'oeil sur 
 revolution historique de la dentelle en 28 pages de texte et 45 reproduc- 
 tions. 
 
 486— Dryden, Miss— Article in Pall Mall Magazine, March, 1890. 
 
 487 — Dryden, Miss Alice — Les Dentelles de Honiton. Revue des Revues. De- 
 cember, 1897, Paris. 
 
 488— Dryden, Alice— Flemish Lace. Pall Mall Magazine, V. 23, p. 91. 
 
 489 — Dryden, Miss Alice — Honiton Lace. 
 
 490 — Dryden, Alice — Honiton Lace, History of its Manufacture. Pall Mall Mag- 
 azine, V. 11, p. 492. 
 
 491 — Dryden, Miss Alice — The Lace of Flanders. Pall Mall Magazine, Jan- 
 uary, 1901, London. 
 
 492 — Dryden, Miss Alice — Pillow Lace in the Midlands. Pall Mall Magazine, 
 March, 1896, London. 
 
 493— Dublin Exhib, 1865— Illus. Cat. of the Dublin International Exhib. of 1865. 
 Class 19 b. Lace and Embroidery. 8vo. Dublin, 1866. S. K. M. 
 
 494 — Dublin Exhibition, 1853 — Irish industrial exhibition of 1853 ; Detailed Cat. 
 of its contents, etc. Class 18. Lace and embroidery. 8vo. Dublin, 1854. 
 S. K. M. 
 
 495 — Dubochet, Leon — Dentelles et Dentellieres. Le Steele, Feb. 23, 1903, Paris. 
 
 496 — Dubois — Variarum protractionum quas vulgo Maurusias vocant omnium 
 anteliac excusarum libellus longe copiasissimus pictoribus, aurifabris, 
 polymilariis, barbaricariis variisque id genus artificibus etiam acu operan- 
 tibus utilissimus nuncque primen in lueem editus anno 1554. Balthazar 
 Sylvius (Dubois) fecit. Jo. Theodoret, Jo. Israel de Bry excud. In 4to, 
 ff. 23, copperplate. Paris, Bib. Nat. Milan, Bib. Belgiosa and Marquis 
 d'Adda. 
 
BIBLIOGRAPHY 279 
 
 497— Du Bois, Mrs. E. E.— Lace. Hours at Home, V. 3, pp. 226, 311. 
 
 498 — Duchene, Mile. V. H. — Projet de cliemin de table en dentelle. Art ap- 
 plique. Ire annee. Nappe en dentelle. Art applique, 2e annee, Paris. 
 
 499 — Ducpetiaux — Memoirs sur le pauperisme dans les Flandres. (Extrait du 
 Bulletin de la Commission dentrale de statistique.) 
 
 500 — Duguet, Camille — Femmes et dentelles. La Dentelle, 1904, Paris. 
 
 501 — Duhayon — Rapport sur les Dentelles, Tulles, Broderies, et Passementeries. 
 (Paris, Exposition Universelle de 1878.) Paris, 1880, 8vo. 
 
 502 — Duplessis, G. — Articles in Revue des Arts Decoratifs, Feb. & Mar., 1887. 
 
 503 — Dupont-Auberville — Art Industrie! L'Ornement des Tissus. Eecueil Ms- 
 tori que et pratique. Paris, Ducher et Cie, 1877, (Collection of Kursbeedt 
 Manufacturing Co., N. Y.) 
 
 504 — Dupont-Auberville — La Dentelle, XV et XVI siecles. Eouveyre. (Collec- 
 tion of Kursbeedt Manufacturing Co., N. Y.) 
 
 Durand — See Armand-Durand. 
 
 505 — Durer, Albert — Dessins de Broderies sur fond noir. in-40. Quatre pieces. 
 (Bartcb 140-141-142-143.) 
 
 506 — Dussen, B. van der — L 'Industrie Dentelliere Beige. Brussels, 1860. 
 
 507 — Dussen, Banoit van der — L 'Industrie dentelliere beige. Brussels, 1868. 
 
 508 — Duval, Louis — Documents pour servir a PHistoire de la Fabrication du 
 Point d'Alengon. Extr. Bulletin Societe historique et acheologique de 
 I'Orne. Alengon, September, 1882. 
 
 E 
 
 509— Earle, A. M.— Samplers. Century, V. 83, pp. 676-685, Marcb, 1912. 
 
 510 — Ebbardt, Franz — Book of Hardanger Work. 2d edition. (Collection of 
 Kursbeedt Manufacturing Co., N. Y.) 
 
 511 — Ecbte Spitzen-oestereicb. Paramente. (Collection of Kursbeedt Manufac- 
 turing Co., N. Y.) 
 
 512 — E'Ecole de dentelles a Burano. Venice, Kircbmayer et Scozzi. 
 
 513 — Ecoles dentellieres en Autricbe. Varia. Centralblatt fur das Gewerbl. 
 Unterrichtsivesen in dsterreich,'XXI, Vienna, Alf. Holder, 1903. 
 
 514 — Edmonds, Kate Leila — Pillow Lace. The Lady's Realm, June, 1902, Lon- 
 don. 
 
 515 — Edson, Myra Burr — Devonshire Lace. The Art World, Dec, 1917, New 
 York. 
 
 516 — Egenolff, Cbr. — Modelbiicb aller Art Nebewercks und Stickens etc. 1527. 
 
 517 — Egenolff, C. — Modelbucb, aller art Nebewercks und Stickens. Mit ettlicb- 
 en newen kunstlichen vormals verbaltenen Stucken und Stabelen. Als 
 Venedigiscbe Stern Und Gewirck. Uffder Laden Und nach der Zal. Die 
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 fort a. M. Christ. Egenolff. 1533. 4°. 71 cuts. D. K. S. 
 
 518 — Egenolff, C. — MOdelbueh, Nebwens, Stickens, vnd Wirckens. Getruckt zu 
 Franckfort, Bei Christian Egenolff s Erben. 4°. 32 cuts. B. K. M. 
 
 519 — Egenolffs, C. — Modelbiicb, von erhabener unnd flacher Arbait, Auff der 
 Eamen, Laden, und nach der Zale. Getruckt zu Franckfort, Bei Chris- 
 
280 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 tian Egenolffs, Erbeu. The date, 1537, occurs on one of the patterns. 
 4to. 32 leaves. 178 patterns. 62 gravures sur bois. Frankfort, 1537. 
 
 520 — Egenolff, Chr. — Modelbucb Welcber Ober vfi Niderlandischer Arbait. 
 Franckfurt. Chr. Egenolff. 4°. 28 cuts. Sigs. A— G4. B. K. M. 
 
 521 — Egenolff, C. — Modelbucb, aller art Nehwens vnd Stickens. Mit etbcben 
 newen, Kiinstliclien, vormals verbaltenen Stucken vnd Stablen, Als : Ven- 
 edigscbe Stern vnd Gewirck. Auf der Laden, vnd nacb der Zal. Die 
 "Welscb, Weiss Arbeyt. Glattsticb, Creutzstich, Stickwerck . . . Getruckt 
 zu Franckfort, Bei Christian Egenolffs seligen Erben. 4°. 32 cuts. 
 B. K. M. 
 — Egenolffs, Chr. — See Kunstgewerbe Museum zu Leipzig. 
 
 522 — Egenolff, Chr. — Modelbvch aller art Nehwens vnnd stickens. Mit etlichen 
 newen kiinstliclien vormals verbaltenen stucken, vnd staheln Als : Ven- 
 edische stern vnnd Gewirck. Auff der laden vnd nach der Zal. Die Welsch, 
 Weisz arbeit. Glattsticb, Creutzstich, stickwerck ... & Franckfurt 
 Bey. Christ Egenol. Erben, 1593. In-4° gothique. Le titre rouge et 
 noir est orne d'un tres joli bois representant une assemblee de dames tra- 
 vaillant dans un jardin. En bas dans un encadrement forme par un trait 
 carre, une femme travaillant a un metier de haute lisse. Au milieu deux 
 autres femmes regardant un homme debout qui s'adresse a, elles. Au fond 
 a droite une vieille femme filant une quenouille. Au verso du 4e feuillet 
 du cahier H, un cceur perce et entoure des deux mains et des deux pieds 
 de Notre-Seigneur perces egalement. Au-dessous 2 neurons et le mille- 
 sime MDXCIII. Tres joli livre, charmants motifs, pris a droite et a, 
 gauche dans differents ouvrages. Entrelacs, tapisseries, fleurons, alpha- 
 bets, etc. 
 
 523 — Einfiihrung der Spitzen— Industrie in Wien. Mittheil. des K. K. oesterr. 
 Museums fur Kunst und Industrie, September, 1897, Vienna. 
 
 524 — Eitelberger, R. von — Original — Stickmuster der Renaissance in getruen 
 Copien vervielfaltigt, etc. (Reproductions of 50 pp. of designs of lace 
 and needlework, from original specimens in the Vienna Mus.) 4to. "Wien, 
 1874. S. K. M. 
 
 525— E., K. A.— The Creeve Knitting Card. Kingstown, 1895. In British 
 Museum. 
 
 526 — Elements d'enquete sur le role de la femme dans 1 'Industrie en Belgique. 
 Brussels, A. Lesigne (1893). 
 
 527 — Ellerbe, R. L. — Fostering Lace-making in Russia. Craftsman, V. 21, pp. 
 214-217, November, 1911. 
 
 528 — Embroidery and Lace. The Saturday Review, Sept. 8, 1888, London. 
 
 529— Emden, Frieda van— The Old-Fashioned Sampler. The Art World, Dec, 
 1917, New York. 
 
 Encyclopaedias : — 
 
 530 — Encyclopaedia Britannica ("Embroidery," Vol. VIII.; "Lace," Vol. 
 XIV.) 9th edit. 4to. Edinburgh, 1875, et seq. S. K. M. 
 
 531 — The English Cyclopaedia. ("Lace," Arts and Sciences, Vol. V.) 
 23 vols. 4to. Lond., 1854-62. S. K. M. 
 
 532— The Penny Cyclopaedia. ("Lace," Vol. XIII.) 29 vols. Lond., 
 1833-58. S. K. M. 
 
BIBLIOGRAPHY 2S1 
 
 533— The Popular ("Embroidery," Vol. V., p. 151. "Lace," VIII., p. 
 598.) 14 vols. 8vo. Lond., 1874-76. S. K. M. 
 
 534 — Encyclopedie ; ou Dictionnaire raisonne des Sciences, etc. ("Dentelle," 
 
 Vol. IV.) fol. Paris, 1751-80. S. K. M. 
 
 535 — Engerand, Pernand — La Dentelle au Musee Galliera. Revue de I'Art An- 
 cien et Moderne, V. 15, pp. 351-362. 
 
 536 — Engerand, Fernand — La dentelle aux fuseaux en Normandie. (Musee so- 
 cial, May, 1901.) 
 
 537 — Engerand, Pernand — La Dentelle de France. Le Cor respondent, April 25, 
 1904, Paris. 
 
 538 — Engerand, Fernand — L 'Industrie de la Dentelle en Normandie. Revue 
 des deux Mondes, April 1, 1900, Paris. e 
 
 539 — Engerand, Fernand — Proposition de loi. Pour la Dentelle. L'Ami de 
 I'Oron, 1903-1905, Caen. 
 
 540 — Engerand, Fernand — Proposition de loi relative a l'apprentissage de la 
 dentelle a la main. Expose des motifs, Jan. 28, 1903. 
 
 541 — English Lace for New York — Vogue, April, 1917, New York. 
 
 542 — Enquete sur la condition des classes ouvrieres. Brussels, 1846. 
 
 543 — Erculei, E. — Eoma, Esposizione del 1887. Tessuti e Merletti. Oatalogo, 
 con brevi cenni sull' arte tessile in Italia. Roma, 1887, 8vo. 
 
 544 — Errera, Madame Isabelle — Collection d'etoffes anciennes reunies et de- 
 crites. Catalogue orne de 420 photogravures executees d'apres les 
 cliches de l'auteur. Un volume In-80 carre de 200 planches de texte. 
 Ouvrage tres documente donnant la description generate de cette impor- 
 tante collection leguee par l'Auteur aux Musees des Arts decoratifs du Cin- 
 quantenaire a, Bruxelles. 
 
 545 — Erwin, E. A. — Lace Workers of the Italian Quarter of New York. Crafts- 
 man, V. 12, pp. 404-409, July, 1907. 
 
 546 — Esemplare che insegna alle donne el modo di cucire. Venetia, 1543. Quoted 
 in Cat. Cappi of Bologna, 1829. 
 
 547 — Experton (R.) — L'Impot des Patentes et la fabrication de dentelles du Puy, 
 1861. 
 
 548 — Expose decennal de la situation du Royaume. Brussels, 1851, 1860, 1863. 
 
 549 — Exposition de l'Union Centrale desArts decoratifs 1906. Les grandes col- 
 lections de dentelles anciennes et modernes exposees au Pavilion de Mar- 
 san. 48 planches. Paris (1906). 
 
 550 — Exposition des Dentelles, Rome, 1887. Catalogue des reproductions. 16 
 pp. Roma, 1887. 8vo. B. M. 
 
 551 — Eyelet Embroidery and a Jour Work. Delineator, V. 64, pp. 262-263, 
 August, 1904. 
 
 552 — Eze, G-.d' — Dentelle aux fuseaux. Journal des Dames et des Demoiselles, 
 Jan. 16, 1900, Brussels. 
 
 553 — F., A. — Ein new modelbuch auff auzsnehen vnd porten wircken in der 
 laden vnnd langengestell Gemert rnd gepessert mit 105. andern Modeln. 
 Im iar. MDXXVij. (1527.) Petit in-4°. Ce titre est dans un cadre 
 
282 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 reetangulaire forme par un trait carre, an haut d'une arcade a cintre sur- 
 baisse reposant sur deux colonnes, aux frits desquels sont aecroches un 
 ecusson. En bas deux femmes de profil a gauche, travaillant chacune a 
 un metier. 24 feuillets signes: A. F. Cet exemplaire 1527, ne parait 
 pas complet. 
 
 554 — F., A. — En newe Kunstlich Mcetdelboch alle Kunster zo branchen fiir 
 snyczeller, Wapensticker, perten sticker, etc. Vnhd ouch fur sonferen 
 vnd Frauwe nstlich vff. das neuwes gefonde, alien den gene di vpff 
 Kunste verstat habe. Gedruckt zu Collen durch Peter Quentel im Dair 
 MDXXIX. (1529). Petit in-4°. Le volume est compose de 24 feuillets 
 signes: A. F. entierement remplis par des dessins de broderies, sauf le 
 titre qui est au recto du premier feuillet et un portrait de Charles V, au 
 verso de ce meme feuillet. La dernier e page comprend au recto un alph- 
 abet et au verso les armes de la vi lie de Cologne avec les mots: Felix 
 Coloniae. Vente Libre a Londres en 1862. 
 
 555 — Fabrication du Tulle dans le Luxembourg, De la — Institut archeologique 
 du Luxembourg. Annates, 1902. 
 
 556 — Fage, Bene — Une boutique de marchand a, Tulle au XVIIe siecle. Tulle, 
 Crauffon, 1886. 
 
 557 — Fage, Bene — Le Point de Tulle. Bull. Soc. Lettres. Sciences et Arts de la 
 Correze. 1882, Tulle. 
 
 558 — Faggotting Stitches used in Embroidery. Delineator, V. 64, pp. 780-781, 
 November, 1904. 
 
 559 — Falke, J. — Fransen und Quasten. Eine Passementerie — Studie "Blatter 
 fiir Kunstgewerbe," Vol. IV., p. 1. 4to. Wien. 1875. S. K. M. 
 
 560 — Falke, J. — G-eschichtlicher Gang der Stickerei bis zu ihrem Verfall im 
 Aufange des 16. Jakrhunderts. "Liitzow, Zeitschrift fiir bildende 
 Kunst," Vol. IV., pp. 233, 273. 4to. Leipzig, 1869. S. K. M. 
 
 561 — Farcy, L. de — Broderies et tissus, conserves autrefois a la cathedrale 
 d 'Angers. "Bevue de Part chretien." Vols. XXXIV, p. 270; XXXV, 
 pp. 168, 299. 4to. Paris, 1884-5. S. K. M. 
 
 562 — Farcy, L. de — La Mitre et la Chape. Brodees par M. L. Grosse, de 
 Bruges. "Bevue de l'Art chretien," vol. XXXV., p. 198. 4to, Paris, 
 1885. S. K. M. 
 
 563 — Faure et Bapp — Compositionen fiir Spitzen in modernem Geschmack. 
 Plauen, Chr. Stoll, n.d. 
 
 564 — Fawcett, W. — Irish Lace-Making. The Independent, V. 74, pp. 158-159, 
 Jan. 16, 1913. 
 
 565 — Federation Archeologique et Historique de Belgique. Congres d'Enghein, 
 1898. 
 
 566 — Federation Archeologique et Historique de Belgique. Congres de Bruges, 
 1902. 
 
 567 — Felix Aubert — (Tapis, Dentelles etc.) L'Art decoratif, January, 1899, 
 Paris. 
 
 568 — Felkin, "William — History of Machine-Wrought Hosiery and Lace Manufac- 
 tures. London, 1867. 8vo. 
 
BIBLIOGRAPHY 283 
 
 569 — Felkin, W. — Hosiery and Lace (in "British Manufacturing Industries," 
 edit, by G. P. Bevan). 16 mo. Loud., 1876. S. K. M. 
 
 570 — Felkin, W. — Machine Wrought Lace, History of Trade in. Journal of So- 
 ciety of Arts, V. 4, p. 475. 
 
 571 — Ferguson fils, S. — Les Dentelles aux fuseaux et les Dentelles niecaniques 
 a 1 'Exposition de Londres de 1862. Amiens, T. Jeunet, 1863. 
 
 572 — Ferrari — Origines de la dentelle de Venise et l'ecole de Burano. Venice, 
 1907. 
 
 573 — Fartiault, Francois de — Histoire de la dentelle. Paris, 1843. 12 mo. 
 
 574 — Few Remarks about Lace and Pattern Books, A. The Connoisseur, April, 
 1902, London. 
 
 575 — Field, M. A. — Australian Lace-Crochet. 107 pp. Simpkin & Marshall, 
 1909. 4°. B. M. 
 
 576 — Figure Laces of Exquisite Type. The Upholsterer, New York, 1916. V. 
 64, No. 4, pp. 72-74. 
 
 577 — Fillebrown, Mrs. R. H. M. — Quaint Cross-stitch in New Patterns. Woman's 
 Home Companion, V. 40, pp. 50-51, October, 1913. 
 
 578— Finch, L.— Sermon in Patchwork. Outlook, V. 108, pp. 493-495, Oct. 28, 
 1914. 
 — Finkel, Ostr. — See Boehn, Max von. No. 130. 
 
 579 — Fiori di Ricami, nvova mente posti in luce, ne i quali sono varii, et diversi 
 Disegni di lavori, Come merli, Bauari, Manichetti et altre sorte di opere 
 che al presente sono in vsu, utilissimo ad ogni stato di donna. Bologne, 
 1591. 20 feuillets et 18 planches. 
 
 580 — Firth, J. B. — Nottingham Lace and Fashion. The Economic Journal, De- 
 cember, 1893, London. V. 3, p. 709. 
 
 581— Fischbach, F.— Album fur Stickerei. (Colored illus.) 4to. Wien, 1870. 
 S. K. M. 
 
 582 — Fischbach, Friedrich — Lace Album. London, 1884. 
 
 583 — Fischbach, F. — Neue Muster fiir Stickerei und Haekel — Arbeiten von F. F. 
 in Hanau. 16mo. Hanau, 1881. S. K. M. 
 
 584 — Fischer, Hugo — Technologische Studien im Sachsischen Erzgebirge. Leip- 
 zig, 1878. (Diagrams of lace stitches and patterns.) 
 
 585 — Fischer, H. — Zur Technologie der Handspitzen. Der Civilingenieur, 1878, 
 Leipzig. 
 
 586 — Fleurs batiste. 65 photographs. P. Calavas. (Collection of Kursheedt 
 Manufacturing Co., N. Y.) 
 
 587 — Florimi, Mattheo — Fiori di Ricami nvovamente posti in lvce, ne i quali 
 sono varii et diversi disegni di lavori, Come merli, Bauari, Manichetti, 
 et altre sorte di opere che al presente sono in vsu utilissimo ad ogni stato 
 di donne. In Fiorenza ad instanza di Mattheo Florimi. 1596. Petit in 4° 
 oblong. Vente Yemenitz. 24 plates and 2 leaves of text. Bibliotheque 
 Nationale. 
 
 588 — Florimi, Matteo — Fiori di Ricami nvovamente posti in luce. Ne i quali 
 sono varii, et diversi disegni di lavori. Come Merli, Banari, Manichetti, 
 & altre sorte diopere, che al presente sono in vso, vtilissimi ad ogni stato 
 
284 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 di Donne. In Siena, Appresso Matteo Florimi, 1603. 4to. obi. 24 plates 
 representing lace. Collection Count Manzoni, Turin. 
 
 589 — Florimi, Mattheo — Fiori di Eicanii nuouamente posti in luce. Ne i quali 
 sono varie et diversi disegni di lavori. Come merli, Bavari, Manichetti, 
 et altre sorte di opere, che al presente sono in usu utilissimo ad ogni 
 stato di Donne. In Siena, appresso Matteo Florimi. 1604. In-4° oblong. 
 Ce titre est renferme dans une petite bordure de nielles graves sur bois. 
 Eien au verso. Page non cotee. Dedicace, Alle gentillissime et virtuo- 
 sissime Donne. Matteo Florimi. Eien au verso. Puis commencent les 
 broderies. 18 pages, contenant des broderies, guipures ou dentelles. En 
 resume 20 feuillets dont 18 de planches de broderies. Vente Destailleurs. 
 
 590 — Florimi, Mattheo — Gioiello della Corona per le nobili e virtvose Donne, Nel 
 quale si dimostra altri nuovi bellissimi dissegni de tutte le sorte di mostre 
 di Punti in aria, Punti tagliati et Punti a Eeticello; Cosi per Freggi, 
 come per Merli et Eosette che con l'aco si usano hoggidi per tutta 
 Europa. Et molte delle quali mostre possono servire ancora per opere a 
 Mazette. Novamente posto in luce con molte bellissime inventioni non 
 mai piu usate, ne vedute. In Perugia apresso Pietro Paolo Orlando, 1594. 
 Ad instantia di Matteo Florimi. In-4° oblong. Ce titre est renferme dans 
 une petite bordure de nielles graves sur bois. Dedicace alia virtuosissima 
 et ingegniosissima Donne Matteo Florimi. 37 pages contenant des bro- 
 deries, des guipures ou dentelles au recto des pages. Ces planches sont 
 pour la plupart tirees de la Corona de Vecellio, surtout des 3e et 4e 
 parties. On trouve meme parmi ces modeles l'embleme du Eenard et de 
 la beaute, et la figure de Vesta. En resume, 39 feuillets dont 37 de bro- 
 deries. Vente Destailleurs, 1895. Une edition de 1596. Vente Pirovano, 
 Eome, 1901. 
 
 591 — Florini, M. — Gioiello della Corona per le nobili, e virtuose donne. Nel 
 quale si dimostra altri nuoui bellissimi dissegni di tutte le sorte di mos- 
 tre di Punti in Aria, Punti tagliati, & Punti a Eeticello, cosi per Fregi, 
 come per Merli, & Eosette, che con PAco si vsano hoggidi per tutta 
 Europa. Et molte delle quali mostre possono seruire ancora per Opere 
 a Mazzette, Nouamente posto in luce con molte bellissime inuentioni non 
 mai piu vsare, ne vedute. In Fiorenza, Appresso Francesco Tosi. 
 MDXCVE. Ad instantia di Matteo Florini. 4°. Title, dedication, 30 
 leaves, cuts. V. & A. M. 
 
 592 — Florimi, Matteo — Gioiello della corona per le nobili e virtvose donne, Nel 
 quale si dimostra altri nuovi bellissimi dessigni di tutte le sorte di Mostre 
 di Punti in aria, Punti tagliati, et Punti a reticello, cosi per Fregi come 
 per Merli et Eosette, che con l'aco si usano hoggidi per tutta l'Europa. 
 Et molte delle quali mostre possono servire ancora per opere a Mazzette. 
 Nuovamimte posto in luce con molte bellissime inventioni non mai piu 
 usate ne vedute. In Siena appresso Matteo Florimi, MDCIII (1603). In- 
 4° oblong. 48 planches gravees sur bois. 2ff. titre et dedicace. Dans 
 la preface on parle d 'editions anterieures donnees par le meme editeur 
 et on y tr-ouve le passage suivant: Non vi dovete maravigliare sio di nuovo 
 mand? foiori altre foggie di lavori . . . di numero et di vaghezza 
 
BIBLIOGRAPHY 285 
 
 superiore a quelle eke da me fur one raceolte l'anno passato ... II 
 y aurait done eu de cet ouvrage une edition de Florimi en 1602. Brus- 
 sels, Bib. Boyale. 
 
 593 — Florimi, Matteo — Gioiello della Corona per le nobili e virtuose Donne. Nel 
 quale si Dimostra altri nuovi bellissimi dessigni di tutte le sorte di Mostre 
 di Punti in aria, Punti tagliati et Punti aBetieello, Cosi per Freggi come 
 per Merli et Bosette, che con l'aco si usano boggidi per tutta Europa. Et 
 molte delle quali Mostre possona servire ancora per opere a Mazette. Nuo- 
 vamente posto in luce con molte bellissime inventioni non mai piu usate, 
 ne vedute. In Siena appresso Matteo Florimi, MDCIIII (1604). In-8° 
 oblong. Ce titre est enferme dans une petite gravure de nielles formant 
 bordure. Dedicace: Alle virtuosissime et ingeniosissime Donne Matteo 
 Florimi. 32 pages, contenant des broderies, guipures ou dentelles, im- 
 primees seulement au recto des pages. Ces plancbes sont pour la plupart 
 tirees de la Corona de Vecellio mais sont differentes de celles contenues 
 dans le volume de ce meme ouvrage et paru a Perouse en 1594. En resume 
 34 feuillets dont 32 de broderies. Vente Destailleurs. 
 
 594 — Florimi, Matteo — Gioiello Della Corona Per le Nobili, E Virtuose Donne 
 . . . tagliati, & Punti a. Beticello, cosi per Fregi, come per Merli, & 
 Bosette, che con l'Aco si vsaro lioggidi per tutta Europa. Et molte delle 
 quali Mostre possono seruire. Ancona per opere a Mazzette. Nouamente 
 poste in luce con molte bellissime inuentioni non mai piu vsate, ne vedute. 
 Iu Siena, Appresso Matto Florini. MDCIIII. 4°. Title, 1 p., 23 cuts. 
 B. K. M. 
 
 595— Florio— A Worlde of Worcles. 1598. 
 
 596 — Florio and Torreano — Dictionary. London, 1654 and 1659. 
 
 597 — Foillet, Jacques — Nouveaux pourtraits de point coupe et dentelles en 
 petite, moyenne et grande forme. Nouvelement inventez et mis en Lu- 
 miere. Imprime a Montbeliard par Jacques Foillet, 1598, petit in-4°, fig- 
 ure sur bois. II se compose de 4 feuillets preliminaires (dont un blanc) 
 pour le titre, un avertisement aux dames et demoiselles de 3 pages ; et une 
 Exhortation aux jeunes filles en vers. Ensuite viennent 84 feuillets 
 signes B.-Y. par 4 (le dernier blanc contenant chacun une planche de den- 
 telle) Guilmard ne signale que 82 feuillets contenant 78 planches. 
 
 598 — Foillet, Jaques — Nouveaux pourctraicts de point coupe et dantelles en pe- 
 tite moyenne et grande forme nouvellement inventez & mis en lumiere 
 Imprime a, Montbeliard par Jacques Foillet clobxeiix (1598). Small 4to, 
 82 ff., 78 plates. Frontispiece with borders composed of squares of point 
 coupe. "Avertissement aux dames," of three pages, stating these works 
 are all composed of "point devant l'esguille, de point en toille, en 
 bouclages, & de cordounages." The writer gives patterns of roses of all 
 sizes, "very little, middling, large, and very large," with from one to nine 
 pertuis, or openings, holes. Also Carreaux in different forms, and lastly 
 dantelles. 40 patterns of ' ' roses, ' ' of point coupe. And 18 of " Car- 
 reaux," variously disposed. Then follow 20 patterns of lace, of "bien 
 petites, moyennes, & grosses," all "au point devant l'Esguille." At the 
 end: "La fin courone l'ceuvre." This is the earliest pattern-book in 
 
386 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 which the word "dantelle" occurs. Bib. Nat., Bib. de 1 'Arsenal, Bib. Ste. 
 Genevieve. 
 
 599 — Foillet, Jaques — Novveaux Povrtraicts de point covpe et dantelles en petite, 
 moyenne et graude forme. Nouuellement inuentez et mis en lumiere. Im- 
 prime a Montbeliard Par Iaques Foillet, CIOIOXCIIX (1598). Au-des- 
 sous des mots, mis en luminere, dans le titre, on vqit un mascaron a tete 
 humaine dont les moustaches s'enroulent dans l'eeusson qui renferme ce 
 mascaron. Le titre est au centre d'un eneadrement rectangulaire com- 
 pose de petits carres de guipure places les uns a cote des autres. Rien au 
 verso du titre. Aij, au recto de cette page: Avertissement aux dames et 
 damoiselles. Au verso, suite de 1 'avertissement. Aiij, fin de l'avertisse- 
 ment. Au verso, piece de vers intitulee : Exhortation aux ieunes filles, et 
 finissant par les mots : Car la vertu est la vraye noblesse. La derniere 
 planche n'est pas cotee. Elle porte en bas: La fin corone l'ceuvre. En 
 resume 87 feuillets dont un titre et 83 planches de broderies. Vente Ye- 
 menitz, n° 1105 du catalogue, vendu 390 francs. Suivant le marquis 
 d'Adda il y aurait de ce livre une reimpression en 1602 et 1622, meme 
 format, meme nombre de feuillets et de planches. II cite egalement mie 
 edition, ou se trouveraient en tete les trois parties de l'ouvrage du Vin- 
 ciolo. Les nouveaux pourtraicts imprimes a Montbeliard en 1598, c'est- 
 a-dire le livre dont nous venons de donner la description en serait la qua- 
 trieme partie qui seinblerait etre imprimee ici pour la premiere f ois, Le cata- 
 logue d'une vente publique qui a eu lieu a Anvers le 29 mars 1864, sous le 
 numero 528, cite un bel exemplaire de ces quatre parties, Paris 1598, Mont- 
 belliard, Foillet, meme date, reliees dans un seul volume et off rant ainsi 
 tout ce que le Vinciolo a publie a differentes reprises. Vente Bancel, mai 
 1882, catalogue n° 208, vendu 1.300 francs. Vente Foulc, June, 1914, No. 
 76, 3,650 francs. Bibliotheque Nationale. 
 
 600 — Foillett, Jaques — New Modelbuch darinnen allerley ausgeschnittene Arbeit, 
 in kleiner, mittelmassiger und grosser form erst neulich erfunden. Allen 
 tugenden Frawen vnnd Jungfrawen sehr nutzlich. Gedruckt zu Muinpel- 
 garten durch Jacob Foillet, 1598. Sm. 4to. (Woodcut patterns for lace.) 
 Cited by Cav. Merli, in his Origine delle Trine. Cat. Evans, Strand. V. 
 & A. M. 
 
 601 — Foillet, Jaques — New Modelbvch Darinnen allerley aussgeschnittene ar- 
 beit in Kleiner mittel massiger vnd grosserform, erst newlich, erfunden. 
 Allen Tugendsammen Frawen vnnd Jungfrawen, sehr nutzlich. Gedruckt 
 zu Basel, Miimpelgarten. In verlegung Ludwig Konigs, MDCI (1601). 3 
 ft. 1 folio blanc et 84 planches. Titre encadre, imprime en rouge et noir. 
 Les 2 feuillets qui suivent le titre, contiennent une epitre allemande de 
 Jacques Foillet a Sybylle, duchesse de Wurtemberg et de Teck, comtesse 
 de Montbeliard, (epitre datee du 4 Janvier 1598). Cet ouvrage est 
 une edition allemande du livre de broderies que Jacques Foillet publia 
 d'abord en francais sous le titre Nouveaux pourtraicts de pont coupe . . . 
 &. Catalogue Bancel. Bibliotheque du Baron James de Rothschild. 
 
 602 — Foillet, Jacques — Das Musterbuch des Jacques Foillet, 1598. Berlin, E. 
 Wasmuth, 1891. B. M. 
 
BIBLIOGRAPHY 2$? 
 
 603— Foilett de Montbeliard, J. — Nouveaux pourtraicts de point coupe et den- 
 telles en petite, moyenne et grand e forme, nouv. inv. et mis en lumiere par 
 J. Foillet (Montbeliard 1598). Facsimile-reproduction, Berlin, 1891. 82 
 pages, 78 plates of patterns. 
 
 604 — Fontaine, Angele, at Levallois-Perret — Mouclioir. Art applique, 2e annee, 
 Paris. 
 
 605 — Forbes, Mrs. A. S. C. — Lace-making by. Indian Women. Out West. V. 16, 
 p. 613. 
 
 606 — Foresto, Iseppo — Lo Splendore delle virtuose giovani con varie niostre di 
 fogliami e punti in aere. Venezia. Per Iseppo Foresto in calle dell' 
 acqua a S. Zulian all' insegno del Pellegrino, 1558. 16 plates. Cat Cicog- 
 nara. 
 
 607 — Forkel, A. — Die Arten der Spitze in moderner Bearbeitung. Plauen, C. 
 Stoll, 1908. 
 
 608 — Forkel, Albert — Moderne Zierformen fiir Textil-Industrie. Plauen, Clir 
 Stoll, n.d. 
 
 609 — Forkel — Photographs of Laces. 16 plates. (Collection of Kursheedt Man- 
 ufacturing Co., N. Y.) 
 
 610 — Fortunato, A. — Le Pompe di Minerva, per le nobili e virtuose donne, cbe 
 gon industriosa mano, di tratteuersi dilettano in far Eezze, maglia quadra, 
 punti in aria, punti tagliati, punti a reticello, cosi per fregio, come per 
 merletti e rosette di varie sorti, si come oggidi con l'aco di lavorar usati 
 per tutta l'Europa, arricbite di bellissimi et vaghi intagli cavati da piu 
 celebri autori di tal professione. In Pistoja, per Fier. A. Fortunato. 
 In-8° oblong. Dedicace a : Catarina Giralclini in Cellesi, 20 augusto, 1642. 
 Cette description a ete communiquee au marquis d'Adda, par le comte 
 Manzoni qui a vu le livre a San-Marino, cbez M. Parenti Bonelli. 
 
 611 — Foster, Kate — Fifty Designs for Mexican Drawn-work. 1889. 
 
 612 — Four Easter Crochet Ideas. Ladies Home Journal. V. 20, p. 48, April, 
 1903. 
 
 613 — Fox, Catherine T. D. — The Woodward Collection of Old Lace. Reprinted 
 from the Brooklyn Museum Quarterly, October, 1915. 
 
 614 — Fox, Edith Long — With the Devonshire Lace-makers. Cassell's Family 
 Magazine, December, 1893, London. 
 
 615 — Fozzi, P. P. — A book of models for point coupe and embroidery, published 
 at Padua, October 1st, 1604, by Pietro Paolo Fozzi, "Romano." Musee 
 de Cluny, Paris. 
 
 616 — Fraipont — L'Art dans les travaux a l'aiguille un volume de 160 pages avec 
 39 dessins inedits de l'auteur et un album de 32 doubles planches en cou- 
 leurs donnant les specimen de tissus de toutes les epoques. 
 
 617 — Franceschi Domenico de — Fede. — Opera nova intitolata La Fede. Dei 
 Recami nella quale si contiene varie diverse sorte di mostre di punto 
 scritto tagliato, in stuora, in Rede, opera non men necessaria che utile. 
 In Venetia appresso Domenico de Franceschi in Frezzaria all. insegna 
 della Regina. MDLXIIII. In-4°. Riche encadrement au litre. Lucrece 
 instruisant ses femmes. Figures et paysage anime d'enfants et d'anges. 
 On voit dans le present titre le monogramme TvP ou TMP. 16 feuillets 
 
288 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 doiit uu titre grave, 1 feuillet d'avant-propos, Aij, avec dessin au verso. 
 14 feuillets avec 29 planches au recto et au verso. Vertte Santarelli. In 
 4to, ff. 16. In his Avis au Lecteur, Franceschi alludes to three other 
 works he had published, styled La Regina, La Serena, and La Speranza. 
 
 618 — Franceschi, Domenico de — Serena opera nova di recami, nella qvali si rit- 
 rova varie et diverse sorte di punti in stuora, et punti a filo et medesima- 
 mente di punto scritto et a fogliami et punto in stuora a scacchetti et al- 
 cuni groppi incordonati et rosete doue ogni virtuosa giouene facilissinia- 
 mente fare ogni sorte di bellissimo lahoriero, opera non men vtile che 
 necessaria. (Au-dessous de la gravure sur bois qui accompagne ce titre.) 
 In Venetia appresso Domenico de Franceschi in Frezzaria all insegna 
 della Regina MDLXIIII (1564). In-4° oblong. Au-dessous du titre, une 
 marque d'imprimerie forme d'un cartouche de cuirs enroules, au haut du- 
 quel on voit a droite et a gauche, un petit genie aile. Au milieu de ce car- 
 touche, un champ a 4 lobes, dans lequel on voit sur des nuages deux petits 
 genies ailes, tenant des couronnes, elevees au-dessus de leurs tetes. Au- 
 dessus d'eux on lit les mots Et animo et corpore. Au verso, une dedicace 
 aux lecteurs, datee de Venise 12 octobre MDLXIII (1564). Puis les bro- 
 deries. Done en tout 16 feuillets dont un titre et 29 planches de broderies. 
 Vente Eiva, 1856, vendu 245 francs. Vente Yemenitz, 1867. B. M. 
 
 619 — Franceschi, D. de'. — Serena opera noua di recami, nella quale si ritroua 
 varie & diuerse sorte di punti in stuora, & punti a filo, & medesimamente 
 di punto scritto & a fogliami, & punto in stuora a scacchetti, & alcuni groppi 
 incordonati, & rosete, doue ogni virtuosa giouene potra facilissimamence 
 fare ogni sorte di bellissimo lauoriero. Opera non men vtile che neces- 
 saria. In Venetia, Appresso Domenico de' Franceschi, in Frezzaria, all' 
 insegna della Regina M D LXIIII. 4°. Title 1 p., 27 leaves. 
 
 620 — Franceschi, D. — Serena opera nova di Recami, nella quale si retrova varie 
 et diverse sorte di punti in stuora, etc. Obi. fol. Venezia, D. de Fran- 
 ceschi, 1564. Fac-simile re-print, 27 patterns, Ongania, Venice, 1879. 
 
 621 — Franceschi, F. di — Prima Parte de' fiori, e disegni di varie sorti di Ricami 
 moderni come merli, bavari, Manichetti al presente sono in uso. In 
 Venetia, Appresso Franceso di Franceschi Senese all' insegna della Pace 
 1591. Obi. 8vo, 20 ff., 17 plates in the style of Vecellio. Bib. de 1' Ar- 
 senal. — Bib. Bodleian. 
 
 622 — Franceschi, F. di — La vera perfettione del disegno di varie sorti di ricami 
 & di cucire ogni sorti de punti a f oglami, punti tagliati, punti a fili & ri- 
 messi, punti incrociati, punti a stuoro & ogn' altre arte, che dia opera a 
 disegni. E di nuovo aggiuntovi varie sorti di merli, e mostre, che al pre- 
 sente sono in uso & in pratica. In Venetia, Appresso Francesco di Fran- 
 ceschi Senese all' insegna della Pace. 1591. Obi. 8vo, 36 ff., 72 plates. 
 Dedicated to "Signor a Lucretia Contarini, per matrimonio Priula Nobile 
 G-entildonna Venetiana," by Giovanni Ostaus. A woodcut of Lucretia 
 working with her maidens, signed Jose Sol, 1557. Patterns, Small 
 Squares, Gorgets, Youth, Paris, Pyramus and Thisbe, Arabesques, Gro- 
 tesques, and an Alphabet. Bib. de 1 'Arsenal, Bib. Bodleian. S. K. M. 
 
 623 — Franceschi, Francesco di — La Vera Perfessione del disegno di varie sorti 
 
BIBLIOGRAPHY 289 
 
 di ricami e di cucire ogni sorte di pimti a fogliarni, punti tagliati, punti a 
 fili e rimessi, punti incrotiati, punti a stuora e ogn'altra arte che dia opera 
 a disegni, e di nuovo aggiuntoni varie sorti di merli e mostre che al pre- 
 sente sono in uso e in pratice. In Venetia appresso Francesco di Fran- 
 cesclii Senese all insegna della Pace, 1591. Eeproduit et publie par Arn- 
 and-Durand sous la direction de Emmanuel Bocher. Paris, 182 . . . 
 
 624 — France, G~io°. Libro delle mostre da cuser per le donna. Sans date. 16 
 gravures sur bois et 8 sur cuivre. II est question de ce recueil dans les 
 inscrizioni Venete du chevalier E. Cicogna, tome III, page 443. 
 
 625 — Frano, Gio. — Libro delle mostre da ceuser per le donne. 1596. 16 en- 
 gravings on wood and 8 on copper. (Cited by Marquis d'Adda.) 
 
 626 — Franco Giacomo — Nvova inventione De diuerse mostre cosi di punto in aere 
 come di Retticelli hoggidi usate per tutte le parte del mondo. Con Mer- 
 letti, Mostrette da Colari, e da Maneghi" et merli per cantoni da fazo- 
 letti. In Venetia, 1596. Con privilegio. Ce titre est inscrit dans un trait 
 carre rectangulaire au-dessous duquel on lit a gauche : Giacomo Franco 
 Forma. II est entoure de cuirs enroules, de fleurs, fruits, mascarons, etc. 
 Page suivante cotee A. Dedicace : Alia molto Magnifica signora Adriana 
 Palma. Verso. Fin de la dedicace signee : Giacomo Franco. 4°. En- 
 graved title, 2 pp., 8 engravings and (?) 16 cuts. Sm. obi. This is ap- 
 parently No. 62 in Mrs. Palliser's list. The title and six engravings are 
 in the Victoria and Albert Museum. 
 
 627 — Franco (Giacomo) — Nuova Inventione de diuerse mostre cosi di punto in 
 aere come di Retticelli, etc. Sm. obi. 4to. Venice, 1596. Ongania reproduc- 
 tion, 1877. 
 
 628 — Reproduction of this book by Ongania, 1878, at Metro. Mus. 
 
 629— Reproduction of this book by Ongania, 1887. S. K. M. 
 
 630 — Frangois, Rene — Essay des merveilles de natvre et des plvs nobles artifices, 
 piece tres necessaire a tous ceux qui font profession d 'eloquence par Rene 
 Frangois (Jesuite, nomine Etienne Binet) predicateur du Roi, a Rouen 
 chez Romain de Beauvais, pres le grand portail Nostre-Dame et Jean Os- 
 mont, MDCXXI (1621). Article sur la broderie, page 532. 
 
 631 — Frauberger, T. — Die Beziehungen der Fransen, der Kniipfarbeit und der 
 posamenterie zu der Spitze und ihren Techniken. Kunstgewerbeblatt, 
 
 1893, Leipzig. 
 
 632 — Frauberger, T. — Die "Exposition des Arts de la femme" in Paris. Kunst- 
 gewerbeblatt, December, 1892, Leipzig. 
 633 — Frauberger, Tina — Handbuch der Spitzenkunde. Leipzig, E. A. Seemann, 
 
 1894. B. M. 
 
 634 — Frechon, Henri — Traite theorique et pratique de travaux a 1 'aiguille: cou- 
 ture, lingerie, tricot, crochet, tapisserie, coupe, modes, precis d'histoire 
 du costume, repondant aux derniers programmes du travail manuel dans 
 l'enseignement. Paris, 1913. Masson et Cie. 
 
 635 — French and Flemish Laces, Special Display of — Bulletin of the Metropoli- 
 tan Museum of Art, April, 1917, New York. p. 96. 
 
 636— French, New Art Lace. Craftsman, V. 10, pp. 129-133, April, 1906. 
 
290 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 637 — French Patterns for Crochet and Lace Borders with instructions for work- 
 ers, n.p., n.d. 4to. 
 
 638 — French, G. J. — Practical remarks on some of the minor accessories to the 
 services of the church, etc. 16mo. Leeds, 1844. S. K. M. 
 
 639 — French, G. J. — The Tippets of the Canons Ecclesiastical. Woodcuts. 8vo. 
 London, 1850. S. K. M. 
 
 640 — Frere-Orban — Discours prononce a la Chambre des' Representants. (An- 
 nales parlementaires, 1858-59, p. 705.) 
 
 641 — Friend, Margaret Alice — Laces from French Colonies. Vogue, Mar., 1916., 
 New York. 
 
 642 — Friling, H. — Nouveaux Documents d'Art decoratif. Serie 1-2. Brussels, 
 P. Wytsman, 1898. 
 
 643 — Frilling, H. — See "Dessins Ornementaux" etc. 
 
 644 — Frutti, I. — Opera nuova intitvlata i f rutti de i punti in stuora a fogliami 
 nella qvale si ritrova varie et diverse sorte di mostre di punti in stuora, a 
 fogliami et punti in gasii et in punti in trezola. Dove ogni bella et virtvosa 
 donna potra fare ogni sorte di lauoro cise fazoletti, colari, maneghetti, 
 merli, Frisi, Cauezzi, intimelle ouero Forette auertadure da camise, et al- 
 tii sorti di lauori, come piu a j)iene potrai vedere, ne mai per l'adietro 
 d'alcun altro fatte et post in luce. Opera non men bella che vtile et neces- 
 saria a ciascune virtvosa G-entildonna. In Vinegia, MDLXIIII (1564). 
 Les mots I. Frutti au haut de la page sont inscrits dans un petit cartouche 
 rectangulaire orne de cuirs et de mascarons. Au-dessus des mots : In 
 Vinegia un petit nielle grave sur bois. Puis commencent les broderies, 30 
 planches composees uniquement de sujets de tapisserie dessines, soit par 
 point juxtaposes, soit par points dans des carreaux de papier quadrille. 
 8vo, or In-4° oblong. Bibliotheque de L 'Arsenal. 
 
 645 — Furmbiichlein, Ein New — see Model — Biichli. 
 
 646 — Furst, R. H. — Das newe Modelbuch von schonen nadereyen Ladengewurck 
 und Faterleins arbeit. Ander Theil. Ce titre est dans un cartouche des 
 deux cotes duquel on voit une femme ailee dont le bas du corps se termine 
 par des fruits. En bas autour d'une table, une societe de trois femmes et 
 de deux homines. A gauche une femme travaillant a un metier sur lequel 
 est tendu un reseau. A droite une femme tissant avec un petit metier pose 
 sur la table. Au milieu une femme brodant a 1 'aiguille. Les deux hommes 
 les considerent. En bas, dans l'interieur du dessin a gauche: L. B. Bener, 
 f. a, droite zu finden in Niirnberg. Bey Paulus Fiirsten Kunsth. Gravure 
 sur cuivre. Preface. Verso, fin de la preface, se terminant par les mots: 
 Eosina Helena Furstinn. Fin de la dedicace par ces mots : Nurnberg den 
 20 martii 1666. R.H.F. Au verso, un sonnet. Ensuite les broderies. Les 
 pages sont numerotees en haut a droite de 1 a 50. En resume 50 planches 
 de broderies et 4 feuillets liminaires. Obi. 4to. Bibliotheque imperiale de 
 Berlin. 
 
 647 — Furst (inn), R. H. — Das Neue Modelbuch von Schonen Naderenen Ladenge- 
 wurck und Paterlemsarbeit. 46 plates of designs for lace work. Small ob- 
 long 4to, full vellum gilt. Nuremberg, 1666. 
 
 648 — Furst, R. H. — Model Buchs, Tritter Theil. Frontispice. Dans un jardin, 
 
BIBLIOGRAPHY 291 
 
 tme fernnie travaillant au filet sur une table ou se voient differents outils 
 employes par les brodeuses. A droite, une colonne autour de laquelle est 
 une banderolle sur laquelle on lit : Un bewegt ranicken tragt. En baut 
 dans le ciel un ceil d'ou s'echappent des rayons au milieu desquels on lit: 
 Der arbeit nutz is Gottes schiitz. En bas sur une banderolle blanclie le titre 
 ci-dessus : Model Bucbs. Tritter Theil. Vogeln, Blumen, und Frucbten, 
 Wie dieselbige zum Weiss, Nehen, Landengewebe, Creutz und Frantzo- 
 sicben sticbe strumpf, gestricke audi Gescbnur Gewirck und gescblinge 
 von Faterlein oderandern der gleicben Arbeit, nacb eines jeglichen Belie- 
 ben anzuwenden Gezeicbnet und den Jenigens o zu solcber, arbeit lust 
 baben, zu dienst ins kupffer versezt. Von und in Verlegung Bosina Helena 
 Furstin. Nurnberg zu finden bey Paulus Fursten. Kunst und Buchbandel 
 seel Wittib und Erben Gedruckt da selbst bey Cbristian Sigmund Froberg. 
 Verso, fin de la dedicace par les mots : Deine in Ebren willige Dienerin. 
 E.H.F. (Bosina Helena Furstin.) Nurnberg 10 Winter Monats. Im. 1675. 
 Heil Jabre. Puis commencent les broderies numerotees en baut a droit en 
 ebiffres arabes. Les plancbes ne sont imprimees qu'au recto seulement. 
 Celles numerotees 1, 2, 25, 27, 29, 30, sont de grandes plancbes plusieurs 
 f ois ployees sur elles-memes. 43 plancbes de broderies. II y a des editions 
 qui portent au bas du titre : Gedruckt bey Christoff. Gerbard in Jabr 1676, 
 au lieu de: Gedruckt Daselbst bey Cbristian Sigmund Froberg. 
 
 649 — Fiirst, B. H. — Model-Bucbs; dritter Tbeil. Von unterscbiedlicben Vogeln 
 Blumen, und Friicbten, etc., nacb eines jeglicben Belieben amzuwenden. 
 4to. obi., engraved title and printed list : 42 wood plates, 4 large. Von und 
 in Verlegung Bosina Helena Furtin. Nurnberg, P. Furstin, 1676. S. K. 
 M. 
 
 650 — Furst, B. H. — Frontispice. Dans un pare au milieu d'une alle de peupliers, 
 au bout de laquelle on voit un palais, une table ronde au second plan devant 
 laquelle sont trois femmes travaillant a des ouvrages de broderies. L'une 
 a, droite a un petit metier, celle du milieu a un reseau. Au premier plan a 
 gaucbe un bomme vetu a la Bomaine, casque en tete, tient d'une main un 
 sablier et un eperon. A droite une femme assise dans une grotte et per- 
 sonnifiant la paresse. A ses pieds un cocbon ainsi que des debris de me- 
 tiers et d'ustensiles servant a Part de la broderie. Page non cotee. Des 
 nurnbergiscben model oder nabe Bucbs Wierdtertbeil Vorinnen unter- 
 scbiedlicb Model von Gestrick Genab zum abzeblen audi zum abriss 
 genab sebr dienlicb zu gebraucben, ingleicben, zu laden: gewurck som- 
 mer Gittern und seiden, genab Kreutzstiick in Leinward oder Camfas 
 aucb zu Frantzosiscber stuck Fatterleins arbeit in Gescbnur und Geseb- 
 ling struinpff und bandscbule zu stricken ungleicber flor genab aucb auf 
 Caton und leinwad zu macben zu glatt und erbobenen Caton stucken 
 sebr nutzlicb, zu gebraucben. Inventirt una verlegt von Bosina 
 Helena Furstin, in Nurnberg und zu finden bey ibr daselbst. Dedicace. 
 Verso. Verso fin de la dedicace. Avertissement. Verso. Fin de l'aver- 
 tissement. Puis les broderies, numerotees en haut a droite en ebiffres 
 arabes. Les pages 1, 2, 15 a, 26, 28, 30 sont de grandes plancbes plusieurs 
 fois ployees sur elles-memes. En tout 50 planches et 11 feuillets Limi- 
 naires. 
 
292 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 651 Furst E. H. — Das neue Model Buch, zufinden Niirnberg bey Paulus Fur- 
 
 sten Kunstbanal. Erster Theil. Ce titre est inscrit en haut sur une dra- 
 perie soutenne par deux petits amours ailes. En bas un interieur dans 
 lequel on voit deux femmes a une table. Celle de gauebe travaille a un 
 filet, teudu sur un cadre. Celle de droit brode a l'aiguille. A leurs pieds 
 un cbien couche au-devant de la table. A droite un ,boninie debout en cos- 
 tume Louis XIV. A gauche une femme assise devidant de la laine. Au 
 fond deux femmes devidant egalement de la laine. In-4° oblong. Neues 
 Modelbucb von Unterschiedlicber art der Blumen und anderer Genehten 
 Model, nach itziger Manier, alien Liebbaberinnen. Dieser Kunst Zuinbes- 
 ten vorgestellt, zu finden in Niirnberg bey Paulus Fursten Kuust und 
 Biicblandern. Seel Wittib. und Erben, 1689. 4 parties en un volume in-4° 
 oblong. Dans cette edition I'M du mot Modelbucb est une lettre ornee dans 
 un carre ou Ton voit le bouclier de Minerve, surmonte de la chouette sym- 
 bolique. Dans d'autres editions sans date, on voit, dans ce petit carre, les 
 trois graces enlacees au lieu du bouclier de Minerve, et on lit dans le titre : 
 Zu finden in Niirnberg bey Paulus Fursten Kunstbandlern, au lieu de 
 Zu finden in Niirnberg bey Paulus Fursten Kunst und bucblandern seel 
 Wittib. und. Erben, 1689. Gresprach zwischen Jungfrauen, etc. Dialogue 
 en vers entre deux jeunes filles, sur le sujet de travaux a l'aiguille. En- 
 suite les broderies. Cliaque page est numerotee en baut a droite en cbiffres 
 arabes. Cbaque dessin indique le nombre de lignes dont se compose le 
 canevas. Ce sont des planches de tapisserie a points comptes. Les pages 
 de 43 a 50 renferment des guipures. En resume 50 planches de broderies et 
 10 feuillets liminaires. Cet important recueil de modeles de broderies et 
 dentelles a pour auteur Bosina Helene Fiirst parente de l'editeur de Nur- 
 emberg. Le nom de Bosina Helene Fiirst se lit a diverses dedicaces qui se 
 trouvent dans les feuillets preliminaires des trois demieres parties. Col- 
 lation de tout Pouvrage. l re Partie. Frontispice, 3 ff. liminaires et 50 
 planches. LP Partie. Frontispice, 3 ff. liminaires et 50 planches. IIP 
 Partie. Frontispice, 3 ff . liminaires et 50 planches. IV e Partie. Frontis- 
 pice, 10 ff. liminaires et 50 planches. Ensemble 193 planches gravees en 
 taille douce et dont plusieurs se deplient. Une edition de ce recueil, aussi 
 en 4 parties et avec 193 planches, avait deja ete publiee de 1666 a, 1676. 
 
 652 Furst B. H. — Neues Modelbuch von unterschiedlicber Art der Blumen, und 
 
 anderer genehten Model, nach itziger Manier, Allen Liebbaberinnen dies- 
 er Kunst Zumbesten, vorgestellt. Zu finden in Niirnberg, bey Paulus Fiir- 
 sten, Kunst und Bucblandern Seel. Wittib und Erben, 1689. 4 parties en 
 un vol. in-4 obi. Cet important recueil de modeles de broderies et dentelles 
 a pour auteur Rosina-Helene Furst, parente de l'editeur de Nuremberg. 
 Le nom de Rosina-Helene Furst se lit a diverses dedicaces qui se trouvent 
 dans les ff. prelim, des 3 demieres parties. Collation, I re part, front, grave, 
 9 ff. lim. imprimes et 50 pi. — IP part, front., 3 ff. lim. et 50 pi. — IIP part., 
 front., 3 ff. lim. et 43 pi.— IV e part., front., 10 ff. lim. et 50 pi. Ensemble 
 193 pi. dont plusieurs se deplient, gravees en taille-douce. Une edition de 
 ce recueil aussi en 4 parties et avec 193 planches, avait deja ete publiee de 
 1666 a 1676. Vente Destailleurs, 1895. 
 
BIBLIOGRAPHY 293 
 
 653 — Fiirst — Neues Modelbuch, von unterschiedliclier Art der Blumen, und an- 
 derer genehten Model, nacli itziger Manier, alien Liebhaberinnen dieser 
 Kunst zirm besten, vorgestellet. Niirnberg bey Paulas Fiirsten, 1676- 
 1689. 1-3 (olrne den 4.) Teil, mit 150 Tafeln. 
 
 654 — Fiirst — Neues Modelbucli . . . von Eosina Helena Fiirstin (Nurn- 
 berg), bey J. C. Weigels Wittib. 1728. 
 
 655 — Fuster, Charles — La Dentelliere de Bruges (Poeine). Paris au " Semeur, " 
 1891. 
 
 G 
 
 656 — Gaby, B. — Eeoles dentellieres. La Justice sociale, March 24, 1901, Brus- 
 sels. 
 
 657 — Galvin, Nor ah Teresa, at Cork — Col et manche en dentelle. Art applique, 
 1 re annee, Paris. 
 
 658— Gandini— Este Family, 1896. 
 
 659 — Garfagnino, Porta — see Salviati, Joseph. 
 
 660 — Gargano, Lucchino — Pretiosa gemma delle virtvose donne, doue si vedono 
 bellissimi lauori di punto in aria, reticella, di maglia a piombini, disegnati, 
 da Isabella Catanea Parasole e di nuovo, dati in luce da Luccbino Gargano 
 con alcuni altri bellissimi lauori Nouamente inuentati. .Stampata in Ven- 
 etia ad instantia di Luccbino Gargano MDC (1600). Con Licenza de su- 
 periori. Dedicace, Alia illustriss. et eccellentiss, Signora e padrona mia 
 osservandiss. la Signora Donna Giromrua Colonna. Puis les broderies des 
 feuillets, au nombre de 7. Seeondo Libro della pretiosa Gemma delle virt- 
 vose donne, doue con nuova inventione si vedono bellissini lauori di varia 
 sorti di nierli grandi e piccioli, punti in aria, punti tagliati, punti a reti- 
 cello, e Bosetti diuersi che con laco si usano boggidi per tutta Europa, 
 nouamente dato in luce, de Luccbino Gargano. Stampata in Venetia ad 
 instantia de Luccbino Gargano. MDCI (1601). Dedicace, Alia Illustriss. 
 et excellentiss. Signora e padrone mia oservandiss. la Signora Donna Gir- 
 onima Colonna. Puis les broderies. Vente Santarelli. 
 
 661 — Garsault, de — L'Art de la lingerie. Paris, 1871. 
 
 662 — Gatta (Libraria de la.) — Opera nova di recami intitolata le Bicbezze delle 
 bellissime et virtuosissime Donne, nella quale si ritrova varie sorti di pun- 
 ti tagliati et punti in aiere, dove f acilissimamente & senza fatica alcuna 
 ogni virtuosa donna potra lavorare cavezzi di varie sorti. In Venetia V- 
 anno M. D. L Villi a la Libraria de la Gatta. Fol. 46 leaves, 3 parts in 1 
 vol. 
 
 663— Gaugain, Mrs.— Crochet D'Oyley Book. Nos. 1, 3. 1847. 
 
 664 — Gaugain, J. — The Lady's Assistant for executing useful and fancy De- 
 signs in Knitting, Netting, and Croebet Work. Illus. 3 vols, in 4 obi. 16 
 mo. Edinburgh, 1844-6. S. K. M. 
 
 665 — Gay, Victor et Dupont-Auberville — Catalogue descriptif des Tissus et 
 Broderies exposes au Musee des Arts decoratifs en 1880. Paris, Imp. 
 Publications periodiques, 1880. 
 
 666 — Gebhard, E. L. — Samplers of the Other Days. American Homes, V. 10, pp. 
 24-5, January, 1913. 
 
294 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 667 — Gedini, Giaeomo — Libro novo, Chiamato Fior di Virtu. Qual insegna a 
 cusir a ogni virtuosissima giovine che si diletta a imparare cioe Ponti 
 Tagliati, ponti in stuora et ponti crosati et molti altri bellissimi lauori. In 
 Venetia appresso Giaeomo Gedini in Frezzaria al segno delta Fede, 
 MDLXXXIHT (1584). In-4°. Ce titre est eireonscrit par une composi- 
 tion, ou l'on voit en haut un entablement posant sur deux eolonnes sur- 
 montees chacune d'une petite figure de femme brodant a 1 'aiguille. Au 
 milieu du cbapiteau, un bomme travaillant a un petit metier qu'il tient des 
 deux mains appuye sur son genou. En bas de la composition et au-dessous 
 du titre deux f emmes travaillant, 1 'une a, droite a un metier de basse lisse, 
 l'autre a gauche a un petit metier pose devant elle sur une table. Elle est 
 assise de trois quart a droite, En resume, 20 feuillets dont 18 pages de 
 broderies. Vente Destailleurs. 
 
 668 — Gehakelte Spitze nacb einer Kloppelspitze. Daheim, Sept. 9, 1893, Leipzig. 
 
 669 — Georgens — Das Flecbtarbeiten. (Plates.) 2nd ed. 4to. Leipzig, 1877. 
 S. K. M. 
 
 670— Georgens— Das Hakeln. (Plates.) 2nd ed. 4to. Leipzig, 1877. S. K. M. 
 
 671 — Georgens — Die Kanevas — Stickerei. (Plates.) 2nd ed. 4to. Leipzig, 1877. 
 S. K. M. 
 
 672 — Georgens — Kniipfen und Durcbzieben. (Plates.) 2nd ed. 4to. Leipzig, 
 1877. S. K. M. 
 
 673 — Georgens, J. D. — Die Linienstickerei. Vorbilder fur den modernen Geb- 
 rauch. (Plates.) 2nd ed. 4to. Leipzig, 1877. S. K. M. 
 
 674 — Georgens — Naben und Zuscbneiden. (Plates.) 2nd ed. 4to. Leipzig,1877. 
 S. K. M. 
 
 675 — Georgens — Die Plattstickerei. (Plates.) 2nd ed. 4to. Leipzig, 1877. 
 S. K. M. 
 
 676 — Georgens, J. D. — Die Scbulen der weiblichen Handarbeit. (Plates) 4to. 
 Berlin, 1869. S. K. M. 
 
 677 — Georgens — Das Spitzennahen. (Plates.) 2nd ed. 4to. Leipzig, 1877. 
 S. K. M. 
 
 678— Georgens— Das Stricken. (Plates.) 2nd ed. 4to. Leipzig, 1877. S. K. M. 
 
 679 — Georgens — Toilette und Dekoration. (Plates.) 2nd ed. 4to. Leipzig, 1877. 
 S. K. M. 
 
 680 — Gerliez, H. de — (Homo & Co.) Laces, etc. p. 17; 13. (Collection of Kur- 
 sbeedt Manufacturing Co., N. T.) 
 
 681 — Germany, Industries — Lace makers complain on ground tbat soldiers buy 
 Belgian product in preference to tbeirs. N. Y. Times, Apr. 28, 17 :2 ; re- 
 port of American Association of Commerce and Trade in Berlin on gen- 
 eral economic conditions, May 21, II, 12 :1. 
 
 682 — Germany: Lace Industry. Board of Trade Journal, Aug. 22, 1901, London. 
 
 683— Gbeltof, G. M., Urbani de— I. Merletti a Venezia. Venice, 1876. 
 
 684 — Gheltof, G. M. Urbani de — A technical History of the Manufacture of 
 Venetian Laces. Translated by Lady Layard, Venice, F. Ongania, 1882. 
 
 685 — Gbeltof, G. M., Urbani de — Trattato storico tecnico della Fabbrizaacione 
 dei Merletti Veneziani. Venice, 1878, 
 
BIBLIOGRAPHY 295 
 
 686 — Giardinetto miovo di punti tagliati et gropposi per exercitio et ornamento 
 delle donne. Venetia 1542. Un volume in-4°. Catalogue Cappi de Bo- 
 logne. Bibliographie du marquis d'Adda. Bib. de 1 'Arsenal. 
 
 687 — Gibson, M. — Book of Samplers. Woman's Home Companion, V. 39, p. 78, 
 November, 1912. 
 
 688— Gittertyl Filet. Delineator, V. 65, pp. 112-114, January, 1905. 
 
 689 — Givelet, C. — Les Toiles Brodees aneiennes mantes ou courtes-pointes con- 
 servees a 1 'hotel Dieu de Beims. 8vo. Reims, 1883. S. K. M. 
 
 690 — Glafey, H. — Die Herstellung der Luftspitzen (Aetzspitzen). Dinglers 
 Polytechnisches Journal, June 26, 1891, Stuttgart. 
 
 691 — Grlafey — Herstellung der Spitzen (Hand & Machine). Verhandl. Ver. 
 Beford. Gewerbfleisses. Sitzungsb. November, 1915. pp. 119-144. 46 
 figs. 
 
 692 — Gliier, Louis — Colored Patterns for Cross Stitch Work. 4 photographs. 
 (Collection of Kursheedt Manufacturing Co. New York.) 
 
 693— G. M.— Pour la Dentelle. Le Temps, June 4, 1905, Paris. 
 
 694 — Glen, Jean Baptiste de — Du debuoir des filles, Traicte brief et fort vtile, 
 divise en deux parties, la premiere est de la dignite de la femme, de ses bons 
 departements et debuoirs, des bonnes parties et qualites requises aux filles 
 qui tendent au mariage, 1 'autre traicte de la virginite de son excellence, des 
 perfections necessaires a celles qui en font profession, des moyens de la 
 conserver et de plusieurs autres choses qui se verront plus a plein au som- 
 maire des chapitres, par frere Jean Baptiste de Glen, docteur en Theo- 
 logie, de la faculte de Paris et prieur des Augustins lez Liege. Item plu- 
 sieurs patrons d'ouvrages pour toutes sortes de lingerie de Jean de Glen 
 . . . Le tout dedie a madame Anne de Croy, marquise de Renty . . . 
 A Liege, chez Jean de Glen, 1597. Sur ce titre sont gravees les armes 
 parlantes de Jean de Glen, trois glands en sautoir surmontes d'une cou- 
 ronne de chene. In-4° oblong. Au verso de ce titre sont les armes de Croy. 
 Epitre dedicatoire a Haute et puissante dame, madame Anne de Croy. 
 Verso. — Fin de l'epitre de dedicatoire signee: Frere Jean Baptiste de 
 Glen. — Page non cotee. Du devoir des filles, partie premiere, traictant de 
 la dignite de la femme, des bons debvoirs, qvalites, et parties des filles, 
 tendantes au mariage. Avertissement aux lecteurs. — S'en suit le som- 
 maire des chapitres. Puis 120 pages numerotees en haut au recto et au 
 verso en chiffres arabes. Sign. A. P. A la suite 20 planches de broderies 
 gravees sur bois en blanc sur forii noir et presque toutes empruntees aux 
 ouvrages de Vinciolo, de Vecellio, etc. Nous reproduisons ici une note 
 redigee par M. Edouard Rahir, le savant bibliophile, dont l'erudition fait 
 loi dans tout ce qui a trait a, la connaissance du livre. Cette note a ete 
 redigee pour le catalogue de la vente Destailleurs. "Ainsi que l'annonce 
 le titre, l'ouvrage est divise en deux parties distinctes, la premiere pour 
 le devoir des filles, la seconde contenant les patrons de lingerie. La pre- 
 miere partie divisee en deux livres, se compose de 8 feuillets limi- 
 naires dont 1 blanc et 120 feuillets chiffres (sig. A. P). La collation 
 de la seconde partie est plus difficile a etablir. M. Brunet, M. de Reif- 
 fenberg, et tout recemment M. Van der Haeghen dans la Bibliotheca 
 
296 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 Belgica reelament pour cette partie 6 ff. de texte imprime et 39 de 
 planches de broderies. Cette collation ne concorde pas avec 4 e- 
 xemplaires de cet ouvrage que nous avons collationnes et qui ne conte- 
 naient que 20 planches, sans les f euillets liminaires. Trois de ces exem- 
 plaires ont figure aux ventes Libri, Yemenitz (ex. revendu chez Didot et 
 Bieswald). Le quatrieme est celui que nous decrivons. Est-ce a dire que 
 tous ces exemplaires soient incoinplets; nous ne le croyons pas, d'autant 
 plus que trois etaient en ancienne reliure. Nous supposons plutot qu'aux 
 exemplaires decrits par MM. Brunet, Beiffenberg et Van der Haaghen, 
 etait ajoute un volume separe ayant pour titre: singuliers et nouveaux 
 pourtraits pour toutes sortes de lingerie, comprenant 6 ff. et 19 planches. 
 Ainsi que l'observait le redacteur du catalogue Libri, les deux ouvrages 
 sont tres differents l'un de 1 'autre." L 'explication donne ici par M. 
 Bahir est la vraie. II y a deux livres faits par de Glen. L'un n'a que 
 19 planches et 1 'autre 20, ce qui fait 39 en les reunissant. Mais ce sont des 
 ouvrages parfaitement distincts parus en la meme annee 1597. Nous don- 
 nons ci-dessous l'enonce du titre du second. Le marquis d'Adda dans son 
 etude sur les livres a dentelles parus en France, en Allemagne et en Flan- 
 dre {Gazette des Beaux Arts, 1 novembre, 1864), corrobore 1 'opinion de M. 
 Bahir. Vente Yemenitz. Vente Detailleurs, 1895. 
 
 695 — Glen, Jean de — Les singuliers et nouveaux pourtraits, pour toutes sortes 
 de lingeries de Jean de Glen, dedies a Madame Loyse de Perez; a, Liege, 
 chez Jean de Glen, l'an 1597. Obi., 39 plates, mostly borrowed from Vin- 
 ciolo and Vecellio, as well as the title. Bibliotheque Boyale de Bruxelles. 
 
 696 — Godefroid Margaierite, at Beims — Col en dentelle. Mouchoir en dentelle et 
 napperon. Art applique, 2e annee, Baris. 
 
 697 — Goldenberg, S. L. — Lace, its Origin and History. New York, Brentano, 
 1904. B. M. 
 
 698 — Gorges, Mary — Irish Home Industries, Point J^ace. Chamber's Journal, 
 August, 1898, London. 
 
 699— Gorman, A. L.— Teneriffe Lace. Harper's Bazaar, V. 37, pp. 778-779, 862- 
 863. August-September, 1903. | 
 
 700 — Gormont — Livre de Moresques, tres utile et necessaire a tous orfevres, 
 tailleurs, graveurs, painctres, brodeurs, lingeres, et femmes qui besong- 
 nent de l'esguille. Paris, Gormont, 1546. In-folio, avec gravures sur 
 bois. 
 
 701— Goubaud, Madame— Book of Guipure d'art. 98 Illus. 4to. Lond. (1869.) 
 S. K. M. 
 
 702 — Goubaud, Mme. A. — Book of Guipure d'Art. London, Ward, Lock & 
 Tyler, 1870. 
 
 703 — Goubaud, Mme. — Crochet book. London, (1871). 8°. 
 
 704 — Goubaud, Mme. A. — Pillow-lace Patterns, and Instructions in Honiton Lace 
 Making. London, 1871. 
 
 705 — Goubaud, Mme. — Point . Lace Book. Instructions and Patterns. Illustra- 
 tions. 8 v. Lond. n.d. (1882.) S. K M. 
 
 706 — Government Lace School, France. Craftsman, V. 5, p. 77. 
 
BIBLIOGEAPHY 297 
 
 707 — Grabowskii, B. B. — Ajour or Toledo Embroidery. Harper's Bazaar, V. 41, 
 
 1241-1243, December, 1907. 
 708— Grabowskii, B. B. — Hedebo and Mont Mellick Work Combined. Ladies' 
 
 Home Journal, V. 23, p. 52, January, 1906. 
 709 — Grafton, A. B. — Hindoo Laces at St. Louis Fair. Brush and Pencil 15: 
 
 165. 
 710 — Grandes Collection de Dentelles Anciennes et Modernes, Les — Album 
 
 with 60 plates. 
 711 — Greef, G. de — L'Ouvriere dentelliere en Belgique. 127 pp. Bruxelles, 1888. 
 
 16°. B. M. 
 712 — Griffin, L. B. — Norwegian Work on Collars. Harper's Bazaar, V. 38, pp. 
 
 714-716, July, 1904. 
 713— Griffin, L. B.— Household Laces. Harper's Bazaar, V. 37, pp. 373-375, 
 
 April, 1903. 
 714 — Griffin, L. B. — Practical Lace-Makiug. Harper's Bazaar, V. 35, pp. 659- 
 
 661, November, 1901. 
 715 — Griffin, Montagu — Lace-making in Ireland. The Month, March, 1891, Lon- 
 don. V. 71, p. 340. 
 716 — Groh, St. — Ungar. dekorative Kunst. 110 plates, folio. Budapest, 1907. 
 
 Tafelbezeichngn. in engl., deutsch und ungar. 
 717 — Grosch, H. — Gammel norsk vaevekunst i farvetrykte gjengivelser. 20 
 
 plates, $3.20. Albert Bonnier Publishing House. 
 718 — Grosch, H. — Norsk Folkeindustri. Broderier. Tidsskrift for Kunstin- 
 
 dustri, 1888, Copenhagen. 
 719 — Guichard, Edouard et Darcel A. — Les Tissus anciens reconstitues a, l'Aide 
 
 du Costume, des Miniatures, et de Documents inedits. Paris, 1878. 50 
 
 plates, folio. 
 720 — Guillemont, M. — L 'Exposition des Arts de la Femme au Musee des Arts 
 
 Decoratifs. Art et Decoration, 1911, V. 29, pp. 137-156. 
 721 — Guillot, Ernest — L'Ornementation des Origines au XVIIIe Siecle. 
 722 — Guipure, gravures burin — In the Bib. Imp. (Gravures, L. h. 4. c.) is a vol. 
 
 lettered "Guipure, gravures burin, '^.containing a collection of patterns 
 
 engraved on copper, 43 plates, four of which are double, pasted in the 
 
 book without title or date. Pomegranates, narcissus, lilies, carnations, 
 
 most of them labelled, "Kreutzstick, Frantzosischenstick, and Fadenge- 
 
 wiirck" (thread work), the number of stitches given, with Clocks (Zwick- 
 
 el) of stockings and other patterns. Bien que sous un titre francais, ce 
 
 livre parait etre d'origine allemande. 
 723 — Guthrie, J. W. — Lace-making Among the Indians. Outlook, V. 66, pp. 59- 
 
 62, September 1, 1900. 
 
 H 
 
 724 — Haberlandt, Michael — Textile Volkskunst aus Osterichisch. Vienna. J. 
 
 Lowy, 1912. 
 725 — Hadley, S. — Bits to Make for Christmas. Ladies' Home Journal, V. 20, 
 
 p. 23, September, 1903. 
 
298 A LACE GUIDE FOE MAKERS AND COLLECTORS 
 
 726 — Hadley, S. — Edgings and Insertions in Modern Lace. Ladies' Home Jour- 
 nal, V. 18, p. 19, July, 1901. 
 
 727 — Hadlev, Sarah — Hardanger Book. (Collection of Kursheedt Mfg. Co., 
 N. Y'.) 
 
 728 — Hadley, S. — How to Make Flemish Lace. Ladies' Home Journal, V. 19, 
 p. 20, August, 1902. 
 
 729 — Hadley, S. — How to Make Royal Battenberg Lace.' Ladies' Home Journal, 
 V. 19, p. 27, October, 1902. 
 
 730 — Hadley, S. — How to Make Russian Lace. Ladies' Home Journal, V. 19, 
 p. 22, July, 1902. 
 
 731 — Hadley, Sarah — Irish Lace. D. S. Benett. (Collection of Kursheedt Mfg. 
 Co., N. Y.) 
 
 732 — Hadlev, S. — Irish Needle-point Lace. Ladies' Home Journal, V. 23, p. 57, 
 June^ 1906. 
 
 733— Hadley, Sarah— The Lace Maker Magazine, Vol. 1-12. D. S. Benett. (Col- 
 lection of Kursheedt Manufacturing Co., N. Y.) 
 
 734 — Hadley, S. — Marie Antoinette Lac 3 Work. Ladies' Home Journal, V. 19, 
 p. 18, May, 1902. 
 
 735 — Hadley, S. — Needle Honiton Lace. Ladies' Home Journal, V. 19, p. 20, 
 September, 1902. 
 
 736 — Hadley, S. — Needle Point Lace. Ladies' Home Journal, V. 19, p. 20, June, 
 1902. 
 
 737 — Hadley, S. — New Handkerchiefs in Modern Lace. Ladies' Home Journal, 
 V. 18, p. 19, April, 1901. 
 
 738 — Hadley, S. — Using up Old Pieces of Lace. Ladies' Home Journal, V. 25, 
 p. 43, November, 1908. 
 
 739 — Haebler, O. — Barbes a la Main. 100 Originalaufnahmen Geschmaeksricht- 
 ung des XVIII Jahrhunderts. 40 Tafeln. 1910. 
 
 740 — Haebler, O. — Der Spitzenzeichner. Ca. 200 Originalentwiirfe : Aus der 
 Praxis— fur die Praxis. 20 Tafelin. Plauen, 1910 (?). 
 
 741 — Hagen, L. — Zur Entwickelungsgeschichte der Kloppelspitze. Zeitsch. des 
 Bayr. Kunst-gew.-Vereins in Miinchen, 1895. 
 
 742 — Hailstone, Lilla — Catalogue of Collection of Lace. London, 1868. 
 
 743 — Hailstone, S. H. Lilla — Designs for Lace Making. 40 tinted plates. Lon- 
 don, E. J. Francis, 1870. 
 
 744 — Hailstone, Mrs. S. H. Lilla — Illustrated Catalogue of ancient framed 
 Needlework Pictures. London, Baines & Scarsbrook, 1897. 
 
 745— Hairs, Charles— The crochet collar book. London (1846). 8°. 
 
 746 — Hale, Lucretia Peabody — Art Needlework. 
 
 747 — Hale, L. P. — Designs in outline for Art Needlework. Accompanied with 
 instructions in drawing, etc., patterns. 8vo. Boston (U. S.) 1879. 
 
 747a-Hale, L. P. — Plain Needlework, Knitting, etc. Plates. 8vo. Boston (U. S.) 
 1879. 
 
 748 — Hale, Lucretia Peabody — Point Lace, a Guide to Lace "Work. Boston, S. 
 W. Tilton & Co., 1879. 
 
 749— Hall, Herbert J. & Buck, Mertice M. C— Handicrafts for the Handi- 
 capped. Moffat, Yard & Co., New York, 1916. 
 
BIBLIOGRAPHY 299 
 
 750 — Hammett, Lydia C, at Taunton — Den telle de Honiton. Art applique, 2e 
 
 annee, Paris. 
 751 — Hammett, Lydia C, at Taunton — Projets de dentelles. Art applique, Ire 
 
 annee, Paris. 
 752 — Han, W. and Baben, G. — Modelbuch Neuw allerart Nehens vn Stickens, 
 
 Yetsund wider mit Modlen vnd Stahlen. Allen Steinmetzen, Seidenfrick- 
 
 ern, vnnd Neterin, sehr nutzlich vnnd lustig zu. gericht. Gedruckt zu 
 
 Franckfurt am Mayn durch Weygand Han vnd Georg Raben. 1562. 4°. 
 
 B. K. M. 
 753 — Handarbeit — Spitze in Kloppelmanier. Daheim, July 8, 1893, Leipzig. 
 754— Handicraft in Massachusetts. Nation, V. 78, pp. 489-490, June 23, 1904. 
 755 — Handkerchiefs in Princess Louise Lace. Delineator, V. 64, p. 1012, Decem- 
 ber, 1904. 
 756 — Hand-made Laces. (1890.) Cited on Bodleian Library Handlist of printed 
 
 books on lace. 
 757 — Haner, J. L. K. — In Defence of Samplers. Journal of Home Econ., V. 1, 
 
 pp. 354-355, October, 1909. 
 758— Hardanger Lace. Delineator, V. 63, pp. 670-671, 872-873, April-May, 
 
 1904. 
 759 — Hardouin, Mme. — Album de Broderie et de Filet. Manufacture Parisienne 
 
 des Cotons L. V. et M. F. A. 
 760 — Hardouin, Mme. — Album de Dentelle de Venise. 
 761 — Hardouin — Album de Guipure d'Irlande, 4 vols. (Collection of Kur- 
 
 sheedt Mfg. Co., N. Y.) 
 762 — Harris, E. — New Duchesse Lace. Ladies' Home Journal, V. 23, p. 70, 
 
 April, 1906. 
 763 — Harris, E. — Novel Laces. Harper's Bazaar, V. 38, pp. 69-71, January, 
 
 1904. 
 764 — Harris, Wm. Laurel — Laces and their affiliation with architecture. Illus. 
 
 Amer. Architect, New York, 1917. fo V. 112. pp. 363-371. 
 765 — Harrison, C. C. — Woman's Handiwork in Modern Homes. Scribners, New 
 
 York, 1882. (Collection of Kursheedt Manufacturing Co.) 
 766 — Harth, Mrs. Ernest — English Laces. 
 767— Harth, Mrs. Ernest— Irish Laces. The Girl's Own Paper, Aug. 29, 1891, 
 
 London. 
 768 — Harth, Mrs. Ernest — Spanish, Greek, Maltese and Polish Laces. The Girl's 
 
 Own Paper, April 4, 1891, London. 
 769 — Hartshorne, C. H. — English Medieval Embroidery. (Illus.) 16 mo. 
 
 Lond., 1848. 
 770 — Hastings, School of Art — Cat. of Lady Brassey's Loan Exhib. of ancient 
 
 and modern lace, fans, etc. Svo. Hastings (1882). S. K. M. 
 771 — Haussmann, Nicolaus — Eyn new Modelbuch auff aussnehen vnd borten 
 
 wircken yn der Laden vn langen gestell, Gemert vnd gebessert mitt. 105. 
 
 andern Modem. N. H. Anno domini 1525. (On back of title-page) : Eyn 
 
 Model Buchleyn darauss leychtlich das gewurck dises nach angezeygten 
 
 Formen, erlernet werden mag. Gedruck. yn der Furstlichen Stadt Zivickau 
 
 durch J org Gastel, 1525. 4°. Title and 16 leaves (incomplete). Said by 
 
300 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 Professor E. Kumseh to be the oldest Pattern-book of needlework known ; 
 
 although obviously a new edition of one still older. Six of the plates are 
 
 copied by Claude Nourry (Lyons, c. 1530). It is described in "Kunst und 
 
 Handwei-k" VI, p. 512, 1903. D. K. S. 
 772 — Havard, Henri — Dictionnaire de 1'ameublement. Paris. 
 773 — Hawkins, D. W. — Old Point Lace, and how to c,opy and imitate it. 8vo. 
 
 Lond., 1878. S. K. M. 
 774 — Head, Mrs. — A Collection of English Samplers. The Connoisseur, March, 
 
 1902, London. 
 775 — Head, Mrs. — A Note on Lace Bobbins. Connoisseur, V. 10, pp. 154-156. 
 776 — Head, E. H. — Some Notes on Lace Bobbins. The Reliquary, July, 1900, 
 
 London. V. 40, p. 172. 
 
 777 — Heiden, Max — Aus der Spitzensammlung des Kunstgewerbemuseums zu 
 Berlin. Kunst gewerbeblatt, 1888, Leipzig. 
 
 778— Helbing, Dr. K— Spitzen-Album. Vienna, v. Waldheim, 1877. 
 
 779 — Helbing, K. — Spitzen Album. 20 blatt Lichdrucke mit 45 Spitzmustern, 
 nach den originalen herausgegeben von Dr. K. H. fol. Wien, 1882. 
 S. K. M. 
 
 780 — Helmers, R. J. — Model Buck (Neues) (Anderer Theil) von unterschied- 
 licher Art von schoen Nadereyen Fadengewiirck und Paterleins-Arbeit. 
 Obi. 4to. Niirnberg, 1665. S. K. M. 
 
 781 — Helmin, Fr. Margaretha — Kiinst und fleissiibende Nadel Ergotzungen oder 
 Neu er fundenes, Nab und Stick Biich Vorin dem solche schone Wissenchafft 
 lieben dem Frauen zimmer allerhand zu vielen sachen an standige muster 
 und kisse nach der neuesten Fagon (sic) zu deren nuklichen badienung 
 vorges tellt von Fr. Margaretha Helmin zu finden in Nurnberg. Bey. 
 Job. Christoph Weigel. In-8 C oblong. Le titre se trouve dans un en- 
 tourage compose de roses, de tulipes, de fleurs liees en has par un nceud 
 de rubans. Preface de deux pages, terminee par un cul-de-lampe grave 
 sur bois. A la fin de cette preface est le chiffre 52, qui est celui du 
 nombres des planches de broderies. La premiere est un alphabet a points 
 comptes. Des modeles de tapisserie dont une grande planche ployee. Des 
 planches pour des petites broderies sur mousseline. Une suite de grandes 
 broderies pour soie, satin, modeles de rinceaux, vases, coupes, fruits, mo- 
 deles de robes brodees, etc. Gravure sur cuivre, XVII siecle. 
 
 782 — Helmin, F. M. — Continuation der kunst-und fleisz-iibenden Nadel-Ergot- 
 zung oder des neu ersonnenen besondern Nehe-Buchs dritter Theil, wor- 
 innen fleiszige Liebhaberinnen deeser noting und niitzlichen Wissenchaft, 
 ihr knnstliches Nadel-Exercitium, beij unterschiedlich vorfallenden Bel- 
 egenheiten zu haben allerhand noch nie vorgekonene Muster zu Deso 
 gebrauch, vorlegt und en die Hand gegeben werden von Fr. Margaretha 
 Helmin, zu finden in Nurnberg bei Job Christoph Weigel. Niirnburg. No 
 date. Oblong fol. Copper plates. V. & A. M. 
 
 783— Hempel— Spitzen und Spitzen-Motive. Plauen, C. Stoll, 1909. 
 
 784 — Henon, Henri — Exposition de Bruxelles, 1897. Rapports du Jury Classe 
 154. Rapport de M. Henon. Calais, Impr. des Orphelins, 1897. 
 
BIBLIOGRAPHY 301 
 
 785 — Henon, Henri — Exposition de 1900 a Paris. Eapports du Jury, Classe 84. 
 Eapport de M. H. Henon. Paris, Inipr. Nationale, 1901. 
 
 786 — Henon, Henri — L 'Industrie des Tulles et Dentelles mecaniques dans le De- 
 partment du Pas de Calais, 1815-1900. Paris, Belin Frs., 1900. 
 
 787 — Henry, A. — Dentelles a fils tires de Dinant. Annates Soc. archeol. de 
 Namur, 1891, Namur. 
 
 788— Hesson, Addie E.— Fancy Work, 1905. 
 
 789 — Hieronimo, da Ciuidal di Frioli, Fra — Trionrpho di lavori a fogiiami di i 
 quali si puo far ponti in aere. Opera di Fra Hieronimo da Ciuidal di 
 Frioli de l'ordine de i serui de osseruantia. Cum gratia et privilegio per 
 anni. XL Ce titre est inscrit sur le bas de la page, entre trois gravures 
 sur bois. Celle du haut qui occnpe toute la largeur de la page, repre- 
 sente un bas-relief antique. Une femme eouronnee de lauriers, est 
 trainee de droite a gauche dans un char attele de deux licornes, et entouree 
 de plusieurs femmes portant des couronnes de feuillage a la main. En 
 tete du cortege, deux autres femmes, dont l'une joue de la trompette. 
 Des deux bois lateraux qui encadrent le titre, Pun celui de gauche rep- 
 resente une femme de profil a droite assise et montrant un ouvrage de 
 broderie a deux petits enfants debout a ses pieds. L 'autre celui de droite 
 represente une femme assise, de profil a gauche, montrant egalement un 
 ouvrage de broderie, a, une femme debout a cote d'elle. Dedicace: Alia 
 Magnifica et illustra signora, La signora Isabella Contessa Canossa Fra 
 Hieronimo da Ciuidal di Frioli. Page non cotee, Alia Medema. Fin au 
 verso. Page non cotee, L'autor de l'opera parla. C'est l'avis au lecteur. 
 Au verso, une marque d'imprimeur d'un superbe caraetere. Dans un 
 cartouche entoure de cuirs enroules, un lion passant de profil a droite, 
 debout et tenant de ses deux pattes de devant une epee devant lui. Au- 
 dessous du cartouche: In Padoa, per Jacobo Fabriano, ad instantia de 
 Fra Hieronimo da Ciuidal di Frioli, de l'ordine de i sevui di Osservantia, 
 MDLV (1555). 22 dessins de broderies. En somme 14 feuillets dont 11 
 de dessins. Voir le catalogue du Marechal d'Estrees, tome I, n° 8843. 4° 
 or 8° oblong. Bibliotheque de L 'Arsenal. Bib Comm. Bologna. 
 
 790— Hill, E.— Abigail's Sampler: poem. St. Nicholas. V. 28, pp. 306-307. 
 February, 1901. 
 
 791 — Hind, C. L. — The Progress of the Industrial Arts — Lace. Art Journal, 
 1891, pp. 87-92. 
 
 792— Hirth, Geo.— Album for Ladies' Work, 1882. 
 
 793— Histoire de la Dentelle— par M. de— (Fertiault). Paris, Depot Beige, 1843. 
 
 795 — Historische und die neuzeitliche Spitze in Musfer-Beispielen, Die — 24 Ta- 
 feln. Plauen, C. Stoll. 1909. 
 
 796— Hoare, Kath. L.— The Art of Tatting. Illus. London, etc 1910. la. 8°. 
 
 797 — Hochfelden, Brigitta — Ebhardt's Handarbeiten, das Kloppeln. 
 
 798 — Hochfelden, Brigitta — Die Handchenspitze. (Point Lace). 
 
 799 — Hoechstaedter, J. N. — Broderie Russe et Hongroise. 
 
 800 — Hoepli, Ulrico — Pizzi antichi di Cesare Vecellio con una introduzione di A. 
 Melani. Milan, U. Hoepli, 1886. See 1816. 
 
 801 — Hoffman, Julius — Auswahl von Motiven aus: "Der Moderne Stil." 1906. 
 
302 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 802 — Hofniann, Prof. B. — Moderne Spitzen, entworfen in der Koiiiglichen Kunst- 
 schule fiir Textilindustrie in Plauen. Plauen, C. Stoll. 20 plates. 
 
 803 — Hofruan, E. — Muster fiir Textil-Industrie, serie v. Plauen, Chr. Stoll, n.d. 
 
 804 — Hofman, E. — Muster fiir Textil-Industrie, serie ii. Plauen, C. Stoll, n.d. 
 
 805 — Hofman, E. — Spitzen aus deni Museum der Konigl. Kunst-Schule fiir Tex- 
 til-Industrie zu Plauen i. V. Plauen, Chr. Stoll, n.d. 
 
 806 — Hofman, E. — Stilisirte Pflauzenforme, etc. . . . serie i, Spitzen. Plauen, 
 Chr. Stoll, n.d. 
 
 807 — Hofmann, E. — Weltausstellung, Paris, 1900. Die Vogtlandische Spitzen- 
 Stickerei und Gardinen-Industrie. Plauen, C. Stoll, n.d. 
 
 808 — Hoffman, H. — New Modelbiich, alien Nagerin, unnd Sydenstickern selir 
 nutzlich zii branche, vor nye in Druck aussgangen durch Hans Hoffman, 
 Burger und formsehneider zu Strassburg. At the end, Zu Strassburg 
 Gedruckt am Kommarekt durcb Jacob Frolick. 1556. 4to. A to G in 
 fours. (28 leaves.) Title printed in red and black. On it a woodcut of 
 two women, one engaged in embroidery, the other fringing her some stuff. 
 The last leaf (Giiii.) has on the recto a woodcut of a woman at a frame, 
 the verso blank. Mr. E. Arnold. 
 
 809 — Hoffman, Wilhelni — Gantzen Modelbuch Kunstlicher und lustiger Bistrung 
 und muster & Durch Willhelm Hoffman Formenschneidern. Franc- 
 fort. MDCVII (1607.) Ouvrage contenant des modeles d'encognures et 
 de frises pour broderies. Dessins blancs sur fond noir. Ces modeles sont 
 tres remarquables. En 1876, le musee de Vienne en a reproduit 20 pieces, 
 dont 1 serie dans le S. K. M. Voire Guilmard. 
 
 810 — Hoffmann, Wilhelm — Gantz new Modelbuch, Kunstlicher vnd lustiger 
 Visirung vnd Muster von allerhand schoner, artiger Zugen vnd Blum- 
 werck, zu jetzt gebrauchlichen, zierlichen. Italianischen, Frantzosischen, 
 Teutchen vnd Engellandischen Oberschlagen; So wol Sendenstickern, 
 Sammetschneiclem, vnd Natherinnen, als auch Schreinern, Bilthauern vnd 
 dergleichen so zu solcher Kunstlicher Arbeit lust vnd gef alien tragen, 
 furgeriffen vnd fur Augen gestellt Durch Wilhelm Hoffman Formen- 
 schneidern. Getruckt zu Franckfurt am Mayn, in Verlegung gemeltes 
 Wilhelm Hoffmanns. M. DC. VII. Fol. Title and 18 cuts. (Minister 
 reproduction.) 
 
 811 — Hoffman, Wilhelm — Newes vollkomrnenes Modelbuch von vierhundert 
 schonen Ausserwehlten, Kiinstlichen vnd aussgeschnittenen, so wol Ital- 
 ianischen, Frantzosischen, Niderlandischen, Engellandischen, als Teutschen 
 modeln, dergleichen zuvor niemals gesehen worden, zugerichtet, vnd jet- 
 zund zum Ersten mal, in dieser bequemlichen Form in Truck gegeben. 
 Allen Nahterin, Seidenstickerin, Schreinern, Steinmetzen, auch ziichtigen 
 Frawen vnd Jungfrawen, zu Nutz vnd freundlichem Wolgefallen. Get- 
 ruckt zu Franckfurt am Mayn, in Verlegung Wilhelm Hoffmanns, Anno 
 1604. Fol. Title and 17 cuts. (Wasmuth reproduction.) Eeprinted, 
 1878. Also reprinted Berlin, 1871 and 1891. 1891 reprint in B. M. 
 
 812 — -Hoffman, W. — Gantz new Modelbuch, kunstlicher und lustiger Visirung und 
 Muster von allerhand schoner, artiger Ziigen und Blumwerck, etc. (19 
 
BIBLIOGRAPHY 303 
 
 plates, including title.) Obi. fol. Franckfurt am Mayn, W. Hoffman, 1607. 
 Reprint, Ongania, Venice, (1878.) S. K. M. 
 
 813 — Hofer, Hans (Brief maler) — New Forinbuechlein der Weyssen Arbeyt. 
 Augsburg, 1545. Qner-4. 40 doppelseitig bedruckte Bll. mit 80 Stick- 
 mustern. 
 
 814 — Holme, Charles — Peasant Art in Austria and Hungary. The Studio, 1911. 
 
 815 — Holme, Charles — Peasant Art in Russia. Special Number of the Interna- 
 tional Studio, 1912. 
 
 816 — Holme, Charles — Peasant Art in Sweden, Lapland and Iceland. The Stu- 
 dio, 1910. 
 
 817 — Homann, Elizabeth — Spitzenstudien aus Venedig. Kunstgewerbeblatt, No- 
 vember, 1896, Leipzig. 
 
 818 — Honiton Lace — Article from the "Gentleman's Magazine," Jan., 1871. 8vo. 
 London, 1871. S. K. M. 
 
 819 — Honiton Lace. Every Saturday. V. 10, p. 275. 
 
 820 — Honiton Lace — The Leisure Hour, August, 1869, London. V. 18, p. 539. 
 
 821 — Honiton Lace — The Gentleman's Magazine, January, 1871, London. 
 
 822 — Honiton Lace — The Saturday Review, Jan. 28, 1888, London. V. 65, p. 101. 
 
 823 — Honiton Lace and the Technical Grant. Saturday Review, December, 1891, 
 London. 
 
 824 — Honiton lace book, The: the second and enlarged edition of Honiton lace- 
 making. London (1875). 8°. 
 
 825 — Honiton lace-making. London, (1873). 8° 
 
 826 — Hooper, E. M. — Teaching a Child to Sew. Ladies Home Journal. V. 17, 
 p. 32, November, 1900. 
 
 827— Hope, Mrs. G. C— Six Square Doyleys in Crochet. (1848.) 
 
 828 — Housiaux, Emile — Une Societe belge-americaine. L 'Industrie dentelliere 
 et l'eglise catholique. Le Peuple, Aug. 11, 1903, Brussels. 
 
 829 — How Cushion Lace Was Invented. Chamber's Journal, Nov. 24, 1860, 
 London. 
 
 830— How, J. W.— Florentine Bags. Harper's Bazaar. V. 45, p. 423. Sept. 
 1911. 
 
 831 — Howarth, M. — How to Care for Real Lace. Harper's Bazaar. V. 46, p. 
 639. December, 1912. 
 
 832 — Hrdlicka, J. — Col, eventail, etc. L 'Art decoratif, November, 1901, Paris. 
 
 833— Hrdlicka, J.— Entwiirfe Fur Moderne Spitzen. Stuttgart, 1902. 30 plates. 
 
 834 — H. S., Huquet y Crexells — Pilar. Historia y Technica del Encaje, 172 pp., 
 34 plates, Madrid, 1914. 
 
 835 — Hubert, E. — Le voyage de Joseph II dans les Pays-Bas en 1781. 
 
 836 — Hudson (O.) — Report on cotton print works and lace-making. See First 
 report of Department of Practical Art, 1853, pp. 367-368. 8vo. Lond., 
 1853. 
 
 837 — Huish, Marcus B. — Samplers and Tapestry Embroideries. 2 editions. 
 Longmans Green & Co., 1900. 
 
 838 — Hunter, George Leland — Laces, Their Origin, Design and Manufacture. 
 Good Furniture, April, 1917. Vol. 8, pp. 199-212. 
 
304 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 839 — Ilg, Albert — Gescb.icb.te und Terminologie der alten Spitzen. Vienna, Leb 
 mann and Wentzel, 1876. Contains tbe introduction verbatin of "Pattern- 
 book" by "R. M." publisbed by Cbristoff Froscbower, Zuricli. 
 
 840 — Improved state of tbe plan for establishing manufactories of Blond and 
 Black silk and tbread Lace, An. No place or date r 
 
 841 — 1 'Industrie de la dentelle en Bobeme. Revue Scientifique, 1903. 
 
 842 — 1 'Industrie dentelliere — La dentelle a la main. Pour eviter sa decbeance. 
 Un concours. Bull. Metiers d'art, 1905. Brussels. 
 
 843 — Ingalls, J. F. — Hand book of crocket and knitted lace. J. F. Ingalls, Lynn, 
 Mass., 1883. (Collection of Kursbeedt Manufacturing Co.) 
 
 844 — Irish Lace — The Magazine of Art, August, 1883, London. V. 6, p. 438. 
 
 845— Irish Lace. The Spectator. V. 56, p. 864. 
 
 846 — Irish Lace — Report of Committee on Education. London, 1887, fob B. M. 
 
 847 — Irish Lace at the Mansion House — The Saturday Review, July, 1883, Lon- 
 don. 
 
 848 — Irish Lace Making — The Saturday Review, July 7, 1888, London. 
 
 849 — Irwin, Elisabeth A. — Lace Makers of the Italian Quarter of New York. 
 Craftsman. V. 12, pp. 404-409. 
 
 850 — Italienisches Spitzenmuster aus dem Anfange des XVII. Jahrhunderts. 
 Blatter fur Kunstgewerbe, 1877, Vienna. 
 
 851 — I., Jr., W. M. (W. M. Ivins, Jr.) — "Ornament" and the Sources of Design 
 in the Decorative Arts. Bulletin of the Metropolitan Museum of Art, 
 New York, February, 1918. p. 35. 
 
 852 — Jackson, Mrs. F. Nevill — Cravats. The Connoisseur, August, 1904, Lon- 
 don. V. 1, pp. 226-232. 
 
 853 — Jackson, Mrs. F. Nevill — Ecclesiastical Lace, Ancient and Modern. Bur- 
 lington Magazine. V. 4, pp. 54-64. 
 
 854 — Jackson, Mrs. F. Nevill — The Evolution of Alengon Lace. Connoisseur, 
 1901. V. 1, pp. 219-223. 
 
 855 — Jackson, Mrs. F. Nevill — A History of Hand-made Lace. London, L. Up- 
 cott Gill, 1900. B. M. 
 
 856 — Jackson, Mrs. F. Nevill — Human Figures in Lace. Connoisseur. V. 4, pp. 
 183-187. 
 
 857 — Jackson, Mrs. F. Nevill — Lace of the Van Dyke Period. Connoisseur. V. 
 2, pp. 106-115. 
 
 858— Jackson, Mrs. F. Nevill— On the Wearing of Old Lace. The Lady's Realm, 
 August, 1899, London. 
 
 859 — Jackson, Mrs. F. Nevill — The Romance of Lace. The Lady's Realm, Jan- 
 uary, 1902, London. 
 
 860 — Jackson, Mrs. F. Nevill — Royal Lace. The Ladies Field, June, 1904, Lon- 
 don. 
 
 861 — Jackson, Mrs. F. Nevill — Ruffs. The Connoisseur, July, 1903, London. 
 
BIBLIOGRAPHY 305 
 
 862 — Jackson, Mrs. F. Nevill — Wedding Veils. The Lady's Realm, June 1899, 
 London. 
 
 863 — Jacques, G. M. — Nouvelles dentelles viennoises. L'Art decoratif, May, 
 1902, Paris. 
 
 864— Jamnig, C. and Bichter, A. — Die Technik der gekloppelten Spitze. Or- 
 iginal Entwiirfe und Ausfiikrungen nack Spitzensorten systematisck 
 geordnet, etc. (41 pkoto. plates, with text.) fol. Wien, 1886 or 1885. 
 S. K. M. 
 
 865 — Jamnig, Carl and Rickter, Adelaide — Vienna Manual. 
 
 866 — Jannasck, R. — Die Textilindustrie bei den Ur-nnd Natur-volkern. 
 
 867 — Jean le Maistre Tailleur — Eecueil de Plvsievrs pieces de pourtraicture, 
 tres vtiles & necessaires generalement a tous Orfeures, Tailleurs, Gra- 
 ueurs, Damasquineurs, Sculpteurs, Paintres, Brodeurs, Tapissiers, Tisso- 
 tiers, Couturiers, Lingieres, et autres. A Lyon, par lean Le Maistre 
 Tailleur, d'kistoires, derneurant en rue merciere et par Antkoine Voulant, 
 1565. Sur ce titre un medallion ovale contenant une Minerve, en casque 
 et cuirasse, de % a droite, tete de profil de ce cote, une lance a la main, dont 
 la pointe s'appuie par terre, au bas du tronc d'un olivier. Un des reje- 
 tons de cet olivier s 'enlace autour de la lance de cette deesse. A gaucke 
 un dragon fantastique. Sur la bordure du medaillon, qui est partagee en 
 six compartiments, on voit un mouton, une brancke d'arbre, une corne 
 d'abondance, un paon, deux epees croisees et un serpent. Au milieu de 
 la page et coupes en deux par le medaillon, les mots : De grand — Labeur. 
 Vient. — Abondance. Bibliotkeque Nationale. 
 
 868 — Jessen, Dr. P. — Das Stickmusterbuck des Andreas Bretsckneider. Kunst- 
 geiverbeblatt, 1891, Leipzig. 
 
 869 — Jesurum, Mickel-Angelo — Cenni storicki sull' industria dei Merletti. Ven- 
 ice, 1873. 
 
 870 — Jesurum Reproductions — since 1910. In J. P. Morgan Library. 
 
 871 — Jobin, B. — New Kimstlieks Modelbuck, von allerkand artlicken vn gereck- 
 ten Modeln auff der Laden zu wircken, oder mit der zopffnot creutz vnd 
 Judenstick vnd anderer gewonlicker weifs zu macken : Allen model Wiirck- 
 erin, Naderin vnd solcker modelarbeit geflissenen Weibebildern sekr 
 dieustlick vnnd zu andern mustern anleytlick vnnd verstandig. Auff ein 
 newes weder getriickt vnd mit vielen newer model gemekret. Mit Rom. 
 Keys. May. Freykeit. Bey B. Jobin. (Strasburg.) In-4° oblong. 48 
 feuillets, le dernier est blanc. Un titre, un feuillet, contenant des vers et 
 45 planckes de broderies imprimees au recto seulement. 
 
 872 — Jobin, B. — New Kiinstlicks Modelbuck. Von allerkand artlicken vn'gereck- 
 ten modeln, auf der Laden zu wircken, oder mit der Zopffnot, Kreutz vnd 
 Judenstick vnd anderer gewonlicker weiss zu macken; Allen Modelwurck- 
 erin Raderin vnd solcker Modelarbeyt geflissenen Weibsbildern sekr 
 dienstlick vnd zu andern Mustern anleytlick vnd vorstandig. Dissmals 
 erstlick gegenwartiger fleissiger gestalltantag geben mit Keys. May. 
 Freikeyt. Betj B. Jobin. 1579. 4° 45 cuts. B. K. M. 
 
 873— Jobin, B.— New Kiinstlicks Modelbuck— [Anotker edition of No. 872.] 1589. 
 B. K. M. 
 
306 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 874 — Jobiu, B — New Kiinstlichs Modelbuch — [Another edition of No. 872.] Auff 
 ein newes wider getruckt vnd mit vielen newer Model geniehret- mit- Rom. 
 Keys. May. Preyheit. Bey B. Jobin. 1600. (Strassburg.) 4to. obi. 
 45 plates. B. K. M. 
 
 875 — Jobin, Bernhart — New Modelbuch fon Allerhand sonderbarn sehonen mo- 
 dem von der ietz gebreuehliehe durch geschnittener arbeit durch h. Vinciolo 
 ein venediger angeordnet. Jetzt aber alien Frawen Jungfrawen Naherin- 
 nen und dergleiehen Kunstgeflissen en Personen zu sondern vorstand 
 auffs new mit vermehrung und besserung viler schoner und lustiger mo- 
 dem in truck gefertiget und an tag gebracht. Mit. Bom. Keyserlicher 
 Majestat freyheit. Getruckt zu Strasburg bei Bernhart Jobin. Anno 
 1592. In-8° oblong. Titre imprime en rouge et noir, au milieu d'un en- 
 cadrement forme de modeles de point coupe et de dentelles. Bien au verso. 
 ): (2 Le verso et le recto de cette page contiennent une dedicace aux fem- 
 mes. Des deux cotes de cette dedicace au verso et au recto, deux petits 
 nielles verticaux rectangulaires. ) :(3 Planche de broderie. Bibliotheque 
 Nationale. 
 
 876 — Jobinus — New Modelbuch von allerhand sonderbarn sehonen modeln von 
 jetz gebreuehliehe durch geschnittener arbeit durch h. Vinciolo ein vene- 
 diger angeornet. Jetzt aber alien Frawen Jungfrawen naherin vnd der 
 gleichen Kunstgeflissenen Personen zu sonderm verstand auffs new mit 
 vermehrung vnd besserung viler schoner und lustiger Modeln in Truck 
 gefertiget iend an tag gebracht. Mit Rom. Keyserlicher Mayestat frey- 
 heit. Getruckt zu Strasburg bey Jobinus Erben, an 1596. In-8° oblong. 
 Titre rouge et noir dans un encadrement forme de petits carreaux et 
 bandes de guipure. Rien au verso. Page suivante cotee ) :(2. Une piece 
 de vers. Verso, fin de la piece de vers. Puis commencent les broderies 
 imprimees seulement au recto, sauf aux 6 dernieres planches ou le verso 
 en contient aussi. Ces broderies reproduisent presque toutes des motifs 
 de Vinciolo. 44 feuillets et 48 planches de broderies. B. M. 
 
 877 — Johnson-Browne, E. F. — On Lace-Making in Belgium. The Catholic World, 
 July, 1900, New York. V. 71, pp. 443-459. 
 
 878 — Johnston, Mrs. J. B. — A Short Historical Sketch on Lace. New York, 
 1895. 
 
 879 — Jones, O. — Grammar of ornament. (Embroidered and woven fabrics, 
 Plates 50, 51, 52 and 55,) 2 vols, fol. Lond., 1856. Other editions. Fol. 
 Lond., 1865 and 1868. S. K. M. 
 
 880— Joor, H.— Decoration of Darning. Delineator. V. 79, p. 411, May, 1912. 
 
 881 — Jorsin & Sauvage — Esquisses [Paris, 19. . ?]. 
 
 881a-Jorsin & Sauvage — Formes d 'Orient a, 1 'usage des dessinateurs en broderie 
 des fabricants de dentelles et de soieries [Paris, 19. . ?]. 
 
 882 — Jouclard, Mile. A. L., at Paris — Rideau et brise-bise. Art applique, Ire 
 annee, Paris. 
 
 883— Jourdain, M.— Alengon. Connoisseur. V. 14, pp. 92-96, 145-148. 
 
 884 — Jourdain, M. — Argentan Lace. Connoisseur. V. 15, pp. 117-122. 
 
 885 — Jourdain, M. — Brussels Lace. Connoisseur. V. 20, pp. 195-201. 
 
BIBLIOGBAPEY 307 
 
 886 — Jourdain, M. — Cutwork and Punto in Aria. Connoisseur. V 11, pp. 13- 
 
 17, 98-103. 
 887 — Jourdain, M. — Drawn Thread Work and Lace. Connoisseur, 1904. V. 10, 
 
 pp. 235-237. 
 888 — Jourdain, M. — English. Lace. Connoisseur. V 16, pp. 151-154. 
 889 — Jourdain, M. — English Pillow Lace. Connoisseur. V 20, pp. 266-270. 
 
 April, 1908 and following issues. 
 890 — Jourdain, M. — English Pillow Lace. Connoisseur. V. 21, pp. 81-86. 
 891 — Jourdain, M. — English Pillow Lace. Connoisseur. V. 30, pp. 266-270. 
 
 April, 1908 and following issues. 
 892 — Jourdain, M. — Gold and Silver Lace. Connoisseur. V. 17, pp. 9-12, 92- 
 
 96. 
 893 — Jourdain, M. — Italian Lace. Art Workers Quarterly. V. 3, No. 11, pp. 
 
 105-109. 
 894 — Jourdain, M. — Italian Pillow Lace. Connoisseur, 1906. V. 15, pp. 171-175. 
 895 — Jourdain, M. — Lace as worn in England until the Accession of James 1st. 
 
 Burlington Magazine, 1906. V. 10, pp. 162-168. 
 896 — Jourdain, M. — The Lace Collection of Mr. Arthur Blackborne. Part I. 
 
 The Burlington Magazine, September, 1904. Part II, Later Punto in 
 
 Aria. The Burlington Magazine, October, 1904, London. 
 897 — Jourdain, M. — Lace in the Collection of Mrs. Alfred Morrison at Pouthill. 
 
 Burlington Magazine, 1903. V. 2, pp. 95-103. 
 898 — Jourdain, M. — Lace Making in Spain and Portugal. Connoisseur, 1903. V. 
 
 7, pp. 244-247, Part I; V. 8, pp. 9-12. Part II. 
 899 — Jourdain, M. — Mechlin and Antwerp Lace. Connoisseur, 1907. V. 19, pp. 
 
 103-108. 
 900 — Jourdain, M. — Milanese Lace. Connoisseur. V. 16, pp. 36-41. 
 901 — Jourdain, M. — Old Lace, a Hand-Book for Collectors. London, B. T. Bats- 
 ford, 1908. B. M. 
 902 — Jourdain, M. — Point de Venise a Eeseau. Connoisseur, 1905. V. 13, pp. 
 
 40-43. 
 902a — Jourdain, M. — Valenciennes Lace. Connoisseur. V 13, pp. 81-84, 169- 
 
 170. 
 903 — Jourdain, M. — Venetian Needlepoint Lace. Connoisseur. V. 12, pp. 145- 
 
 151, 241-246. 
 904 — Joyce, T. A. — Central African Embroidery. Burlington Magazine. V. 21, 
 
 pp. 80-91, May, 1912. 
 905 — Juillien, Mme. H. H. de — Manuel de dentelles aux Puseaus. Neuchatel, 
 
 Switzerland. 
 
 906 — Kahrn, A. — New Model buch Darinnen zum nehen allerhandt schone newe 
 Modelen zu finndenn seinn. Durch Andream Kahrn zu Kuppfer gebracht. 
 Anno Doi 1626. Title and 49 engravings, signed A. K. B. K. M. 
 
 907 — Kalesse, E. — Bomische Stickereinen. "Kunst und Gewerbe," Vol. XIX.. 
 p. 44. 4to. Nurnberg, 1885. S. K. M. 
 
 908 — Kantwerk uit het laatst der 17e eeuw. Amsterdam, 1877. 
 
308 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 909 — Kantwerksckool on der de Ziuspreuk: "Doet wel en ziet niet om." 
 
 Gevestigd to Sluis, in Zeeland, 5de-9de Verslag (1858-1862). (Middle- 
 
 bourg, J. C. et W. Altorffer.) 
 910 — Katalog der in Gerinanischen Museum befindlichen Gewebe und Stickereien, 
 
 etc. Nuremberg, 1869. 20 plates. 
 911 — Kaufmann, Hartwig — Battist-Taschentucb mit Nadelspitze ausgefubrt zu 
 
 Scbneeberg. Zeitschr. des Bayr. Kunstgew. Verem in Munchen, 1889. 
 912 — Kay, P. — Embroidered Filet Curtains. Harper's Bazaar. V. 40, pp. 561- 
 
 563, June, 1906. 
 913 — Kellogg, C. — Artistic Household Needlework. Harper's Bazaar. V. 40, 
 
 pp. 271-273, March, 1906. 
 914 — Kellogg, Charlotte — Women of Belgium. Funk & Wagnalls, 1917, New 
 
 York. 
 915 — Kendrick, A. F. — English Embroidery. London, G. Newnes, 1904. 
 916— Kerzman, M. L.— Drawn work. N. Bristow, N. Y., 1883. (Collection of 
 
 Kursheedt Manufacturing Co., N. Y.) 
 917— Kerzman, M. L.— Fine Crochet Work. N. Bristow, 1883. (Collection of 
 
 Kursheedt Manufacturing Co.) 
 918— Kerzman, M.L.— How to Crochet. N. Bristow, 1883. (Collection of Kur- 
 sheedt Manufacturing Co.) 
 919— Kerzman. M. L.— Maltese or Hair-pin Crochet Work. N. Bristow, 1883. 
 
 (Collection of Kursheedt Manufacturing Co.) 
 920 — Kerzman, M. L. — Miscellaneous Designs for Crochet Work. N. Bristow, 
 
 1883. (Collection of Kursheedt Manufacturing Co.) 
 921— Kerzman, M. L.— Twine Crochet Work. N. Bristow, 1883. (Collection 
 
 of Kursheedt Manufacturing Co.) 
 922 — K., F. — Question of Lace Making. International Studio. V. 47, pp. 324- 
 
 326, October, 1912. 
 923 — King, Eleanor G., at Bradford — Barbe. Art applique, Ire annee, Paris. 
 924 — Kingsley, B. G. — Flemish embroideries, old and new. "The Art Jour." 
 
 1887. S. K. M. 
 925 — Kingsley, B. C. — A Lace School at Bruges. Art Journal, 1887, pp. 81-84, 
 
 V. 39. 
 926 — Kissell, Mary Lois — Papago and Pima Indians. An account of original 
 
 point lace. Published in pamphlet form by the Museum of Natural His- 
 tory, N. Y. 
 927 — Kleinpaul, Dr. Job. — Sachsische Relief spitzen-Kloppelei. Illustrirte Zei- 
 
 tung, April 18, 1901, Leipzig. 
 928— Klickmann, F.— The Modern Crochet Book. (1914). 
 929 — Kloppelei — Daheim, 1895, Leipzig. 
 930 — Kloppelspitzen ; hrsg. von der Kgl. Zeichenschule fur Textilindustrie u. 
 
 Gewerbe zu Scbneeberg. Plauen, C. Stoll, 1912 (?). 
 931 — Knitter's Note-book. 62 pages. London, 1890. In British Museum. 
 932 — Knobe, B. D. — Lace-makers of Belgium. Woman's Home Companion, V. 
 
 31, p. 47, August, 1904. 
 933 — Koch, Marie — Hardanger Art Embroidery. (Collection of Kursheedt Man- 
 ufacturing Co., N. Y.) 
 
BIBLIOGRAPHY 309 
 
 934 — Kohlsaat, Amy M. — Old Lace Manual. New York, privately printed, 1910. 
 
 935 — Kossatckewa, 0. P. — Ukrainskie ornament. (Plates.) Fol. Kiejv, 1877. 
 
 936 — Koula, Jan — Clioix de Broderies populaires tcheques dn Musee Industriel 
 Naprstek. Prague, F. Simacka, 1893. 
 
 937 — Kraft, Prof. Max — Die neue Kloppelmaschine von Aug. Matitsch. Dingl- 
 ers Politechnisches Journal, May 28, 1897, Stuttgart. 
 
 938 — Krai, Joseph — De la dentelle au fuseau en Boheme (en tcheque). Vrych- 
 nove, Ck. Bathouskeko, 1894. 
 
 939 — Krame, Mrs. T. — Circular Drawn- work. Ladies Home Journal, V. 23, p. 
 58, June, 1906. 
 
 940 — Kretz, Fr. — Kapitola o Krajkarstvi ceskoslovenskem (De la dentelle 
 tcheque ou slave). Cesky Lid (Le Peuple tcheque), 1899, Prague. 
 
 941 — Kretz, Franz — Maerish-Slovakische Hauben. Vienna, Ant. Schroll & Co., 
 1902. 
 
 942 — Kretz, Franz — Slowakische Netzarbeiten. Zeitschrift fur osterreichische, 
 Volkskunde, 1901, Vienna. 
 
 943 — Kreuzmann, Moritz — Dentelles Veritables. Noiweau Choix de Points 
 divers. 30 planches. Zurich. 
 
 944 — Kuehn, N. — Colored Patterns for Cross-stitch Work. 9 photographs. (Col- 
 lection of Kursheedt Manufacturing Co., N. Y.) 
 
 945— Kuehn, N.— Cross-stitch embroidery book. Vols. 221, 1892, 12. Kuehn, 
 Berlin. (Collection of Kursheedt Manufacturing Co.) 
 
 946 — Kumsch, E. — Das alteste aller bekannten Modelbucher. Kunst und Kunst- 
 handiverk, N. 12, 1903. Vienna. 
 
 947 — Kumsch, E. — Laces and Embroidery on Linen, 16, 17 and 18 Centuries. 50 
 plates. 
 
 948 — Kumsch, E. — Spitzen und Weiss-Stickerei. 50 plates. Stengel & Markert, 
 1889. (Collection of Kursheedt Manufacturing Co.) 
 
 949 — Kunig, L. — Fewrnew Modelbuch, Van allerhandt Kunstlicher Arbeidt, nam- 
 lich Gestrickt, Aussgezogen, Aussgeschnitten, Gewiesslet, Gestickt, Gew- 
 irckt, vnd Geneyt; von Wollen, Gam, Faden, oder Senden; auss der 
 Laden, vnd Sonderlich auss der Eamen. Yetzt Erstmals in Teutschlandt 
 an Tag gebracht : Zu Ehren vnd Glucklicher zeitvertriebung alien dugenesa- 
 men Frawen, vnd Jungfrawen, Natherinen, auch alien andern, so lust zu 
 solcher Kunstlicher Arbeit haben, sehr dienstlicht. Getruckt zu Basel, 
 In verlegung Ludwig Kunigs. M.D.XCIX. 4°. Title page and 3 cuts (in- 
 complete). V. & A. M. 
 
 950 — Kiinig, Ludwig — Fewrnew Modelbuch von allerhandt Kunstlicher Arbeidt, 
 namlich Gestricht, Aussgezogen Aussgeschnitten, Gewiefflet, Gesticht, Ge- 
 wirckt, und Geneyt : von Wollen, Gam, Faden, oder Seyden : auff der Laden, 
 und Sonderlich auff den Eamen, Jetzt Erstmals in Teutschlandt an Tag 
 gebracht: Zu Ehren und Glucklicher Zeitvetreibung alien dugentsamen 
 Frawen, und Jungfrawen Nacherinen, auch alien andern, so lust zu solcher 
 Kunstlicher Arbeit haben sehr dienstlich. Gertruckt zu Basel. In ver- 
 legung Ludwig Kunigs MDXCIX. Small obi., 33 ff., 32 plates. Frontis- 
 piece border of point coupe. Title in Gothic red and black. Patterns, 
 
■■UO A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 mostly borders, number of stitcbes given, "Mit xxxxvii., Bengen," etc In- 
 
 4°. Bib. Nat. 
 951 — Kiinig (Konig), Ludwig — Scbon Neues Modelbucb von allerley liistigen 
 
 Modeln naazu neben Zuwureken vn Zusticken gemacht in Jar. Cb. 1599. 
 
 Gemacht zu Basel. In verlegung Ludwig Konigs. Anno MDXCIX 
 
 (1599). In-4° oblong. 36 feuilles imprimes au recto seulement et conte- 
 
 nant 70 modeles de broderies. Sur le titre grave surbois, il y a 7 femmes 
 
 travaillant. 
 952 — Kunstgewerbe-Museum zu Leipzig. Egenolff, Cbr. Modelbucb aller Art 
 
 Nebewercks, etc., berausgegeben unter Redaction des Prof. M. zur Stras- 
 
 sen. Dresden, G. Gibbers, 1880. 
 953 — Kunstgewerbe-Sehule (Konigl.) zu Dresden. Katalog der Bibliotbek, IX 
 
 Textilarbeiten. Dresden, "W. Hoffman, 1896. 
 
 954 — Lace — 20 photographs. (Collection of Kursheedt Manufacturing Co., 
 
 N. Y.) 
 955 — Lace — 25 Photographs. P. Calavas. (Collection of Kursheedt Manufactur- 
 ing Co., N.Y.) 
 956 — Lace — 35 photographs. P. Calavas. (Collection of Kursheedt Manufactur- 
 ing Co., N. Y.) 
 957— Lace— Part XII. of "The Industrial Arts." (South Kensington Mus. Art 
 Handbooks.) 8vo. Lond., 1876. 
 
 958— Lace. Art Journal, V. 17, p. 86. 
 
 959 — Lace (Filet brode). The Connoisseur, September, 1902, London. 
 
 960 — Lace. Every Saturday, V. 5, p. 729. 
 
 961 — Lace. Knickerbocker, V. 64, p. 127. 
 
 962 — Lace. Leisure Hour. V. 19, p. 388. 
 
 963— Lace. Once a Week, May 9, 1868, London. V. 18, p. 413. 
 
 964 — Lace Ancient and Modern. Victoria, V. 23, p. 145. 
 
 965 — Lace and Bric-a-brac. Blackwood's Edinburgh Magazine, January, 1876, 
 Edinburgh, V. 119, p. 59. 
 
 966 — Lace and Embroidery. Saturday Review, V. 66, p. 305. 
 
 :967 — Laces and Embroideries. Gocley, V. 57, p. 155. 
 
 :968 — Lace and Embroidery Association — Appoints committee to keep in touch 
 with work of Secretary McAdoo's Commission scheduling St. Gall em- 
 broideries. N. Y. Times, May 12, 14 -A. 
 
 '969 — Lace and Embroidery Association tells of concessions made by govern- 
 ment in Nottingham cases, N. Y. Times, May 16, 18 :4. 
 
 970 — Lace and Embroidery Review, The — New York, Clifford & Lawton. 
 
 971 — Lace and its Varieties. Chamber's Journal, July 1, 1891. London and 
 Edinburgh. V. 68, p. 362. 
 
 972 — Lace and Lacemaking — From Chamber's "Repository of Instructive and 
 amusing Tracts." 8vo. (1847) S. K. M. 
 
 ,973 — Lace Cap and Slipper Piece for the Baby. Ladies' Home Journal, V. 20, 
 p. 42, October, 1903. 
 
BIBLIOGRAPHY 311 
 
 974 — Lace Collection of Mr. Arthur Blackborne, The — Burlington Magazine, V. 
 5, pp. 557-569; V. 6, pp. 18-20, 123-135, 384-390. 
 
 975 — Lace Dress, A — (Eobe Empire en Point de Lille). The Connoisseur, Oc- 
 tober, 1902, London. 
 
 976 — Lace Fanciers' Directory. 
 
 977 — Lace — French manufacturers increase prices, N. Y. Times, Nov. 21, III, 8 :3. 
 
 978 — Lace Industry of Calais, The — Journal of the Society of Arts, Oct. 8, 1897, 
 London, V. 45, p. 1135. 
 
 979 — Lace in the Tenements — Charities, V. 14, p. 1036. 
 
 980 — Lace Makers — Served out; or The two Lace Makers. By the author of 
 "Harvest Time at Agsdon." 32 pages. 1879. In British Museum. 
 
 981 — Lace-making as a Fine Art. The Edinburgh Review, January, 1872, Edin- 
 burgh. 
 
 982 — Lace-Making at Nottingham. Eclectic Magazine, V. 99, p. 755. 
 
 983 — Lace Making by North American Indians. American Artist, Vol. 3, No. 
 19. 
 
 984 — Lace-Making in Ireland. Saturday Revieiv, V. 66, p. 23. 
 
 985 — Lace Making, Past and Present. The Artist, 1902, London. 
 
 986 — Lace Manufactures at Nottingham. Penny Magazine, V. 12, p. 113. 
 
 987 — Lace Merchant of Namur, a Tale. Blachivoods, V. 44, p. 245. 
 
 988 — Lace of Assam — Journal of the Society of Arts, V. 49, p. 192. 
 
 989 — Laces — Fashion developments, pictures of samples from H. B. Claflin's, 
 N. Y. Times, July 5, VIII, 8 :3 ; raise in price due to war, Aug. 6, 13 :3 ; new 
 high record in prices, Aug. 26, 11:3; big demand will keep domestic 
 plants busy, Sept. 26, 12:3; buyers displeased at false war scare, Sept. 
 26, 13:8. 
 
 990 — Lace, Sale of Heirlooms at Woman's Exchange. N. Y. Times, Feb. 7, 5:3. 
 
 991 — Lace — The Case of the Lacemakers in relations to importation of Foreign 
 Bone Lace. (Parliamentary Paper). 8vo. Loud., 1898. S. K. M. 
 
 992 — Lace — The Queen Lace Book: a historical and descriptive account of all 
 the hand-made antique Laces of all countries. Illus. 4to. Lond., 1874. 
 S. K. M. 
 
 993 — Lace Trade and Factory Act. New Quarterly, V. 9, p. 112. 
 
 994 — Lace Trade and Factory Act. Reprinted from the New Quarterly Review, 
 revised and enlarged, 3d edition. London, 1860. B. M. 
 
 995 — Lace Trade — Conditions. N. Y. Times, Oct. 10, 15 :4 ; French laces will be 
 scarce, due to war, N. Y. Times, Nov. 25, 15 :4. 
 
 996 — Lace Trade — General Purposes Committee, Education Committee, and 
 School of Art Committee of Nottingham Corporation confer on need of 
 technical training in lace trade on request from Federation of Lace and 
 Embroidery Employers' Associations, N. Y. Times, August 12, II, 5 :3. 
 
 997 — Lace Trade — Import statistics, N. Y. Times, Oct. 16, 5 :3. 
 
 998 — Lace Trade — Some manufacturers sell goods by mail, N. Y. Times, May 14, 
 I, 11:2; buyers report heavy increases in prices, May 26, 17:6; D. T. Bid- 
 well says Italians give America credit for saving industry in Venice from 
 annihilation by war, June 21, 9 :2. 
 
312 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 999 — Lace Vestment, Representing Scenes from the Old Testament. Connoisseur, 
 Vol. 4, p. 64, 1903. 
 
 1000 — Ladies' Guide to Elegant Lace Patterns. Gloucester, Mass., 1883. 
 
 1001— Lady's Album of Fancy Work. London, 1850. 4to. 
 
 1002— Lady's Lace Book, The— London, Ward, Lock and Co., 1882. 
 
 1003 — Laimoxen, B. — See Sibmacher, J. 
 
 1004 — Laimoxen, B. — Schonn neues Modelbuch von allefley liistigen Modem nac- 
 zunehen zu wiirken un zu sticke ; gemacht im Jar Ch. 1597, zu Niirmberg, 
 bey Balthaser Laimoxen zu erfragen. Obi. fob, 27 ff. 5 sheets, title-page, 
 and poem, signed J. S. (Johann Sibmacher). Mr. Gruner has communi- 
 cated to us a work with the same title, dated 1591. Berlin, Royal Lib- 
 rary. 
 
 1005 — Laimoscen, Balthasar — Schon newes Modelbuch von allerley liistingen 
 Modeln noezunehen zu wiircken vn zu sticke. Gemacht in Jar Chr. 1597. 
 Zu Nurmberg bei Balthasar Laimoscen zuer fragen. In-4 C oblong. Edi- 
 tion originale de ce beau livre de modeles de broderies est de la plus 
 grande rarete. L'exemplaire est complet et consiste en un titre. 4 f euil- 
 lets de texte, et 35 planches gravees contenant chacune 2 modeles de brod- 
 eries. Mme. Bury-Palliser dans sa bibliographie n'indique que 27 feuillets. 
 Suivant elle, il y aurait au Musee des arts et de l'industrie de Dresde, un 
 ouvrage allemand portant le meme titre avec la date de 1591. Bibliotheque 
 Imperiale de Berlin. 
 
 1006 — Lalande, Pierre — Le Point d'Alengon. Le Monde Moderne, May, 1901, 
 Paris. 
 
 1007 — Lalor, Mrs. Power — The Irish Papal Jubilee Lace. The Magazine of Art, 
 April, 1888, London, V. 11, p. 200. 
 
 1008 — Lambert, Miss — Church needlework. 8vo. Lond., 1844. 
 
 1009 — Langon, Mile., Inspectrice du Travail a Tunis, Service Economique In- 
 digene, Galerie d 'Orleans — Dentelle Tunisienne. 
 
 1010 — Land der Spitzen (Burano), Das — Daheim, Jan. 12, 1889, Leipzig. 
 
 1011 — Lantsheere, Carrier de — Dentellesa la Main — veritables — Points de Prance 
 et Venise. Plauen, C. Stoll. 
 
 1012 — Lantsheere, Carlier de — Dentelles a, la Main — Galliera, Paris. Plauen, C. 
 Stoll. 
 
 1013 — Lantsheere, Carlier de — Dentelles a la Main, Cluny, Paris. Plauen, C. 
 Stoll. 
 
 1014 — Lantsheere, Carlier de — Dentelles a la Main anciennes, du Musee des Arts 
 Decoratifs, Paris. Plauen, C. Stoll. 
 
 1015 — Lantsheere, Carlier de — Les Dentelles a la Main. Paris, A. Calavas, 1906. 
 B. M. 
 
 1016 — Lantsheere, A. Carlier de — Dentelles a la Main du Musee Historique des 
 Tissus de Lyon, 26 Tafeln. Plauen, C. Stoll. 
 
 1017 — Lantsheere, Carlier de — Les dentelles a la main; dentelles aux fuseaux; 
 dentelles a l'aiguille ; dentelles a, points melanges. 135 planches. Publie 
 sous le patronage du Gouvernement Beige. Brussels, 1907, folio. 
 
 1018 — Lapauze, Henri — L'Art de la Dentelle frangaise. Femina, April 15, 1904. 
 
BIBLIOGRAPHY 313 
 
 1019 — Lapauze, Henri — Exposition de l'Art de la Dentelle francaise au Musee 
 Galliera. Rapport general. Paris, Libr.-impr. Reunies, 1904. 
 
 1020 — Lapauze, Henri — Melanges sur l'Art francais. L'Art de la Dentelle fran- 
 chise. Paris, Hacliette et Cie., 1905. 
 
 1021 — Laprade, Laurence de — A propos d'une Nappe de Dentelle. Art et Dec- 
 oration, 1912, V. 32, pp. 47-50. 
 
 1022 — Laprade, Laurence de — La dentelle a la Main — la Broderie ajouree, la 
 Guipure, au Musee Galliera, Paris, 1904. 
 
 1023 — Laprade, Laurence de — Dessins de Filet Modern. Art et Decoration, 
 1912, V. 31, pp. 59-68. 
 
 1024 — Laprade, Mme. L. de — Le Point de France et les Centres dentelliers au 
 17e et 18e Siecles. Paris, Rothschild, 1905. B. M. 
 
 1025 — Laprade, Laurence de — Le Point de Venise. Art et Decoration, 1912, 
 Vol. 31, pp. 159-164. 
 
 1026 — La Salle, Philippe de — Musee historique des tissus de Lyon. Calavas, 
 Paris, 1906. 35 pages. (Collection of Kursheedt Manufacturing Co., 
 N. Y.) 
 
 1027 — Latomus, S. — Schon newes Modelbuch von 500 schtinen aussor wahlten, 
 Kunstlichen, so wol Italiahnischen, Frantzosischen, Niederlandischen, 
 Engellandischen, als Teutschen Modern, Allen, Naher . . . hstichern, 
 &c, zu nutz. At the foot of last page recto is, "Franckfurt am Mayn, bey 
 Sigismund Latomus, 1605." Small obi. 100 plates and coloured title-page 
 with figures. 
 
 1028 — Latomus, S. — Schon newes Modelbuch, Von hundert vnd achtzig schonen 
 kunstreichen vnd gerechten Mode in, Teutsche vnd Welsche, welche auff 
 mancherley Art Konnen geneet werden, als mit Zopffnath, Creutz vnnd 
 Judenstich, auch auff Laden zu wireken : Dessgieichen von ausserlesenen 
 Zinnigen oder Spitzen. Frandfurt a M., 1605. 
 
 1029 — Latomus, S. — Schon newes Modelbuch Von 500 schonen ausserwehlten 
 Kunstlichen so wol Italianisch en Franzosischen, Niderlandischen, Engel- 
 landischen als Teutchen Modeln, Allen Naherin Seydenstrickern, etc., zu 
 nutz. Getruckt zu Franchfort am Meyn durch Sigismundum Latomum, 
 Im Jahr 1606. 8°. (Sheet K missing.) B. K. M. Bibliotheque Nation- 
 ale. Nuremberg, German Museum. 
 
 1030 — Latomus, S. — Schon newes Modelbuch, Von hundert vnd achtzig schonen 
 kunstreichen vnd gerechten Modeln, Teutsche vnd Welsche, welche auff 
 mancherley Art konnen geneet werden, als mit Zopffnath, Creutz vnnd 
 Judenstich, audi auff Laden zu wireken : Dessgieichen von ausserlesenen 
 Zinnigen oder Spitzen. Allen Seydenstickern, Modelwirckerin, Naderin, 
 vnd soldier Arbeitgefhssenen "Wei bsbildern sehr dienstlich, vnd zu andern 
 Mustern anleytlich vnd verstendig. Franckfurt am Mayn, in Verlegung 
 Sigismundi Latomi. M.DCVII. (1607.) Small 4to obi. 180 patterns. On 
 the title-page are two ladies, one working at a pillow, the other at a 
 frame; in the back-ground, other women employed at various works. 
 Another copy dated 1629. Stockholm Royal Library. 
 
 1031 — Latomus, Sigismund — Schon newes Modelbuch von 500 schonen aus ser 
 wechlten Kiinstlicher so wol Italianischen, Frantzosichen Nider landisch- 
 
314 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 en, Engellandischen, als Teutsclien inodein alien natherin seydenstickern 
 et zu nutz. Getrueht zu Francfort em Mayn durch Sigismundum Lato- 
 mus. Im Jahr 1608. Titre moitie rouge, moitie noir inscrit dans un enca- 
 drement orne de volutes et de fruits. Les mots Sclion newes Modelbuch, 
 sont en haut de l'encadrement au milieu dans un cartouche. En bas a 
 gauche une femme tenant un miroir. Au-dessus de sa tete une etoile lu- 
 mineuse avec le mot visus. A droit une femme tenant un oiseau sur le 
 poing,avec au-dessus de sa tete une toile d'araignee, et le mot Tactus. 
 En bas au milieu, dans un cartouche ovale, un homme a gauche assis de 
 profil a droit et travaillant a un metier. A droite deux femmes assises, 
 un metier sur leurs genoux. Au fond d'autres ouvrieres. Au premier 
 plan un chat. En tout 96 pages dont un titre et 95 planches de broderies, 
 imprimees au recto seulement. II y a une edition de 1605, au musee alle- 
 mand de Nuremberg et une de 1607, contenant 180 patrons a la Biblio- 
 theque Royale de Stockholm. Bibliographie de Mme. Bury-Palliser. Bib- 
 liotheque Nationale. 
 
 1032 — Latomus, Sigismund — Schon newes Modelbuch, Von Zwey hundert vnd 
 Achtzig . . . Modeln. Getruckt zu Franckfurt am Mayn bey Sigismundi 
 Latomi S. Erben. M.D.CXXIX. (1629.) 4°. Title and 58 cuts. B.K.M. 
 
 1033 — Lavington, Clara, at Leeds — Dessin pour eventail en dentelle. Art ap- 
 plique, Ire annee, Paris. 
 
 1034 — Lawrence, Ellen — Priscilla Bobbin Lace Book. The Priscilla Publishing 
 Co., Boston. 
 
 1035 — Lay, P. and Fischbach, F. — Siidslavische ornamente, gesammelt und 
 herausgegeben von P. L. 4to. Hanau am Main. n.d. S. K. M. 
 
 1036 — Le Breton, G. — Les Dentelles anciennes, etc. In 1 'Union centrale des 
 Arts decoratifs: Les Arts du Bois, etc.. pp. 199-219. (Illus.) 4to. Paris, 
 1883. S. K. M. 
 
 1037 — Le Breton, Gaston — La Tissuterie ancienne. Les Dentelles et les toiles 
 peintes et imprimees a 1 'Exposition de 1 'Union centrale. Gazette des Beaux- 
 Arts, 1883, Paris. 
 
 1038 — Lefebure, Auguste — L'Art dans le dessin et la fabrication de la Dentelle. 
 (Album de la Dentelle. Exposition Internationale de Liege, 1905. 
 Numero special de La Dentelle, 1905.) 
 
 1039 — Lefebure, A. — Dentelles et guipures anciennes et modernes. Paris, 1904. 
 B. M. 
 
 1040 — Lefebure, Ernest — Broderie et Dentelle. Paris, Picard et Kaan. 
 
 1041 — Lefebure, Ernest — Broderies et Dentelles. Paris, 1887, 1 vol., 8vo, paper 
 covers. B. M. 
 
 1042 — Lefebure, Ernest — Dentelles a P Exposition Universelle Internationale de 
 1900 a Paris. Paris, 1900. 
 
 1043 — Lefebure, Ernest — L'echarpe en blonde polychrome offerte a, l'imperatrice 
 de Russie. Revue des Arts decoratifs, 1900, Paris. 
 
 1044 — Lefebure, Ernest — Embroidery and Lace ; their Manufacture and History 
 from the remotest antiquity to the present day. Translated by Alan S. 
 Cole. London, H. Grevel & Co., 1888. B. M. 
 
BIBLIOGRAPHY 315 
 
 1045 — Lefebure, Ernest — Exposition de 1889, a Paris. Eapports du Jury In- 
 ternational. Glasse 34. Rapport de M. Ernest Lefebure. Paris, Impr. 
 nationale, 1891. 
 
 1046 — Lefebure, Ernest — Les Points de France. Translated by Margaret T. 
 Johnston. New York, 1912. 
 
 1047 — Lefebure Laboulaye (C. P.) — Dictionaire des Arts et Manufactures, etc. 
 (Broderie et Dentelle, Vol. I.) Plates, 3 vols. 8vo. Paris, 1852-61. 
 S. K. M. 
 
 1048 — Leftwich, Arabel — Point Lace. The Lady's Realm, January, 1897, Lon- 
 don. 
 
 1049— Leland, C. G.— Art Work Leaflets. No. 4. Art Work on Linen. 4to. 
 N. Y. 1881-82. S. K. M. 
 
 1050 — Lemaire, Gustave — Exposition de Liege en 1905. Comite Special de la 
 Dentelle. Discours prononce a la seance d 'installation, le 18 mai, 1904. 
 Brussels. 
 
 1051 — Lemaire, Henri — La Dentelle. Paris, 1902. About 1500 designs in all. 
 
 1052 — Lemaire, Henri — Dentelles inedites. Dessins nonveaux. (Paris, Rou- 
 veyre.) 
 
 1053 — Lemaire, Henri (dessinateur) — Documents et Modeles utilisables dans 
 toutes les industries d'Art. L 'Industrie dentelliere. Recueil de 1600 
 documents. Publies en 130 Planches. Reproductions de dentelle veritable 
 depuis le XVe siecle jusqu'a 1904, et Esquisses originates pour dentelle 
 mecanique. Paris, Ed. Rouveyre, n. d. 
 
 1054 — Lemaire, Henri — La fleur appliquee a l'industrie des Tulles etc. (Paris, 
 Rouveyre.) 
 
 1056 — Lemaire, Henri — Motifs varies pour Rideaux, Broderies, Dentelles, etc. 
 (Paris, Rouveyre.) 
 
 1057 — Leneveux, Mme. Louise — Histoire de la Dentelle. Journal des Demoi- 
 selles, 1846, Brussels. 
 
 1058 — Le Roy de Sainte-Croix, Dr. — Parement d'Autel ancien en Dentelle et 
 Broderie appartenant a Mrs. Hailstone, etc. Paris, Em. Leroux, 1874. 
 
 1059 — Lescure, A. — Collection A. Lescure — Gestickte Koragen mitte des 19. Jahr- 
 hunderts. Plauen, C. F. Schulz & Co., 1910. 
 
 1060 — Leslie, Marion — A Spinning and Weaving School. The Lady's Realm, 
 September, 1899, London. 
 
 1061 — Lessing (J.) — Muster altdeutscher Leinenstickerei. 4 parts. (44 plates 
 of designs for needlework, including alphabets.) 4to. Berlin, 1878-82. 
 S. K. M. 
 
 1062 — Lessing, Julius — Muster altdeutscher Leinenstickerei. Erste und zweite 
 Sammlung, Berlin, Fr. Lipperheide, 1897. 
 
 1063— Lesson in Darning Filet Net. Craftsman, V. 23, pp. 356-359, Dec, 1912. 
 
 1064 — Levetus, A. S. — Austrian Peasant Lace. International Studio, V. 27, pp. 
 209-218. 
 
 1065 — Levetus, A. S. — The Revival of Lace Making in Hungary. International 
 Studio, 1910, V. 42, pp. 30-35. 
 
 1066 — Levetus, A. S. — Some Modern Austrian Pillow and Point Lace. Interna- 
 tional Studio, V. 18, pp. 163-173. 
 
316 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 1067 — Levetus, A. S. — Some Modern Austrian Pillow and Point Lace. The 
 
 Studio, 1905, London. 
 1068 — Levetus, A. S. — The State Schools for Lace-Making in Austria. The 
 
 Studio, 1905, London. 
 1069 — Levetus, A. S. — State Schools of Lace-Making - in Austria. International 
 
 Studio, 1905, V. 27, pp. 19-30. 
 1070 — Librairie des Arts Decoratifs — Choix de Dentelles (Part of the Lyon's 
 
 Collection: points d'Alenc.on, de Valenciennes, de Malines, de Bruxelles, 
 
 etc.) 26 plates, Paris. 
 1071 — Lichtwark, Alfred — Heinrich Steyner's Modelbuch. Kunstgewerbeblatt 
 
 1887, Leipzig. 
 1072 — Liedts — Anciennes dentelles beiges formant la collection de Feu Madame 
 
 Augusta Baronne Liedts et donnee an Musee de Gruuthuus a, Bruges. 
 
 Publie en 1889. Un volume in folio de 185 superbes planches en photo- 
 
 typie, le portrait de la donatrice et les tables. Ouvrage capital sur les an- 
 ciennes dentelles beiges qui ne fut pas mis dans le commerce et qui ne fut 
 
 tire qu' a, 75 exemplaires. 
 1073 — Liedts, Baron — Catalogue du Musee Gruuthuuse a, Bruges. Bruges, 1880. 
 1074 — Liege, Exposition de — Les Dentelles de Belgique. Paris, 1905. B. M. 
 1075— Lindsey, B.— Irish Lace. 33 pp. Dublin, 1886. 8vo. B. M. 
 1076 — Lipperheide, Frieda — Hausliche Kunst. Berlin, Fr. Lipperheide, 1891- 
 
 93. 
 1077 — Lipperheide, Frieda — Muster altitalienischer Leinenstickerei. Erste und 
 
 zweite Sammlung. Berlin, Fr. Lipperheide, 1883-1892. 
 1078 — Lipperheide, F. — Old Italian Patterns for Linen Cross-stitch Work. 30 
 
 plates. Ber. Lipperheide, 1882. (Collection of Kursheedt Manufacturing 
 
 Co., N. T.) 
 1079 — Lipperheide, Frieda — Das Spitzenkloppeln. Berlin, Fr. Lipperheide, 
 
 1898. 
 1080 — 'List of Books on Lace and Needlework in the National Art Library, A — 
 
 (South Kensington Museum). London, Geo. E. Eyre & W. Spottiswoode, 
 
 1879. 
 1081 — List of Books and Pamphlets in the National Art Library, South Kensing- 
 ton Museum, A — Part II. Lace and Needlework. London, Eyre & Spot- 
 
 tiswoode, n.d. 
 1082 — Liste des Linges et des Ornaments precieux d'eglise, dont on peut faire 
 
 1 'acquisition, etc. (vente en Belgique a, la suite de la suppression des 
 
 couvents, 1775.) n.p. n.d. 
 1083— Little Lace Girl, The— By the author of "The Conceited Pig." London, 
 
 1848. In British Museum. 
 1084 — Livre de figures ponctuees contenant plusieurs dessins pour apprendre a 
 
 marquer le linge, a, faire de la broderie et de la tapisserie. In-4° de 40 ff. 
 
 Les rectos sont des planches gravees. Manuel du Libraire de Brunet. 
 
 Vente Lavalliere. Vente Mac-Carthy. 
 1085 — Lockwood, M. S. — Lace Dreams in Woven Thread. Cosmopolitan, V. 20, 
 
 p. 177. 
 
BIBLIOGRAPHY 317 
 
 1086 — Lockwood, M. S. and Glaiser, E. — Art Embroidery; a treatise on the 
 
 revived practice of Decorative Needlework, 19 col. plates. 4to. Lond., 
 
 1878. 
 1087 — Lodian, L. — Virgin Lace (lace-bark) of the Tropics. Scientific American, 
 
 V. 92, p. 304, April 29, 1905. 
 1088 — Loeben, Max Greorg von — Der Absatz der Plauener Spitzen nach den Ver- 
 
 einigten Staaten von Nord-Amerika. Dresden, V. V. Bokmert, 1905. 
 1089— London Exhibition, 1851; Eeports of the Juries, Class XIX, Tapestry, 
 
 Lace and Embroidery, etc. pp. 460-476. London, 1852. 
 1090— London Exhibition Eeports— French. Vol. V. Dentelles, Tulles et Bro- 
 
 deries, par F. Aubrey. 8 vols. 8vo. Paris, 1854-60. 
 1091— London Exhibition, 1862; Eeports of the Juries, Class XXIV. Tapestry, 
 
 Lace and Embroidery. London, 1863. 
 1092 — London Exhibition — France: Commission Superieure. Rapports. (Den- 
 telles et Broderies, p. 73.) 8vo. Paris, 1872. 
 1093— London Exhibition— Reports. Division II., Part IX. Needlework in 
 
 Schools. 4to. Lond., 1871. 
 1094 — London Exhibition— Reports. French. Dentelles, Broderie, Passemen- 
 
 tes et Tapisserie, Vol. V, p. 201. 7 vols. 8vo. Paris, 1862-64. 
 1095— London Exhibition, 1871— Reports. Fine Art Div'n. Part IV. Lace; 
 
 Embroidery, etc. 4to. Lond., 1871. 
 1096 — Loon, Ernest van — De Kantindustrie in Frankrijen Italie. 'S. Gfraven- 
 
 hage, 1907. 
 1097 — Lord, K. — Honiton and the Revival of Lace-making in Devon. Crafts- 
 man, V. 17, pp. 444-451, January, 1910. 
 1098 — Lord, Katherine — How to make Irish Laces at Home. Craftsman, 1910, 
 
 V. 18, pp. 492-496. 
 1099 — Lord, Katherine — A Lesson in Making Filet Lace. Craftsman, 1909, V. 
 
 17, pp. 208-214. November. 
 1100 — Lord, Katherine — Real Lace. The Delineator, June, 1917, New York. V. 
 
 90, pp. 32-3. 
 1101 — Loubier, Jean — Ein Venezianisches Modelbuch von Jahre, 1559. Z. und 
 
 sch. f. Biicherfreunde, V. 1, pp. 85-91. 
 1102 — Louvre, Musee des Arts Decoratif s. Les Dentelles anciennes du Musee. 
 
 1906. fol. 
 1103 — Lovett, Eva — An Italian Lace School in New York. New York, 1906. In- 
 ternational Studio, V. 29, pp. 12-19, July. 
 1104 — Lovett, Eva — The Lace Collection of the Metropolitan Museum of Art. 
 
 International Studio, 1906. V. 29, pp. 71-76, 80-85. Brush and Pencil. 
 
 V. 18, p. 10. 
 1105 — Lovett, Eva — Lace and Lace-Making at Pratt Institute. International 
 
 Studio, New York, 1907. V. 32, pp. 58-61. August. 
 1106 — Lowe, Gr. A. — Filet Lace-making at Home. Harper's Bazaar. V. 43, pp. 
 
 280-281, March, 1909. 
 1107 — Lowe, G-. A. — Simple Cut-work Designs. Harper's Bazaar. V. 43, pp. 
 
 507-509, May, 1909. 
 
:J18 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 1108 — Lowes, Mrs. Emily L. — Chats on Old Lace and Needlework. London, 
 T. F. Unwin, 190S. B. M. 
 
 1109 — Lucretia Roinana — Corona delle nobili et virtuose donne. Libro terzo. 
 Nel quale si dimostra iu varii dissegni tutte le sorti di Mostre di punti 
 tagliati e punti in aria, punti Fiamenghi, punti a Retcello, e d' ogn' altra 
 sorte, Cosi per Fregi, per merli e Eosette, die con Aco si viano lioggidi 
 per lutta l'Europa. E molte delle quali Mosti 4 e porsono Serviri ancora 
 per opera a Mozzete. Con le dichiarationi a le Mostre a' Lavori fatti da 
 Lugretia Romana. In Venetia, appresso Allessandro de Vecclii, 1620. 27 
 ff., obi. 8vo. V. & A. M. 
 
 1110 — Lucretia Romana — Corona delle Nobili et Virtuose Donne, Libro primo, 
 nel quale si dimostra in varij Dissegni tutte le sorti di Mostre di punti tag- 
 liati, punti in Aria, punti Fiamenghi, punti a reticello, e d' ogni altre sorte, 
 cosi per Freggi, per Merli, e Rosette, die con 1' Aco si usano per tutta 
 l'Europa. E Molte delle quali Mostre possono servire ancora per opere 
 a Mazzete. Con le dicbiarazioni a le Mostre, a Lavori fatti da Lugretia 
 Romana. In Venetia appresso Alessandro de Vecchi MDCXXV. Si ven- 
 dono in Venetia al Ponte de' Baretteri alia libreria delle tre Rose. Lady 
 Wilton in her Art of Needlework, quotes a copy dated 1620. Obi. 4to, ff. 
 27. Vienna, Imperial Library. 
 See "Corona" of Vecellio of 1844. 
 
 1111 — Lucretia Romana — Ornamento nobile per ogni gentil matrona. Dove si 
 contiene Bavari, Frisi, d'infinita bellezza, Lavori per linzuoli, Traverse e 
 Facuoli, Piena di Figure, Ninfe, satiri, Grotesche, Fontane, musiche, Cac- 
 cie di Cervi, ucelli et altri animali. Con ponti in aria fiamenghi et tagliati 
 con adornamenti bellissimi, da imparare per ogni virtuosa Donna che se 
 diletta di perf ettamente cucire. Opera per Pittori, scultori et Disegnatori 
 giovevoli alle lor profession lavori. Fatta da Lucretia Romana, il quinto 
 volume di suei lavori. Dedicato alle virtuose donne. In Venetia, ap- 
 presso Lessandro (sic) de Vecchi, MDCXX (1620). In-folio. 4°. Au- 
 dessous des mots, virtuose donne, une gravure sur bois, entouree des qua- 
 tre cotes par des bandes rectangulaires renfermant des petits motifs de 
 broderies. Dans l'interieur de ces bandes une femme vetue a l'antique, 
 debout sur une tortue, symbole de la bonne menagere et tenant a la main 
 une pelote de fil. A gauche deux femmes qui brodent, a droite un sculp- 
 teur qui termine une statue de Minerve. Rien au verso. Page suivante 
 au-dessus de la broderie que contient cette page, on lit dans une tablette 
 rectangulaire : Ornamento delle donne di, singolar bellezza, che in tutta 
 Europa, si osserva, di far in varie foggie. Con altri cinque libri fatti da 
 Lucretia Romana, Opera vtile a Pitori, scultori, & disegnatori, piena di 
 animal, bellissimi, vasi, fontane, caccie, musica & fiori di varie sorti, & di 
 diuerse compartimenti bellissimi. Le volume se compose de 20 feuillets 
 chiffres, les 10 premiers signes A. A10. Le premier feuillet comprend le 
 titre, orne d'une figure sur bois encadree de dentelles et les 19 autres con- 
 tiennent 20 beaux modeles de dentelles gravees sur bois sur fond noir et im- 
 primes sur le recto de chaque feuille dont le verso est blanc, sauf les deux 
 derniers qui occupent le recto et le verso du 20° feuillet. 20 cuts. Vente 
 
BIBLIOGRAPHY 319 
 
 Benedetto Maglione, Paris, 1894. The bavari are executed in three dif- 
 ferent stitches: punto d' aieri, p. flamingo, and p. tagliato. This author 
 and Vecellio give Flemish patterns (punti Fiamenghi). They consist 
 mostly of rosettes and stars (gotieo). Brussels, Bib. Eoyale. 
 1112 — Lucretia Eomana — Ornamenti nobili per ogni gentil matrona dove si con- 
 tiene vavari. Venice, 1876, reprinted by Ongania from the edition of 1620. 
 Metro. Mus. 
 
 M 
 
 1113— M., F.— See Metropolitan Museum. 
 
 1114— M., B.— see S., E. M. 
 
 1115 — Macrame Lace, a knotted Trimming, etc. By the Silk worm (the Silk- 
 worm Series). 8vo. Lond, (1875). S. K. M. 
 
 1116 — Macrame lace book, The : containing full and clear instructions for mak- 
 ing this handsome and useful trimming. London. (1877). 8°. 
 
 1117 — Madritum — Eeglamento para la escuela de encajes en Madrid. Madrid, 
 1784. 8°. 
 
 1118 — Mahaffy, Amada — Priscilla Drawn-AVork Book. 
 
 1119 — Making of Bobbin-lace, The — Illus. Decorative Furniture. New York, 
 1916. 4°. V. 30, No. 1, p. 47. 
 
 1120 — Making of Lace. Dublin University. V. 54, p. 678. 
 
 1121 — Making of Lace. Eclectic Review. V. 135, p. 37. 
 
 1122— Making of Lace. Galaxy. V. 6, p. 118. 
 
 1123— Making of Lace. Gocley. V. 51, pp. 330 and 365; 545 and 566; 337. 
 
 1124 — Making of Lace. Living Age, 112:541. 
 
 1125 — Making of Lace. Penny Magazine. V. 9, p. 186. 
 
 1126— Making of Lace. Practical Magazine. V. 4, p. 204. 
 
 1127 — Mali, Marie — La Dentelle americaine. La Reforme, April 4, 1899, Brus- 
 sels. 
 
 1128 — Mali, Marie — La Dentelle beige. L'Art moderne, Jan. 8, 1899, Brussels. 
 
 1129— Mali, Marie— La Dentelle beige. La Reforme, Dec. 22, 1898, Brussels. 
 
 1130 — Malines — Photographs of lace, etc. exhibited at l'Institut des Beaux Arts, 
 1872. S. K. M. 
 
 1131— Manley, L.— Lace Work. Harper's Bazaar. V. 42, pp. 1134-1135, Nov. 
 1908. 
 
 1132 — Manning, A. E. — Tempting Bits of Cross-stitch. Good Housekeeping. V. 
 53, pp. 279-281, August, 1911. 
 
 1133 — Manteuffel, E. von — Album altdeutscher Leinenstickerei. 50 plates. 8vo. 
 Harburg, a.d. Elbe, 1883. S. K. M. 
 
 1134 — Manteuffel, Erna von— Filet— Guipure— Album. Harburg a/Elbe, Q. El- 
 kan, n.d. 60 plates. 
 
 1135 — Marez, G~. des — Les Dentelles de N.D. des Sept. Douleurs a l'Egliee des 
 Eichesclaires a Bruxelles. Brussels. 
 
 1136 — Marguet, A. and Dauphinot, A. — Tresor de la Cathedrale de Eeims. 
 (Eccle. Lace and Embroidery.) 4to Paris. 1867. S. K. M. 
 
 1137 — Marie Antoinette Shawl. International Studio. V. 32, sup. 61-63, Ausj. 
 1907. 
 
320 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 1138 — -Manage, J. B. — Societe d 'agriculture, des sciences et des arts de l'arron- 
 dissement de Valenciennes. 
 
 1139 — Marriott, J. H. — Old Lace and How to Collect it. Connoisseur. V. 1, 
 pp. 34-38. 
 
 1140 — Marsland & Co. — New Eegistered Designs in Crochet. 1853. 
 
 1141 — Martin, J. — Schon Newes Modelbucli von allerley lustigen Modem naa- 
 zunehen zuwurcken vn zusticke gemacht im Jar. Oh: 15.99. Gedruckt zu 
 Strassburg, bey Jost Martin am Kommarckt. In verlegung Ludwig Kb- 
 nigs von Basel, Anno M.DCVI. 4°. 40 leaves. B. K. M. 
 
 1142 — Martin, J. Schon Newes Modelbuch, etc. — [Another edition of No. 1141.] 
 4°. 40 leaves. Sigs. A — K4. 1619. (Rosenthal Sale Catalogue.) 
 
 1143 — Marvin, Helen — The Beautiful Art of Sweden. The Lace Maker. Sara 
 Hadley, Editor. 34 West 22nd Street, New York. 
 
 1144 — Marvin, H. — Five Crocheted Caps. Womans Home Companion. V. 41, 
 p. 32, February, 1914. 
 
 1145 — Marvin, H. — For Baby in Warm Weather. Womans Home Companion. 
 V. 40, p. 32, July, 1913. 
 
 1146 — Marvin, H. — New Heavy-thread Tatting. The Woman's Home Com- 
 panion. V. 40, p. 29, May, 1913. 
 
 1147 — Marvin, H. — Old-fashioned Knitted Quilts. Womans Home Companion. 
 V. 41, p. 55, April, 1914. 
 
 1148 — Marvin, H. — Practical Crocheted Table-mats. Womans Home Compan- 
 ion. V. 40, p. 29, February, 1913. 
 
 1149 — Mason, Edith, at Taunton — Dentelle, Bolero, dentelle Honiton. Projet de 
 dentelles de Honiton. Art applique, Ire annee, Paris. 
 
 1150 — Mason, Edith — Honiton Lace. Art Workers' Quarterly. V. 2, No. 8, 
 pp. 144-146. 
 
 1151— Masters, E. T.— Drawn Linen Work. 117 pages. London, 1890. B. M. 
 
 1152 — Materiaux pour servir a l'histoire de la dentelle en Belgique. Bruxelles, 
 1908, etc. 4°. . . planches. 
 
 1153 — Matitsch, H. — The Matitsch Lace -Making Machine. Scientific American 
 Supplement. V. 59, pp. 24372-24373. 
 
 1154 — Maynard, A. — Christmas Gifts in Crochet, Ladies Home Journal. V. 
 20, p. 27, October, 1903. 
 
 1155 — Mayol, Jehan — Sensuyuent lis patrons de messire Antoine Belin, Beclus 
 de sainct Martial de Lyon. Item plusieurs autres beaulx Patrons nou- 
 veaulx, qui ont este inventez par Jehan Mayol Carme de Lyon. On les 
 vend a Lyon, chez le Prince, n.d. Small 8vo, 6 ff., 85 plates. Copy at 
 the Arsenal has 12 ff. The same device of the printer in the frontispiece 
 and at the end of the book. "Finis." One of the patterns represents St. 
 Margaret holding the cross to a dragon, but in these four books the designs 
 are copied from each other, and are many of them repetitions of Quinty. 
 Bib. Ste. Genevieve. — Bib. de 1 'Arsenal. 
 
 1156 — M., C. E. — Hints on ornamental needlework as applied to eccle. purposes. 
 Plates. 16mo. Lond. (1843.) S. K. M. 
 
 1157 — McCutcheon — Mexican Drawn-work. 1893. (Collection of Kursheedt 
 Manufacturing Co., N. Y.) 
 
BIBLIOGRAPHY 321 
 
 1158 — McGratli, A. K. — New Darned Work from Tuscany. Ladies Rome Jour- 
 nal. V. 28, p. 27, August, 1911. 
 
 1159 — Mee, C. — Crochet explained and illustrated. Pis. 12mo. Lond. 1846. 
 S. K. M. 
 
 1160 — Melani, A. — Pizzi nioderni (Riviera. Venice. Bologna). La Lettura, 
 March, 1904, Milan. 
 
 1161 — Melani, A. — Svagli artistici Femminili dove si parla di Bicami, di Pizzi, 
 etc. Milan, Ulrico Hoepli, 1891 and 1892, pp. 348. B. M. 
 
 1162 — Meredith, Mrs. — The Lacemakers. (Account of the effort to establish 
 lace-rnaking in Ireland.) Svo. Lond. 1865. S. K. M. 
 
 1163— Merli, A.— Origine delle Trine a filo di Eefa. Genoa, 1864. 
 
 METEOPOLITAN MUSEUM OF AET (BULLETINS) LACE NOTES 
 
 BY F. M. 
 
 1164— Vol. 1. 1905-6. March, Page 64, Met. Mus. Lace Collection. 
 
 1165 — May, Page 89, Met. Mus. Lace Collection. 
 
 1166 — June, Page 99, Met. Mus. Lace Collection. 
 
 1167— Dec, Page 166, Gift— Hamilton Gary. 
 
 1168— Vol. 2. 1907— June, Page 108, Gift— Mrs. A. S. Wheeler. Handkerchief. 
 
 1169— July, Page 128, Gift— Mrs. Wm. K. Vanderbilt, Eoyal chris- 
 
 tening Eobe. 
 
 1170 — August, Page 143, Mrs. Duval, Point de Sedan 
 1171_Vol. 3. 1908— August, Page 156, Met. Mus. Lace Collection . 
 
 1172 — October, Page 190, Gift — Mrs. Edward Luckemeyer. 
 
 1173— November, Page 200, Nuttall Collection. 
 1174— Vol. 4, 1909— May, Page 87, Blackborne Collection. 
 1175 — July, Page 133, Van Eensselaer Collection. 
 1176— Vol. 5. 1910- June, Page 151, Selignian Collection. 
 1177 — — Page 258, Harriman Collection. 
 
 1178— Vol. 6. 1911— October, Page 198, Loans, Blumenthal, Greenleaf. 
 
 1179— Vol. 8. 1913— May, Page 110, Bequest— Mrs. Harriette Goelet ; Gift— Mrs. 
 
 Eussell Sage. 
 1180— August, Page 182, Gift— Mrs. Edward S. Harkness, Miss 
 
 'Tuckerman, Mrs. E. W. Moore. 
 1181— Vol. 9. 1914— July, Page 165, Gift— Mrs. Wm. Bliss, Mrs. Fletcher, Mr. 
 
 Thatcher Adams. 
 1182 — December, Page 261, Flemish Laces. 
 
 1183— Vol. 11. 1916— March, Page 73, Gift— Mrs. Henry S. Bedmond. 
 1184— June, Page 13$ Needle and Bobbin Club. 
 
 1185— Vol. 12. 1917— January, Page 3, Gifts— Mrs. Wm. P. Douglass, Point de 
 
 France. 
 
 1186— February, Page 40, Gifts— Mrs. E. T. Auchmuty. 
 
 1187— April,Page 96, French and Flemish Laces. 
 
 1188— May, Page 105, Gift— Mrs. Joseph Pulitzer, Flemish Lace. 
 
 1189 — August, Page 169, Hearn Bequest of Laces. 
 
 1190 — December, Page 246, Eearrangement of Laces. 
 
322 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 1191 — Vol. 13. 1918 — April, Page 95, An Important Loan of Lace. 
 
 1191a-Vol. 14. 1919— June, Page 130— A Summer Exhibition of Tapestry and 
 Lace. 
 
 1192 — Metropolitan Museum of Art — Photographs of Lace. 
 
 1193 — Metropolitan Museum of Art, The Textile Collection and its Use. Sup- 
 plement to the Bulletin of the Metropolitan Museum of Art. May, 1915. 
 
 1194 — Meuer, M. — Altar schmucb. 8vo. Leipzig, 1867: 
 
 1195 — Meyer, D. — Zierat Buch, von allerhandt Kutschnur, Schleyer deckel, Kra- 
 gen, Leibgiirtel, Passimenten, Handschug, Wehrgeheng und Schubenehen, 
 Messerscheyden, Secklen, Friichten, Blumen und ands, raehr. Allen Per- 
 lenbefftern, Nederin, Lehrinngen und andern welche lust zu dieser Kunst 
 tragen, sehr niitzlich. Inn cliese Format zusammen ordiniert und gsetzt 
 durch Daniel Meyer Mahlern. lster Theil. 1618. Franckfuhrt am Mayn, 
 bey Eberhardt Kusern zu fmden. 11 ff., 9 plates. In-8vo. 
 
 1196 — Meyer, F. J. — Flower and Fruit Basket in Cross-stitch. Ladies Home 
 Journal. V. 31, p. 32, August, 1914. 
 
 1197 — Mezzara, Paul, at Paris — Dentelles. Art Applique, Ire annee, Paris. 
 
 1198 — Michel, W. — Neue Schlesische Spitzen. Dehorative Kunst, Jahrg. 15, pp. 
 377-380. Munich, 1912. 
 
 1199 — Mickel, A. — Simple Problems in Applied Design for Art Needlework. 
 Manual Training. V. 16, pp. 164-168, November, 1914. 
 
 1200 — Migem, Em. van — Exposition Universelle d'Anvers, 1894. Classe 36. 
 Dentelles, etc. Rapport. Brussels, A. Lesigne, 1896. 
 
 1201 — Migeon, Gaston — Les Arts du Tissu. Paris, Eenouard, 1909. 
 
 1202 — Mignerac, Mathias — Lace Patterns. Paris, 1605. 
 
 1203 — Mignerak, Matthias — La pratique de l'aigville indvstrievse du tres ex- 
 cellent Milour Matthias Mignerak. Anglois, ouvrier fort expert en toute 
 sorte de lingerie. Ou sont tracez diuers compartimens de carrez tous dif- 
 ferans en grandeur et invention, auec les plus exquises bordures, desseins 
 d'ordonances qui se soient veuz iusques a ce iourd'hui tant poetiques, his- 
 toriques, qu'autres ouurages de poinct de reborcl. Ensemble les nouuelles 
 inuencions franchises pour ce qui est de divotion et contemplation. A la 
 tres Chrestienne Eoine de France et de Navarre. Auec priuilege du Eoy, 
 1605. A Paris Per Jean Le Clerc rue St. Jean de Latran a la 
 Salamandre Roialle. Sur le titre un Frontispice. Deux femmes Diane et 
 Pallas tenant des metiers dans leurs mains. En haut les armes de France 
 et de Navarre, soutenues par de petits amours. En bas des amours qui 
 filent et qui devident. Entre les branches d'une paire de ciseaux, il y a 
 un coussin a, dentelle avec un carre de lacis en voie d 'execution et dont le 
 modele est une marguerite. On lit en haut: Petrus Firens fecit. I. Le 
 Clerc excudit. Dedicace a la Peine Marie de Medicis. Discours en vers 
 sur le lacis. En somme 4 ff. preliminaires et 72 planches de broderies, 
 dentelles . . . The patterns consist of the Queen's arms and cypher, 4 Scrip- 
 ture, subjects: Adam and Eve, the annunciation, Ecce Homo, and Magdal- 
 en; 4 Elements, 4 Seasons; Roman Charity, Lucretia, Venus, and "Pluye 
 d'or ;" 6 Arbes a fruit, 6 pots a fleurs, 30 Carres grands, moyens et petits; 
 6 Bordures, and, what is quite a novelty, 6 "Passements faits au fuseau" 
 
BIBLIOGRAPHY 323 
 
 the first mention of pillow lace in any of the French pattern-books. Vente 
 Libri, Vente Yemenitz, 1859, Vente Pichon, 1869. Bib. Baron J. Pichon, 
 Cat. d'Estrees, Bib. Nat. 
 
 1204 — Miles, Eoger — La Dentelle. Transformation progressive des 15me et 16me 
 siecles. 500 reproductions documentaires (Allemagne, France, Italie, 
 Aubes, Berthes, bordures, carres, Collerettes, Feuillages, Fraises, Gor- 
 gerines. Manchettes, Mouchoirs, Pertuis, etc. Un volume in-4° illustre 
 de 80 planches. 
 
 1205 — Milroy, M. E. W. — Home Lace Making. London, Scott, Greenwood & Co., 
 1906. B. M. 
 
 1206 — Mincoff, Elisabeth, and Marriage, M. S. — Pillow Lace — a practical Hand- 
 book. London, J. Murray, 1907. B. M. 
 
 1207 — Minerva — Zierlich-webende Minerva oder neu-erfundenes Kunst, und Bild- 
 Buch der Weber, und Zeichner- Arbeit, etc. (Johann Christ. Weigel). n.d. 
 
 1208 — Ministere de 1 'Industrie et du Travail — Eecensement general des indus- 
 tries et metiers. Brussels, 1896. 
 
 1209 — Minkus, Fritz — Oesterreichische Spitzen. Vienna, F. Wolfrum & Co. 
 1907. 
 
 1210 — Minne, Jenny — Les Dentelles de Belgique a 1 'Exposition de Liege (Album 
 de la Dentelle. Liege, 1905). Numero special de La Dentelle, 1905, 
 Paris. 
 
 1211 — Minne, Jenny — Le Palais de la Femme. (Album de la Dentelle. Liege, 
 1905). Numero special de La Dentelle, Paris, 1905. 
 
 1212 — Minne-Dansaert, Mile. Jenny — Rapport sur les dentelles et les broderies, 
 addresse a la Commission de 1 'Exposition de Chicago. Brussels, 1894. 
 
 1213 — Mitford, E. B. — Lace and Lace Workers of Flanders, etc. Sunday Maga- 
 zine. V. 34, p. 927. 
 
 1214 — Model-Biichli. — 1529 Ein new getruckt model Buchli auff auss nehen vnnd 
 bortten wircken ynn der laden vnnd langenn gestell. Ganntz gerecht nach 
 abteilung der feden tzal. (Rosenthal Sale Catalogue.) Said by Rosen- 
 thal to be the only known copy, and hitherto undescribed. He reproduces 
 the title. Designs copied later by Claude Nourry (Lyons, c. 1530) and 
 Basset (Frankfurt, 1569). See Jorg Gastel, of which this is a later edi- 
 tion with a new titlepage. 
 
 1215— Model-Buchli— Vol. 1, Title 32 pages and fly : 32 woodcuts, obi. 4to. No. 41 
 in E. F. Strange bib. ; No. 293 in Fairfax Murray sale. Metro. Mus. 
 
 1216— Model-Buchli— Vol. 2, Ein New Furm Buchlein. n. d. Title and 32 pages, 45 
 cuts, 4to. No. 25 in E. F. Strange bib. ; in Rosenthal sale cat. : No. 292 in 
 Fairfax Murray sale. Metro. Mus. 
 
 1217— Modelbiich ; Zweiter. Theil : Franckfurt am Mayn, 1569. 4to, ff . 44. Nos. 
 36 and 37 are cited by the Marquis d'Adda. 
 
 1218 — Model-Buch, Neu — Neu Model-Buch, darinnen allerley gettung schoner 
 Modeln der neuen, etc. Probably a reprint. 27 plates. Lindau am 
 Bodensee, n.d. 
 
 1219 — Modelbuch welscher ober vnd niderlaen discher arbait. Gedruckt zu 
 Francfort. Petit in-4°. Sans date (vers 1550). Titre et 39 planches. 
 
324 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 La signature D est double, mais les modeles ue sont pas les rnenies. Cata- 
 logue Tross, 1867. 
 
 1220 — Modelbiich Welscher, Ober uud Niderlandiseher Arbait. Getruckt zii 
 Franckfort. No date, but probably at least as early as 1530. 4to. 20 
 leaves. 
 
 1221 — Modenwelt, Die — Muster altdeutscher Leinenstickerei. Dritte Sammlung, 
 herausgegebeu von der Redaction der Modenwelt: und Vierte Sammluug 
 herausgegeben von der Eedaction der Modenwelt. Berlin, Fr. Lipper- 
 heide, 1893. 
 
 1222 — Moderne Compositionen fiir Spitzen. Plauen, Chr. Stoll, n.d. 
 
 1223 — Modernes Kunstgewerbe. Spitzen. Illustrirte Zeitung, June 6, 1901, 
 Leipzig. 
 
 1224: — Modernes Kunstgewerbe. Neue Spitzen. Illustrirte Zeitung , May 29, 
 1902, Leipzig. 
 
 1225 — Modern Lace Making, 1901. (Collection of Kursheedt Manufacturing Go., 
 N. Y.) 
 
 1226— Modern Lace-making. Delineator. V. 63, pp. 122-123: 300-301: 1058- 
 1059. V. 64, pp. 260-261, January, February, July, August, 1904. 
 
 1227 — Modern Lace-making. Delineator. V. 65, p. 115, January, 1905. 
 
 1228— Molded Lace. Independent. V. 71, pp. 217-218, July 27, 1911. 
 
 1229 — Moleon, V. de — Notice sur la Dentelle. Dictionnaire de la Conversation, 
 au mot "Dentelle." 
 
 1230 — Monsarrat, J. G. — Oriental Darned Work. Ladies Home Journal. V. 23, 
 p. 66, March, 1906. 
 
 1231 — Monte, II — II Monte, opera nova di recami, intitolata il monte. Nella 
 quale si ritroua varie et diversi sorti di mostre di punti, in aere a fogliami. 
 Dove le belle et virtuose donne potrano fare ogni sorte cli lauori accomo- 
 date alia uera forma, misura, et grandezza che debbono essere ne mai piu 
 par la dietro da alcuno vedute. Opera non men bella cbe vtile et neces- 
 saria. Petit in-4°. Au-dessous de ce titre, une grande marque d'im- 
 primeur representant un oiseau de proie, les serres sur une biche. Tout 
 autour des oiseaux voltigeants. Cette composition est renfermee dans un 
 cartouche, forme de cuirs enroules et de mascarons et entouree d'une ban- 
 derole sur laquelle on lit : Virtuta parta, non sibi tantum. Au-dessus : In 
 Venetia. En Resume : un titre et 15 feuillets dont 29 de planches de bro- 
 cleries. Bibliotheque de 1 'Arsenal. 
 
 1232 — Monte, II — II monte, opera nova di recami dove trovansi varie mostre di 
 punto in aero. Venezio 1557. 16 feuillets et 30 planches. Cicognara. 
 Bibliotheque du Vatican. 
 
 1233 — Monte — II Monte. Opera Nova Di Eecami, Intitvlata II Monte Nellaquale 
 Si ritroua, varie & diuerse sorti di mostre, di punto in aiere, a fogliami, 
 Doue le belle, & uirtuose donne potramo fare ogni sorte di Lauoro, accom- 
 modate alia uera forma misura, & grandezza, che debbono essere, ne mai 
 piu per l'adietro da alcuno uedute. Opera non men bella che vtile e neces- 
 saria. Nihil difficile uolenti. In Venetia, L'Anno MDLVII. 4°. Title 
 and 39 cuts. B. K. M. 
 
BIBLIOGRAPHY 325 
 
 1234— Monte— II Monte, etc.— [Another edition of No. 1233.] Opera Noua Di 
 Eecami intitolata . . . Done le belle, & uirtuose Donne potramo fare ogni 
 sorti di lauoro . . . (etc.). In Venetia. n.d. B. K. M. 
 
 1235— Moody, A. Penderel— Devon Pillow Lace. London, Cassell & Co., 1908. 
 B. M. 
 
 1236 — Moody, A. Penderel — Lace Making and Collecting. Ill pp. Cassell, 1909. 
 B. M. 
 
 1237— Moore, N. H.— Early Laces. St. Nicholas. V 31, pp. 290-295, Feb. 1904. 
 
 1238— Moore, N. H.— Lace Book. Dial. V. 37, p. 427, Dec. 16, 1904. 
 
 1239— Moore, M. Hudson— The Lace Book. London, Chapman & Hall, 1905. 
 B. M. * 
 —Later Edition— Hodder & Stoughton, 1908. B. M. 
 
 1240— Moore, Mrs. N. H.— Lace-maker. St. Nicholas. V. 34, pp. 816-817, July, 
 1907. 
 
 1241 — Morasso, Mario — LArte dei Merletti a Venezia, "Emporium, 1902, Ber- 
 gamo. 
 
 1242 — Morasso, Mario — I Merletti Veneziana nella storia e nella vita. Regina, 
 1904, No. 3, Naples. 
 
 1243 — Morisset, Blanche and Henriette, at Paris — Chemin de table. Art ap- 
 plique, 2e annee, Paris. 
 
 1244 — Morris, E. — Cut-work Table Linen. Harper's Bazaar. V. 40, pp. 654- 
 656, March, 1909. 
 
 1245 — Morton, R. — How to Take Care of Lace Curtains. Country Life. V. 15, 
 p. 16, November, 1908. 
 
 1246 — Mosse, Gebr. — Art, Linen and Lace. 
 
 1247 — Most Beautiful Laces in America : pictures. Ladies Home Journal. V. 
 18, p. 201, September, 1901. 
 
 1248 — Mouchoir en guipure. Arte Italiana, 1901, No. 10, Milan. 
 
 1249 — Mount, M. W. — Oriental Designs in Table-linen. Woman's Home Com- 
 panion. V. 31, p. 33, January, 1904. 
 
 1250 — M., B. — Niiw Modelbiich, allerley gattungen Dantelschniir, so diser zyt in 
 hoch Tiitschlanden geng unci briicliig sind, zu underricht jren Leertoch- 
 teren unnd alien anderein schurwirckeren zu Zurych und wo die sind, yetz 
 niiwlich ziibereit, und erstmals in truch verfergket durch R. M. No place 
 or date, but as appears, both from the title and preface, to be printed at 
 Zurich, by Christopher Froschoviu'. The date probably from 1530 to 1540. 
 4to. 24 leaves. On the title a woodcut of two women working at lace pil- 
 lows. Vienna Library, Royal Library, Munich. 
 
 1251 — M., R. — Froschower, (Pub.) — Bobbin Lace Patterns, by R. M. Zurich, 
 1560. 
 
 1252 — Muentz, Eugene — Tapisseries, Broderies et Dentelles. Paris, Librairie 
 de l'Art, 1890. 43 pages. In British Museum. 
 
 1253 — Miiller, C. — New Modelbuch Von vilen artigen vnd Kunstreichen Modem 
 ziigericht, Allen Najerin, Seidenstricken, vnd andern so sich kunstlichs 
 nayens, wirgkens oder stickens, auck frembder Ziig oder Moritzgen ge- 
 brauchen, sehr dienstlich, audi vormals dergleichen nie in Truck ausgangen. 
 
326 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 M.D.LXXII. [On last page a printer's device, a naked man holding an 
 
 arrow] Getruckt zu Strassburg am Kornmarckt bey Christian Muller 
 
 [Cypher C K and a knot.] 4°. Cuts. B. K. M. 
 1254 — Muller, Mile. M. — Col; eventail. L'Art decoratif, 5e annee, Paris. 
 
 Munster Reproduction — See No. 810. 
 
 1255 — Murphy, B. — Search for Old Lace in Venice. Catholic World. V 22, p. 
 
 852. 
 1256 — Murphy, S. J. — Report on the lace industry in France and Belgium, 
 
 1887. Fcp. fol. S. K. M. 
 
 1257— Murphy, S. J.— Extracts from the (ahove) report. 8vo. Waterford, 1887. 
 
 S. K. M. 
 1258 — Musee de Cluny — Catalogue du Musee de Cluny, a Paris. 
 1259 — Musterbuch fur Stickerei. 36 plates. Plauen, C. Stoll. (Collection of 
 
 Kursheedt Manufacturing Co., N. Y.) 
 1260 — Musterenwiirfe fur Stickereien, Spitzen und Gardinen, preisgekront, etc. 
 
 Zweite, von 19 auf 30 Tafeln vermehrte Auflage. Plauen, Chr. Stoll, n.d. 
 1261— Myra— Crochet Edgings. London, 1888, etc. 8°. B. M. 
 1262 — Myra — Harlequin Crochet. Designs for needlework. 64 pp. London, 
 
 1888. 8°. B. M. 
 
 1263 — Myra's Knitting-books. London, 1889. In British Museum. 
 
 1264 — Myra & Son — Antique and Modern Point Lace. (The Silkworm Series.) 
 London, (1888). 12°. 
 
 1265 — Myra & Son — Devonshire or Honiton lace. (The Silkworm Series.) Lon- 
 don (1888). 12°. 
 
 N 
 
 1266 — Naber, J. W. A. — Dentelles anciennes et modernes au Musee des Arts a, 
 
 Haarlem. Haarlem, 1903. In British Museum. 
 1267 — Naber, Johanna W. A. — Oude en nieuwe Kantwerken. Haarlem, H. Klein- 
 
 mann & Co., 1903. 
 1268— Naguet, F.— Broderie et Dentelles. L'Art, 1889. V. 46, pp. 3-6. 
 1269 — Nakladem Mestskeho priimysloveho musea v Hradci Krai. (Dentelles 
 
 d'apres d'anciens modeles a Vamberg. Publiees par le Musee Industriel 
 
 de Hradec Kralove). 
 1270 — Nanduti or Spider-web Lace of Paraguay. Bulletin International Union 
 
 of American Republics. V. 29, pp. 570-576, September, 1909. 
 1271 — National Art Library, South Kensington Museum. A list of books and 
 
 pamphlets illustrating part 2 lace and needle work. 86 pages. Eyre & 
 
 Spottiswoode, London, 1888. 
 1272 — Natural History of Dress, The — VII, Lace. The Leisure Hour, June, 
 
 1870, London. 
 1273 — Needle and Brush — Butterick Publishing Co. (Collection of Kursheedt 
 
 Manufacturing Co., N. Y.) 
 1274— Needlecraft— Nos. 13, 15, 19, 21, 23, 27, 41, 43, 49, 51, 64. Manchester 
 
 School of Embroidery. (Collection of Kursheedt Mfg. Co., N. Y.) 
 
BIBLIOGRAPHY 327 
 
 1275 — Neh-und Striekbuch (neues) fiir das schone Geschlecht, etc. (27 plates 
 of designs for Samplers and other needlework.) Obi. f ol. Niirnbergund 
 Leipzig, 1874. S. K. M. 
 
 1276 — Neil, M. H. — Washing and Ironing Lace. Delineator. V. 75, p. 326, Apr. 
 1910. 
 
 1277— Netto, J. F.— Wasch-Bleich-Platt-und Naeh-Buch, zum Selbstunter- 
 richt fur Damen. (Plates). Obi. fol. Leipzig, 1796. S. K. M. 
 
 1278 — Netto, J. F. — Zeichen-Mahler-und Stickerbnch zur selbstbelehrung fiir 
 Damen welche sich mit diesen Kiinsten beschastigen von J. F. Netto Leip- 
 sick, 1795. In-f olio oblong. 24 planches, avec nombi~eux modeles de bro- 
 deries a executer sur soie. Chaque planche est en double, en noir et en 
 couleur. 
 
 1279 — Netto, J. F. and F. L. Lehmann — Neuestes Toilettengeschenk der Strick- 
 Stick-, Nak-und anderen weib lichen Arbeiten auf das Jahr 1811 und 
 1812, mit Aufsatzen fiber Anwend, d. kokeren Kunst und iiber Gegenstaude 
 des weibl. Berufs und Verwaltung d. Hauswesens. Mits 18 schwarzen und 
 kolor. Tafeln. Dasselbe auf das Jahr 1814 u. 1815. Mit 32 kolor. u. 
 schwarzen Kupf. Leipzig. 
 
 1280 — Newbery, F. H. — Work of Ann Macbeth. International Studio, V. 18, pp. 
 40-49, November, 1902. 
 
 1281 — New Cross-stitch in Italian Design. Ladies Home Journal, V. 31, p. 38, 
 November, 1914. 
 
 1282 — New Modelbuch von allerhandt Art nehens und Stickens. Frankfurt a/M. 
 Niclas Bassee, 1571. ; i| 
 
 1283— New Things in Crochet. Ladies' Home Journal, V. 29, p. 30, July, 1912. 
 
 1284 — New Things in Fancy Crochet. Ladies' Home Journal, V. 28, p. 29, Aug. 
 1911. 
 
 1285 — New Furmbuhclin, Ein — Sans lieu, ni date. In-4° gothique. p n c. 4 
 bandes d 'arabesques. Au verso 4 bandes d 'arabesques noires sur un fond 
 blanc quadrille tres fin. B. Sur un fond quadrille on lit en gothique les 
 mots : so ir um mir bleybet. Au verso : un mein wort um eudz. p n c. Bley- 
 ben Werdet ir bittu. Au verso, Was ir wolt und es. p n c. Wirt eudz mi 
 derfart. Au verso, Denn feid lass idz. p n e. Eiihz meinen fridgeb. Au 
 verso, ich, eudz midzt gebidh eudz. C. Wie die welt gibt. Au verso, 
 Tholus aber. p n c. Lettres. Verso lettres. p n c. Lettres. Verso let- 
 tres. p n c. Lettres majuscules. Verso Hatt und wer midz sihrt der. D. 
 Einceaux. Verso rinceaux. pnc. 3 bandes de rinceaux en hauteur, 
 arabesques. Verso 4 bandes d 'arabesques, pnc. 4 bandes d 'arabesques 
 en hauteur, chasse au cerf. Verso 3 bandes de Groteschi. pnc. 4 bandes 
 de Groteschi. Verso bandes d 'arabesques. E. Groteschi. Arabesques. 
 Verso, idem. Volume extremement rare. Non cite. Paraissant avoir ete 
 publie vers 1530. Le titre est imprime en grosses lettres de forme. Les 
 modeles de dentelles sont au nombre de 40, tous a executer au lacis, graves 
 assez grossierement ces modeles sont remarquables par leur tournure arch- 
 a'ique. Ce sont surtout des bandes et ornements avec rinceaux et grotes- 
 ques inspires de la sculpture. On y trouve aussi un alphabet et des priere 
 n'occupant pas moins de 16 pages. Sur une des planches, une priere cette 
 
328 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 inscription: VAHMIS. Vente Destailleurs, 1895. See No. 1221. Biblio- 
 
 theque Nationale. 
 1286— Nieder, Marie— Sonnen-Spitzen— Teneriffa Arbeit. 1906. 
 1287 — Niemann, Ernst — Die Spitzenkloppelei im Erzgebirg. 5 dessins de G. 
 
 Mandlick. Daheim, Dec. 21, 1901, Leipzig. 
 1288 — Normal programm der K. K. Fachscbulen fiir Spitzenkloppelei. Zentral- 
 
 blatt fiir das gewerbl. Vnterrichtsivesen in Osterreich. Vienna, Alf. Hold- 
 ers, 1903. 
 1289 — North Ayrshire Lace Cnrtain Co. — Novelties for 1901 in lace curtains. 
 
 Darvel (Nottingham pr.) (1901) la. 8o. 
 1290— Nottingham Lace, W. S. Elliott's Designs. Artist, V. 26, p. 99, New York. 
 1291— Nottingham Lace Edgings— The Artist, March, 1900, London. 
 1292 — Nottingham Lace: Its History and Manufacture. Blackwood's Edinburgh 
 
 Magazine, October, 1882, Edinburgh or London. 
 1293 — Nottingham Lace-making. Scientific American Supplement, V. 64, p. 387, 
 
 December 21, 1907. 
 1294 — Nottingham — Patterns of Nottingham Lace, referred to in the Mar. Be- 
 
 port of the Nottingham School of Design, 1850. (73 patterns in a folio 
 
 cover.) S. K. M. 
 
 1295 — Nottingham Statistics of the Bobbin Net Trade, etc. Fol. (Nottingham) 
 1833-6. S. K. M. 
 
 1296 — Nourry, Claude, diet le Prince — La Fleur des patrons de lingerie, a, deux 
 endroitz, a, point croise, a point couche et a point picque en fil d'or, fil 
 d' arget et fil de soye ou aultre en quelque ouuraige que ce soit en com- 
 prenant Part de broderie et tissuterie. On les vend a, Lyon en la maison 
 de Claude Nourry diet le Prince. In-4°. Ce titre est circonscrit par une 
 composition, ou l'on voit en haut un entablement demi-circulaire posant 
 sur deux colonnes surmontees chacune d'une petite figure de femme brodant 
 a 1 'aiguille. Au milieu, un homme travaillant a, un petit metier qu'il tient 
 des deux mains, appuye sur son genou. En bas de la composition et au- 
 dessous du titre, deux femmes travaillant, celle de droite a, un metier de 
 basse lisse, celle de gauche a un petit metier pose devant elle sur une 
 table. Elle est assise sur une chaise de trois quart a, droite. Dans les 
 medallions ronds qu'on voit au milieu des colonnes, a gauche un lion 
 surmonte de trois fleur s de lys, a droite un cceur surmonte d'une couronne. 
 Cette premier page est cotee A. Bien au verso. Dans certains exem- 
 plaires, ce verso est quadrille. Au verso d'un page, on voit un cceur sur- 
 monte d'une couronne dans un ecusson au-dessous duquel est un lion 
 couche et rugissant. Cette marque d'imprimeur est dans un encadrement 
 rectangulaire sur la bordure duquel ou lit: Cor contritum et humiliatum 
 devs non despiciet, Psalmo 50. E n resume, 12 pages dont 21 planches de 
 broderies. Dans certains exempl aires la marque d'imprimeur est modi- 
 fied. Le cceur surmonte d'une conronne est place au centre d'une 
 couronne d'epines, autour de laquelle s'enroule une banderolle sur la- 
 quelle on lit : Cor contritum et humiliatum deus non despiciet. Le lion 
 est ou-dessous, comme ci-dessus. Le tout est entoure d'un trait carre 
 
BIBLIOGRAPHY 329 
 
 rectangulaire et d 'un filet. Aux quatre coins interieurs de cet encadrement 
 line fleur de lys. Vente Destailleurs, 1895. 
 
 1297 — Nourry, C. — La fleur des patrons de lingerie, a denx endroitz, a point 
 croise, a point couche, et a point picque, en fil dor, fil darget, & fil de soye, 
 ou aultre en quelqne ounrage que ce soit, en comprenant lart de broderie 
 et tissuterie. On les vends a Lyo en la maiso de Claude nourry, diet Le 
 Prince. (Cocheris reproduction.) 
 
 1298 — Nourry, Claude, die le Prince — Livre nouueau diet Patrons de lingerie; 
 e'est assavoir a deux endroitz, a, point croise, point couche, et point picque, 
 en fil d'or, d'argent, de soye, on anltre, en quelque ouurage que ce soit: en 
 comprenant Part de broderie et tissuterie. On les vend a Lyon en la mai- 
 son de Claude Nourry die le Prince. Sans date. In-4° gothique. Ce titre 
 est dans un encadrement forme par deux colonnes, surmontees d'un fron- 
 ton demicirculaire et decore en haut, a droite et a gauche, par des 
 rinceaux de feuilliges, sur le fut de ces colonnes et attaches par des 
 rubans deux ecussons. Dans celui de gauche on voit un lion, et au-dessus 
 trois fleurs de lys. Dans celui de droite un coeur surmonte d'une couronne. 
 En bas au-dessous du titre, deux f emmes travaillant. Celle de droite de 
 profil a gauche a, un metier a, ruban pose devant elle, sur une table. L'- 
 autre est a moitie cachee par un metier auquel elle travaille. Page non 
 cotee. Au verso de cette page dans un ecusson forme par des cuirs en- 
 roules, un cceur surmonte d'une couronne, le tout dans une couronne d'- 
 epines autour de laquelle, s'enroule une banderole, sur laquelle on lit: Cor 
 contritum, et humiliatum deus non despiciet. Ps. 50. Au-dessous un lion 
 couche. Cette marque d'irnprimeur est entouree d'un trait carre et d'un 
 filet. En resume 24 pages dont 45 planches de broderies. Vente Yemen- 
 itz, Vente Destailleurs. 
 
 1299 — Nourry, Claude — See Saincte Lucie. 
 
 1300 — Nouveaux Portraits de Point coupe et Dentelles en petite, Moyenne et 
 grande Forme. Nouvellement in vente et mis en lumiere. Montbeliard, 
 1598. 
 
 1301 — Nnlle, Mevrouw, L. W. — Handleiding tot het vervaardigen van duchess- 
 kant; leerbock der nederlandische Kantwerkschool, met inleiding van A. 
 E. von Saher. Haag, 1907. 
 
 o 
 
 O'Brien, see Vere, No. 1855. 
 
 1302— Old Lace. Once a Week, V. 12, p. 288. 
 
 1303 — Old Lace — (Lace Flounce, Blonde, worn by the Empress Eugenie). The 
 Connoisseur, March, 1902, London. 
 
 1304 — Old Laces. 35 photographs. P. Calavas. (Collection of Kursheedt Man- 
 ufacturing Co., N. Y.) 
 
 1305 — Old Venetian Point Lace. Magazine of Art, V. 7, p. 66. 
 
 1306— Old "World Laces. Harper's Bazaar, V. 33, pp. 1081-1084, Aug. 25, 1900. 
 
 Ongania Reproductions— See Nos. 627, 628, 629, 812, 1112, 1321, 1357, 
 
 1369, 1370, 1371, 1372, 1402, 1412, 1627, 1629, 1631, 1735, 1812, 1816, 1823, 
 1827, 1832, 1839, 1954, 1957. 
 
330 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 1308 — Oriental Lace — exhibition at the National Arts Club, N. Y. Times, Mar. 
 30, 10:5. 
 
 1309 — Origine de la dentelle de Venise et l'ecole de Burano. Venice, 1897. 
 
 1310 — Ornamentation for Textiles. Neue farbige Vorlagen fur die Textil-Indus- 
 trie. Plauen, n.d. One vol., oblong folio, original boards. 24 plates 
 with 2, 3 or 4 designs in colors. 
 
 1311 — Ornaniento delle belle et virtuose donne. Opera nova nella qualle trover- 
 rai varie sorti di frisi, con li quali si potra ornat ciascuna donna et ogni 
 letti con ponti tagliati, ponti gropposi, et ogni altra sorte di ponti per fare 
 quelle belle opere che si appartengono alle virtuose et lodevoli Franciulle. 
 Libro primo. In-4°. Sans lieu, ni date. Ce titre est inscrit dans un car- 
 touche blanc, dont les bords sont ornementes de cuirs enroules. En bas une 
 femme de la haute societe, assise a droite de profil a, gauche, un ouvrage 
 sur ses genoux, rnontre du doigt, la main etendue, une broderie posee sur 
 les genoux d'une ouvriere assise pres d'elle sur une chaise. A gauche de la 
 composition une troisieme femme regarde egalement cet ouvrage. En bas 
 au premier plan a leurs pieds, une corbeille. Eien au verso. 12 feuillets 
 formant un cahier de 12 pages non cotees. Au verso de la derniere page 
 on lit: Alle virtuose et nobili donne. Au-dessous une petite tete d 'enfant 
 ailee et dix lignes de texte finissant par ces deux vers : Quelle che questo 
 libro compraranno, Mai facie di cuser si trouaranno. En resume, 12 pages 
 dont 21 planches de broderies. Catalogue Destailleurs. On a scutcheon. 
 "Libro Primo." Lib. Victoria, and Albert Museum. See Pagan. 
 
 1312 — Omamento delle belle et virtuose donne, etc. — 32 leaves, with woodcut de- 
 signs on both sides. Venetian, 16th cent. Sm. 4to. n.p., n.d. S. K. M. 
 
 1313 — Ornamento delle belle donne et virtuose: Opere in cui troverai varie 
 sorti di frisi con li quali si potra ornar ciascun donna. Ven. 1544. Quoted 
 in Cat. Cappi, of Bologna, 1829. 
 
 1314 — Ornamento Nobule per Ogni Gentil Matrona, dove si Contiene Bavari, 
 frisi d'lnfmita Bellezza Lauroi, per Linzuoli Traverse, e Pacuoli, etc., 
 Opera per Pittori, Scultori et Dis egnatore gioueuole, etc. 19 plates of 
 designs for Lace, etc. Printed in facsimile of the original of 1620. Folio, 
 Venice, 1876. 
 
 1315 — Ornements remarquables de l'Exposition industrielle des ouvrages de 
 femmes en 1881, publies par le Ministere d Agriculture, etc. Obi. fol. 
 Budapest, 1882. S. K. M. 
 
 1316 — Ostaus, Vean — Le Tresor des patrons, contenant diverses sortes de brod- 
 eries et lingeries pour coudre avec grande facilite et pour ouvrer en di- 
 verses sortes et picquer avec l'esguille, pulveriser, par dessus et faire ou- 
 vrages de toutes sortes de points par Jean Ostaus, Lyons, Ben, Bigaud, 
 
 1580. In-4°. 
 
 1317 — Ostaus, Jean — Le Tresor des patrons, contenant diverses sortes de bro- 
 deries et lingeries pour coudre avec grande facilite et pour ouvrer en di- 
 verses sortes de piquer avec l'esguille, pulveriser par dessus et faire ou- 
 vrages de toutes sortes de points &ct par Jean Ostaus, Lyon, Ben. Bigaud. 
 
 1581, in 4-to. Quoted in Art. "Tricot et Travaux des Dames." 
 
BIBLIOGRAPHY 331 
 
 1318 — Ostaus, Jean — Le Tresor des patrons, contenant diverses sortes de bro- 
 deries et lingeries pour coudre avec grande facilite et pour ouvrer en di- 
 verses sortes et picquer avec l'esguille, pulveriser par dessus, et faire 
 ouvrages de toutes sortes de points par Jean Ostaus. Lyon, Ben, Eigaud, 
 1585. In-4°. Mentionne dans la Bibliotkeque Franchise de Du Verdier. 
 Edition de Bigoley de Juvigny. Tome 2, page 485, art. Jean Ostaus. 
 
 1319 — Ostaus, Giovanni. — La vera perfettione del disegno di uarie sorti di ricami, 
 & di cucire ogni Sorta di punti a f ogliami, puti tagliati punti a fill & rimes- 
 si, puti incroaciati, Puti a struora & ogn' altra arte, cue dia opera a di- 
 segni. Fatto nouamete per Giouanni Ostaus. Vittoria. [Mark, with motto 
 Ego sum via et Veritas.] Con gratia & priuilegio dell' Illustriss. Senato 
 Venetiano per Anni X. In Venetia, appresso Giouanni Ostaus. 1564. 
 [Dedication to Signora Lucretia Contarino.] 8°. Cuts. B. K. M. 
 
 1320 — Ostaus, Giovanni — La vera perfettione del disegno, di varie sorti 
 di ricami, et di cucire ogni sorte di punti a f ogliami, punti tagliati. 
 punti a fili, et rimessi, punti nicrociati, punti a stuora, et ogn'altra arte, 
 eke dia opera a disegni. Fatto Nuovamente per Giovanni Ostaus. Vit- 
 toria. Con gratia et privilegio dell' Illustriss. Senato Venetiano per anni 
 X. In Venetia appresso Giovanni Ostaus, 1567. In 4° oblong. Sur 
 ce titre un medaillon ovale, contenant une femme debout de trois quart a 
 droite, la tete presque de face, tenant d'une main sa jupe, de 1 'autre un 
 cceur enflamme. Au fond la mer sillonnee de vaisseaux. A gaucke un 
 tertre avec un tronc d'arbre. On lit autour de cette figure diverses in- 
 scriptions et sur un livre ouvert en bas a gaucke a, ses pieds : Dum tempus 
 abemus oferemur Bonum. Sur la bordure du medaillon : Ego sum via et 
 Veritas. Dedicace: Alia clarissima signora Lvcretia Contarini. Une let- 
 tre i gravee sur bois. Verso, une gravure sur bois representant Lucrece 
 Bomaine entouree de ses femmes. A droite un guerrier dans une porte. 
 Signee en bas a gaucke dans l'interieur du dessin : Jose Sal. 1557. ( Josepk 
 Salviati, plus connu sous le nom de Porta Garfagnino). Deux sonnets en 
 regard l'un de l'autre. Celui de gaucke, Alia Clairissima signora Lucretia 
 Priuli. Celui de droite : Sonetto alle saggie et Virtuose donne. Verso, 
 preface aux lecteurs : Alii saggi et giuditiosi lettori. La derniere page non 
 cotee mais numerotee LXXIX a au verso un fleuron qui est le meme, que 
 celui que porte le titre avec en kaut les mots A B C D E Tutti sono qua- 
 derni. Et on bas : Stampato in Venetia per Giovanni Ostaus, 
 MDLXVII (1567). 73 planckes de broderies. Cet ouvrage est certaine- 
 nient un des plus beaux et des plus interessants de cette serie. On y trouve 
 des modeles pour tous les genres de travaux a 1 'aiguille. On remarque 
 parmi les planckes des sujets mytkologiques, des grotesques, des rinceaux 
 d'ornements, des f rises, des scenes de ckasse, des paysages, le tout d'un 
 gout exquis. Trente-deux planckes seulement ont trait aux broderies. 
 Vente Benedetto Maglione, Paris 1894, Vente Pirovano, Rome, 1901. Vente 
 Destailleurs, 1895. 
 
 1321 — Ostaus, Gio. — Le Vera Perfettione del disegno di varie sorti di Recami et 
 di cucire, punti a fogliami, punti tagliati, punti a fili, et rimessi punti 
 in crusiati, punti a stuora, et ogni altra arte eke dia opera a disegni. 35 
 
332 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 designs for lace, etc. Facsimile reprint of the original edition of Venice, 
 1567. Small oblong 4to. Venice, 1878. Ongania. Metro. Mus. S. K. M. 
 
 1322— Ostaus, Gio.— [Another edition.] 1584. See Valvassore. See 1320. 
 
 1323 — Ostans, Gio. — [Another edition.] La vera perfettione del disegno di varie 
 sorte di ricami & di cucire ogni sorta di pnnti a fogliami . . . E di 
 nnouo agginntoni varie sorti di merli, e mostre che al presente sono in vso 
 & in practica. InVenetia, Appresso Francesco "di Franceschi Senese all' 
 insegna della Pace. 1591. Registro ABODE. Tutti sono quaderni. In 
 Venetia, MDXC. The edition of 1564 is the earliest hitherto described. 
 See 1320. V. & A. M. 
 
 1324 — Ostans, Giovanni — La vera perfezione del Disegno per punti e ricami. Re- 
 produced under direction of Elisa Ricci. Bergamo, 1909. 
 
 1325 — Osterreichisches Museum (K. K.) Genahte Spitzen. Bordure XVI. 
 Jahrhundert. Blaetter fiir Kunstgewerbe, 1875, Vienna. 
 
 1326 — Osterreichisches Museum (K. K.) Original Stickmuster der Renaissance, 
 etc. 2d edition, Vienna, R. v. Waldheim, 1880. 
 
 1327 — Osterreichisches Museum (K. K.) Tauftuch, XVII. Jahrhundert aufge- 
 nommen von Marianne Fiirst (filet brode). Blaetter fiir Kunstgewerbe, 
 1876, Vienna. 
 
 1328 — Osterreichisches Museum (K. K.) Venetianische Musterblatter aus dem 
 XVI. Jahrhundert fiir Passementerie- Arbeiten und verwandte Techniken 
 (Le Pompe, Venice, 1562, Lib. II). Vienna. 
 
 1329 — Oswald — Manufacture Royale de Dentelles de Bruxelles. 
 
 1330 — Ouvrieres en dentelles dans l'Erzgebirge, en Saxe. Magasin Pittoresque, 
 1848. 
 
 1331 — Overloop, E. van — Au Pays de la Dentelle (Belgique). (Album de la 
 Dentelle. Exposition, Liege, 1905). Numero special de La Dentelle, Paris, 
 1905. 
 
 1332 — Overloop, Eugene van — Catalogue des Ouvrages se rapportant a l'lndus- 
 trie de la Dentelle. Brussels, Hayez, 1906. 
 
 1333 — Overloop, Eugene van — Dentelles anciennes des Musees Royaux des Arts 
 Decoratifs et Industriels a Bruxelles. Brussels, Grau Oest & Cie., 1911. 
 100 plates, folio. 
 
 1334 — Overloop, Eugene van — Dentelles de la Collection Alfred Lescure. Brus- 
 sels, Grau Oest & Cie, 1914. 
 
 1335 — Overloop, E. van — Materioux pour servir a l'histoire de la dentelle en Bel- 
 gique, 1908. 
 
 1336 — Overloop, E. van — Musees Royaux du Cinquantenaire. Industries d'Art 
 Brussels, 1906. 
 
 1337 — Overloop, E. van — Nos Collections de Tissus, de Broderies et de Dentelles. 
 Bull. Musees Royaux des Arts decoratifs et industriels. October, 1903, 
 Brussels. 
 
 1338 — Overloop, E. van — Nos Dentelles. Bull, des Musees Royaux des Arts 
 decoratifs et industriels, April, 1904, Brussels. 
 
 1339— Owen, Mrs. H— Ilium. Book of Needlework ; comprising Knitting, Net- 
 ting,Crochet, and Embroidery. Plates. 8vo. London, 1847. S. K. M. 
 
BIBLIOGRAPHY 333 
 
 1340— P., A. E.— Allerhand Model zuni Stricken und Nahen. 1 Tlieil. 24 plates 
 signed A. E. P. (also Sampler Alphabet.) Obi. sm. Fol. n.p. 1748. S. 
 KM. 
 
 1341 — Pagan, Matheo — Giardinetto nuovo di pnnti tagliati et gropposi per exer- 
 citio et ornamento delle Donne. Alle belle et vertudiose (sic) donne 
 Matheo Pagan. Venise, 1543. Un volume in-4°. 24 feuillets sur bois, 
 modeles de broderies. Collection du baron Davillier. 
 
 1342 — Pagan, M. — Giardinetto novo di pvnti tagliati Et gropposi per exercitio et 
 ornamento delle donne. Au-dessous de ce titre un medaillon ovale, avec 
 une bordure dans laquelle on lit: Senza di me l'huom fassi a dio riballo. 
 Dans l'interieur du medaillon une figure de femme representant la Foi. 
 Elle est agenouillee de profil a droite, tenant des deux mains devant elle un 
 calice surmonte d'une hostie. Pres d'elle la croix, dans le fond un soleil 
 rayonnant, a gauche un rideau. An verso de ce titre, une dedicace : Alia 
 Signora Lucretia Eomana Matio Pagan salute. Puis commencent les 
 Broderies. Au verso un sonnet, conmiengant par les mots : Alle belle et 
 virtvose donne Mattio Pagan. Au- dessous du sonnet: Stampato in Ve- 
 negia per Matthio Pagan in Frezaria, in le case noue il qual tien per in- 
 segna la Fede MDXLIIII (1544). En resume, 24 feuillets, dont un titre et 
 44 dessins de broderies. In-4°. Bibliotheque Nationale. 
 
 1343 — Pagan, Mathio — Giardinetto novo di punti tagliati et gropposi per exer- 
 citio et ornamento delle Donne. A la fin : Stampato in Venetia per Mathio 
 Pagan,1548. 
 
 1344 — Pagan, M. — Giardineto novo di Punti tagliati et gropposi, per esurcitio et 
 ornamento delle donne. At the end, Venetia, Mathio Pagan in Frezzaria, 
 in le case nove (tien per insegna della Fede) MDLI. Dedication, Alia sig- 
 nora Lucretia, Eomana Mathio Pagan, salute. Florence. M. Bigazzi. 
 
 1345 — Pagan, Mathio — Giardinetto novo di punti tagliati et gropposi per exer- 
 citio et ornamento delle donne. A la fin : Stampato in Venegia pel' 
 Matthio Pagan, in Frezaria in le case nove il qual tien per insegna la Fede, 
 MDLIV. 
 
 1346 — Pagan, Matthio — Giardinetto novo, etc. (Same as 1345). 1556. Vente 
 Bancel. 
 
 1347 — Pagan, Matthio — Giardinetto novo di Punti Tagliati Et gropposi per exer- 
 citio et ornamento delle donne. A la fin : Stampato in Venegia per Mat- 
 thio Pagan, in Frezaria, in le case noue il qual tien per insegna la Fede, 
 MDLVII (1557). Une edition de 1558. Vente Piot, 1891. 
 
 1348 — Pagan, Matthio — La gloria e l'honore de Ponti Tagliati e ponti in aere, 
 opera noua, Et con somma diligentia posta in luce. In Venetia per Mathio 
 Pagano in Frezzaria, all' insegna Delia Fede, MDLIIII (1554). Petit in- 
 4°. Ce titre est inscrit au haut de la page dans un cartouche entoure de 
 cuirs et suspendu par un anneau a. un fronton architectonique, supporte 
 par deux colonnes. En bas, entre ces colonnes, un paysage dans lequel on 
 voit trois femmes. Celle du milieu debout entre ses deux compagnes tient 
 a la main une bande de broderie. Les deux autres assises s 'occupent a des 
 
334 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 travaux d 'aiguille. Gravure sur bois. Au verso, dedicace: All. illvstriss: 
 et excellen. signora, la signora Vittoria Francese Duchessa d'Vrbino, dig- 
 nissima Matthio Pagano Sal. Au bas de cette dedicace la date : Di Vene- 
 tia, alii XXV, di maggio, MDLIIII (1554). Page non cotee. Au verso de 
 cette feuille la marque de l'imprimerie de Matbio Pagan. C'est un medail- 
 lon ovale dans la bordure duquel on lit: Senza di me l'Huom Fassi a dio 
 Eibello. Dans 1' interieur du medaillon une figitre de fern me representant 
 laFoi. Elle est agenouillee de profil a droite, tenant des deux mains devant 
 elle, un calice surmonte d'une bostie. Pres d'elle la croix. Dans le fond 
 un soleil rayonnant. A gaucbe une draperie. Magnifique gravure sur bois, 
 du style le plus pur. En resume 16 feuillets, dont 29 plancbes de broderies. 
 Dans un des catalogues de la librairie Eabir. on lit. Exemplaire precieux 
 dans la couverture originale de publication. Le premier plat de la cou- 
 verture est orne d'un grand bois representant l'interieur d'un magasin de 
 dentelles a Venise au xvi° siecle. Le deuxieme plat porte un autre bois 
 representant le pouvoir de 1 'amour. Ces deux bois accompagnes de legendes 
 et d 'inscriptions xylograpbiques, sont compris dans de larges bordures. 
 Vente Piot, 1891. 
 
 1349 — Pagan, Mattbio — La gloria et l'bonore di Ponti Tagliati a fogliami, delli 
 quali tu potraif are ponti in aere ponti in stiora a fogliami : opera nova 
 et con somma diligentia posta in luce. In Venetia per Matbio Pagan, in 
 Frezzaria all' insegno della Fede, 1556. In-4°. La presente edition ne dif- 
 fere de la precedente que par l'enonce du titre et le millesime. Vente Ban- 
 eel, 1882. 
 
 1350 — Pagan, M. — La Gloria et 1' bonore de ponti tagliati et ponti in aere Ve- 
 nezia per Matbio Pagan in Frezzeria al segno della Fede. 1558. 16 plates. 
 Dedicated to Vittoria Farnese, Ducbess of Urbino. Cat. Cicognara. 
 
 1351 — Pagan, M. — La Gloria et L'Honore de Ponti Tagliati, e Ponti in Aere, 
 Opera noua & con somma diligentia posta in luce. In Venetia per Matbio 
 Pagan in Frezaria al segno della Fede. M. D. LVIII. Fo. Title, dedi- 
 cation, 16 ff. (Quaritch reproduction.) Said to be from tbe only copy 
 known (1884). 
 
 1352 — Pagan, M. — L'bonesto Essempio del vertuoso desiderio cbe banno le 
 donne di nobile ingegno circa lo imparare i punti tagliati e fogliami. In 
 Venetia per Matbio Pagan in Frezaria al segno della Fede, M.D.L. In 
 tbe V. and A. Museum is a copy dated 1550. Quoted by Cav. Merli. See 
 Mrs. Bury Palliser's bibliograpby. 
 
 1353 — Pagan, Mattbio — L'bonesto essempio del vertuoso desiderio cbe banno 
 le donne di nobile ingegno. Punto tagliato a fogliami. Venice, 1878. Be- 
 print of edition of 1550. 31 plates of patterns. Metro. Mus. 
 
 '1354 — Pagan, Mattbio — L'bonesto essempio del uertuoso desiderio cbe banno 
 le donne di nobil' ingegno circa lo imparare i punti tagliati a fogliami. 
 In Venetia per Matthio Pagan in Frezzaria al segno della Fede, MDLIII 
 (1553). Au-dessous de ce titre une marque d'imprimeur rectangulaire, 
 dont l'interieur est a quatre lobes et sur la bordure ovale interieure de 
 laquelle on lit: Senza di me l'Huom Fassi a Dio ribello. Dans le milieu 
 des quatre lobes, un paysage ou l'on voit une femme se dirigeant vers 1^ 
 
BIBLIOGRAPHY 335 
 
 droite la tete de trois quart a gauche. D 'une main, elle tient un caliee 
 surmonte d'une hostie, de 1 'autre une croix sur la branche horizontale de 
 laquelle on lit le mot: Fede. Au verso d'une page, dans un medallion 
 ovale, la Foi de profil a droite a genoux, tenant des deux mains un caliee, 
 surmonte d'une hostie. La sainte croix est par terre a cote d'elle. Sur 
 la bordure du medallion on lit: Senza di me l'Huom Fassi a Dio ribello. 
 En tout 16 feuillets dont 24 planches de broderies. Bibliotheque Na- 
 tionale. 
 
 1355 — Pagan, Matthio — L'honesto essempio del uertuose desiderio, che hanno 
 le donne di nobil' ingegno circa Io imparare i punti tagliati a fogliami. 
 In Venetia per Matthio Pagan in Frezaria, al segno della Fede, 1556. 
 In-4°. Meme titre que dans 1 'edition precedente, n° 110. Eien au verso. 
 Ensuite 29 planches disposees sur 14 feuillets et le recto du dernier feuil- 
 let. Elles representent de magnifiques modeles tous differents de ceux 
 qu'on voit dans l'edition ci-dessus. Le verso du dernier feuillet contient 
 la figure qui se trouve sur le titre de l'edition de 1553 citee ci-dessus n° 
 110 et qui etait la marque typographique de l'editeur Pagan. 
 
 1356 — Pagan, Matthio — Opera nova di varie disegni, utili a ciascheduna persona 
 laquale si diletti de cusire, recchamare e designare intitulata: Specchio 
 di vertu. In Venetia, per Matthio Pagano in Frezzaria, all insegna della 
 Fede, 1554. In-4°. Get ouvrage curieux doit etre une edition tres aug- 
 mented de "II specchio di pensieri" publie a Venise en 1540. II est orne 
 d'un titre grave, sur lequel on remarque quatre figures sur bois. La pre- 
 miere represente un gen til horn me faisant l'achat d'une broderie; la sec- 
 onde une ouvriere travaillant le tissu a broder sur un metier de basse lisse ; 
 la troisieme des ouvrieres occupees a broder au crochet, la quatrieme 
 une marchande en inspection chez ses ouvrieres. Ces figures nous fournis- 
 sent des renseignements curieux sur l'industrie de la broderie a cette 
 epoque. Le volume contient en outre 23 ff. imprimes ou se trouvent des 
 modeles de dessins de guipures et de points coupes du plus beau style 
 Italien. Cette edition comprend done en tout 24 ff. Elle est de la plus 
 grande rarete, car ni Brunet, ni ses continuateurs n'en font mention. 
 Vente Bancel, 1882. 
 
 1357 — Pagan, M. — Opera nova composta per D. da S. detto il Franciosino; 
 dove si insegna a tutte le nobili et leggiadre giovanette di lavorare di puti : 
 Cusire; Eecamare, et far tutte qlle belle opere, etc. Venegia, M. Pagan, 
 1546. Facsimile reprint, Ongania, Venezia, 1879. S. K. M. Metro. Mus. 
 
 1358 — Pagan, Matthio — Ornamento delle belle & virtuose Donne, opera nvova 
 nella quale trouerai varie sorti di frisi, con li quali si potra ornar cias- 
 cuna donna & ogni letto con ponti tagliati, ponti gropposi, & ogni altra 
 sorte di ponti, per far tutte quelle bella opera che si appartengono alle 
 virtuose & Lodenoli Fanciulle. In Venetia, MDXLIIIL Petit in-4°. Ce 
 titre est inscrit dans un motif grave sur bois, et le meme qui est decrit ci- 
 dessus. Verso, une dedicace: Alle virtuosiss. Sorella et nobiliss. 
 Gentildonne di Candia. Petronilla et Catarina d'armer, Mattio Pagano 
 Salute. Madonne, Mattio Pagan. Au-dessous de cette piece de vers: 
 Stampato in Venetia per Mattio Pagan. In Frezeria in le casa nuova, il 
 
336 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 qual tien per insegna, La Fede. En tout 24 feuillets, contenant un titre 
 et quarante-ciuq planches de broderies imprimees au recto et au verso. Au 
 verso d'une page, une piece de vers commencant par les mots: Alle Belle 
 et Virtuose. Bibliotheque Natiouale. 
 
 1359 — Pagan, Mathio — Ornamento delle belle et virtuose donne, Opera nvova 
 nella quale trouerai varie sorte di frisi con liquali si potra ornar ciascuna 
 donna et ogni lettra con ponti tagliati, ponti gropposi, e ogn'altra sorte 
 diponti per far tutte le belle ope re eke si appertengono alle virtuose et 
 Lodeuoli Fauciulle. Petit in-4°. In Venetia per Mathio Pagano, in Frez- 
 zaria, all', insegna della Fede, 1554. Titre, preface, 45 planches et une 
 pour la souscription. Catalogue Tross, 1867. 
 
 1360 — Pagan, Mathio — II specchio di peusiere delle belle et Virtudiose donne, 
 dove si Vede varie sorti di ponti, cioe Ponti tagliati, ponti groposi, ponti 
 in Rede, a ponti in stiora, MDXLI1II (1544). Stanrpato in Venetia per 
 Mathio Pagan. In Frazaria in le case noue qual tien per insegna: la 
 Fede. (Je titre est inscrit sur une draperie hottante, fixee en haut par 
 trois clous, et encadree dans deux bandes rectangulaires horizontales et 
 deux bandes rectangulaires verticales. Dans la bande horizontale supe- 
 rieure on remarque au milieu, deux mains se tenant serrees l'une l'autre et 
 surmontees du mot Fede. Dans la bande horizontale du bas on voit une 
 femme assise de trois quart a droite, accoudee sur un vase et tenant d'une 
 main un calice surmonte d'une hostie, de l'autre une croix appuyee sur 
 son epaule. Les deux bandes verticles renferment des modeles de bro- 
 deries au point compte. Page non cotee, verso. A droite de ce verso un 
 vase. A gauche une femme posant une couronne sur la tete d'un jeune 
 homme agenouille, les mains jointes. Page non cotee, verso, deux mains 
 jointes l'une dans l'autre dans le bas de la broderie. Page non cotee. 
 Une sirene au bas d'une broderie. Verso, au bas des broderies a gauche 
 une femme, a droite un page, tous les deux tenant une fleur gigantesque. 
 Page non cotee, verso. Une femme personnifiant la foi, agenouillee de 
 profil a gauche au pied d'une croix. Elle a une main posee sur sa poitrine, 
 de l'autre elle eleve en Pair, au-dessus de sa tete un calice. Dans le fond 
 et se detachant sur le ciel, le mot Fede. En resume 16 feuillets, dont un 
 titre, et 29 planches de broderies. Bibliotheque Naticnale. 
 
 1361 — Pagan, Matthio — II specchio di pensieri delle belle et virtudiose donne 
 dove si vede varie sorti di ponti, cive Ponti tagliati, punti gropposi, ponti 
 in Rede, et ponti in stiora, MDXLVIII (1548). Stampato in Venetia per 
 Mathio Pagan, in Frezzaria, in le case nuove qual tien per insegna, la 
 Fede. In-4°. 16 feuillets. Mentionne dans la bibliographie du marquis 
 d'Adda. Rome, Bib. Prince Massimo. 
 
 1362 — Pagan, M. — II, Spechio di Pensieri della Belle et Virtudiose Donne, dove 
 si vede varie sorti de Ponte, cioe Ponti Taliati, Ponti Groposi, Ponti in 
 Rede e Ponti in Stiora. Venet. M. Pagan. 1550. 4°. Cuts. 16 leaves. 
 Vente Pirovano, Rome, 1901. 
 
 1363 — Paganino, Alex. — Burato, con nova maestria gratiose donne. 
 Novo artificio vi apprto. Accio eke voi piu 
 Accommodatamente possiati mostrare quanto valglia. 
 
BIBLIOGRAPHY 337 
 
 Lo ingegno vostro ne lavori, e ornainenti de camise et 
 Aletri rechami questo sie eke da questo artificio 
 Potreti sempre cavare con la peima tute quante 
 Quelle cose come figure fiori ; et altri omamati clie 
 Voi voretti cavare. Avertedovi che quelle tele piu 
 Large serve a cauare ponti scritti. Opera certamente 
 Non esser stata piu in luce et che a voi sera di 
 Grandissima facilitta a i vostri lauori piu clie alcuna 
 Altra che per sin aqui sia fatta come voi medesimi 
 Vedretti operandola. 
 Petit in-4°. Au-dessous de ce titre une gravure sur bois d'un faire assez 
 grossier entouree d'un trait car re et d'un filet. On voit quatre femmes 
 dans une chambre, occupees a cliff erents travaux. Au fond, une d'elles est 
 derriere un metier a haute lisse, une autre a gauche au premier plan tra- 
 vaille a un petit metier a rubans place devant elle sur une table. Une troi- 
 sieme a clroite au premier plan, de profit a gauche, est en train de coudre 
 une etoffe posee sur ses genoux. 33 planches, quelques unes portant seu- 
 lement un quadrillage destine a etre rempli, d'autres avec quelques figures 
 tracees. P. Alex. Pag. Benacenses. F. Bena. V. V. (Toscolano. Alex. 
 Paganini, vers 1525.) Vente Benedetto Maglione, Paris. 1894. Vente 
 Pirovano, Borne, 1901. Foulc Sale, Paris, June, 1914, No. 457. 
 1364 — Paganino, Alex. — Burato . . . questi sono quattro fogii, con mostre, di 
 tela chiara, a quadretti, per fare opera di punto in varie larghezze ove 
 marcata graclamente 1 'opera piu o meno fitta ... P. Alex. Pag. 
 (Paganinus.) Benaccensis F. Bena. V. V. Sans date. Catalogue Cicog- 
 nara. 
 1364a — Paganino, Alex. — II Burato — Libro cli ricarni. Reproduced under direc- 
 tion of Elisa Bicci. Bergamo. 
 1365 — Paganino, Allesandro — Libro primo di rechami p. elquale se impara in 
 diuersi modi l'ordine e il modo de recamare cosa non mai piu fatta ne 
 stata mostrata, el qual modo se insegna al lettore soltando la carta. Opera 
 noua. Ce titre est circonscrit par une composition ou Ton voit en haut 
 un entablement demi-circulaire posant sur deux colonnes, surmontees cha- 
 cune d'une petite figure de femme, brodant a 1 'aiguille. Au milieu un 
 homme travaillant a un petit metier qu'il tient des deux mains appuye 
 sur son genou. En bas de la composition et au-dessous clu titre, deux fem- 
 mes travaillant l'une a droite a. un metier de basse lisse, 1 'autre a, gauche 
 a un petit metier a rubans pose devant elle sur une table. Elle est assise 
 sur une chaise de trois quart a droite. Dans les medaillons ronds qu'on 
 voit au milieu des colonnes, deux tetes a, la Bomaine se faisant face. 
 Dedicace: Allessandro Paganino al lettore. Suite de la dedicace. 
 Verso, fin de la dedicace. Dans le bas de ce verso, quatre femmes, 
 chacune dans un compartiment forme par une arcade et travaillant a 
 des travaux d 'aiguille. En haut a gauche, e'est une femme assise a un 
 metier, une chandelle a ses pieds. A droite une femme travaillant a un 
 metier, pose debout devant elle. En bas a gauche une femme poncant 
 un moclele. A droite une femme deoalquant un dessin. Page non cotee. 
 
338 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 — Au verso on lit: P. Alex. Pag. Benacenses. F. Bena, V.V. Vente Piro- 
 vano, Roma, 1901, catalogue n° 384. Bibliotheque Nationale. 
 
 1366 — See 1365 — Libro seeondo di rechaini p. el quale se impara in diuersi modi 
 ordine e il modo de recamare cosa non mai piu fatta ne satta mostrata, 
 el qual modo se insegna al lettore voltando la carta. Opera Noua. Meme 
 titre, meme gravure Frontispice que ci-dessus. v Verso, meme dedicace. 
 Aij, verso meme gravure sur bois. Page non cotee. Au verso de cette 
 derniere page on lit: P. Alex. Pag. Benacensis. F. Bena, V. V. 
 
 1367 — See 1365 — Libro terzo de rechami ... & Nous savons que cette troi- 
 sieme partie existe, mais ne l'ayant jamais vue nous ne l'indiquons ici 
 que pour memoire. 
 
 1368 — See 1365 — Libro quarto de recbami, p. elquale se impara in diversi modi 
 1 'ordine e il modo de recamare cosa non mai piu fatta ne stata mostrata, 
 el qual modo se insegna al lettore vol tando la carta. Opera noua. In-4°. 
 Meme description que le n° ci-dessus decrit. Un cabier de 20 feuillets 
 avec signature. AAAAI, AAAAX, meme titre, meme lettre de Paganino, 
 et meme figure au verso du 2° feuillet que pour le Livre Primo. Suivent 
 imprimes au recto des feuillets, 18 superbes modeles de travaux a l'ai- 
 guille graves en bois d'un genre absolument different de ceux qui se trou- 
 vent dans le Libro Primo. A la fin : P. Alex. Pag. Benacenses. F. Bena. 
 V. V. s. d. Vente Pirovano, Eoma. 1901. Foulc Sale, June, 1914. Paris, 
 No. 457. 
 
 1369 — Paganino, A. — Libro Primo. De recbami p elquale se impara in diversi 
 modi lordine e il modo de recamare, cosa no mai piu fatta ne stata mos- 
 trata, el qual modo se insegna al lettore voltando la carta. Opera noua. 
 [On last page] P. Alex. Pag. Benacenses. F. Bena. V. V. 4°. 2 pp., 
 31 leaves of cuts. (1527.) (Ongania reproductions.) S. K. M. 
 
 1370 — Paganino, A. — Libro Seeondo . . . Burato. 4°. Title and 20 leaves 
 of cuts. (1527.) (Ongania reproduction.) See 1366. 
 
 1371 — Paganino, A — Burato — Libro Terzo. 4°. Title and 20 leaves of cuts. 
 (1527.) (Ongania reproduction.) See 1367. 
 
 1372 — Paganino, A. — Burato — Libro Quarto. 4°. Title and 20 leaves of cuts. 
 (1527.) (Ongania reproduction.) See 1368. 
 
 1373 — Paganino, Alex. — Liber Primo de recbami per el quale se impara in di- 
 versi modi 1 'ordine e il modo de recamare, etc. 28 plates. Facsimile of 
 tbe original of 15 — ?. 3 vols, in 1, royal 8vo. 
 
 1374 — Paganino, A. — Libro questo di recbami per el quale se impara in diversi 
 modi 1 'ordine e il modo de recamare, cosa non mai piu fatta n'e stata 
 mostrata. By Alessandro Paganino. 20 plates, with a long explanation 
 how these works are done. Eome, Bib. Prince Massimo. 
 
 1375 — Pages, L. — Les Ecoles de dentelle. Le Cours de dessin de la Chambre 
 Syndicale. La Dentelle, April, 1905, Paris. 
 
 1376 — Pages, L. — Les grandes ecoles de dessin. (Album de la Dentelle. Ex- 
 position, Liege, 1905.) Numero special de La Dentelle, April-September- 
 October, 1905, Paris. 
 
 1377 — Pairault, Mme. Veuve et fils — Facsimiles and reproductions of old pattern 
 books. 
 
BIBLIOGRAPHY 339 
 
 1378 — Paleograiia artistica nei codici cassinesi applicata ai lavori industriali, La 
 — Merletti dalla Tav. 1 alia Tav. 20. Montecassino, 1888-1896. 
 
 1379 — Palliser, Mrs. Bury — A descriptive catalogue of the lace and embroidery 
 in the South Kensington Museum, with illustrations. London, 1871, 8vo. 
 
 1380 — Palliser, Mrs. Bury — A descriptive Catalogue of the Lace in the South 
 Kensington ^Museum. London, 1873. 14 plates, 73 pages. 2 edit. 
 
 1381 — Palliser, Mrs*. Bury — Descriptive Catalogue of Lace in the South Kens- 
 ington Museum. 3d edition, revised and enlarged by A. S. Cole, London, 
 1881, G. E. Eyre & W. S. Spottiswoode, 21 plates, 144 pages. B. M. 
 
 1382 — Palliser, Mrs. Bury — Guide to the ancient and modern Lace in the Inter- 
 national Exhibition. London, 1874. 
 
 1383 — Palliser, Mrs. Bury — Histoire de la Dentelle. Traduit par G-edeon de 
 Clermont-Tonnere. Paris, 1892. 16 plates in color, 161 wood engravings. 
 
 1384— Palliser, Mrs. Bury— History of Lace. All the Year, V. 36, pp. 249, 294, 
 350. 
 
 1385 — Palliser, Mrs. F. Bury — History of Lace. Eclectic Magazine, V. 65, p. 326. 
 
 1386 — Palliser, Mrs. F. Bury — History of Lace. Every Saturday, V. 6, p. 201. 
 
 1387— Palliser, Mrs. F. Bury— History of Lace. Living Age, V 98, p. 535. 
 
 1388— Palliser, Mrs. F. Bury— History of Lace. Quarterly, 125 :166. 
 
 1389 — Palliser, Mrs. Bury — History of Lace. London, C. Low, Son & Marston, 
 1865. 460 pages, 17 plates, 1 port. 
 
 1390 — Palliser, Mrs. F. Bury (Fanny Marryat) — A History of Lace. London, 
 Sampson, Low, Son & Marston, 1869. 422 pages, 17 plates, 2nd edition, 
 
 1391 — Palliser, Mrs. F. Bury — A History of Lace. 3d edition, London, 1875. 
 
 1392 — Palliser, Mrs. F. Bury — A History of Lace, entirely revised — by M. Jour- 
 dain and Alica Dryden. London, Sampson Low, 1902. B. M. 
 
 1393 — Palliser, Mrs. Bury — Lace. The Magazine of Art, November, 1878, Lon- 
 don, V. 1, p. 179. 
 
 1394 — Palliser, Mrs. F. Bury — Lace. Quarterly Review, July, 1868. 
 
 1395 — Palliser, Mrs. F. Bury — Notes on the History of Lace, to which is added 
 a Catalogue of Specimens of Lace Selected from the Museum at South 
 Kensington, etc. London, 1872, 8vo. 
 
 1396 — Palliser, Mrs. Bury — Report on Lace, Net, Embroidery and Smallware 
 Manufactures, Class 33. (Paris, Univ. Exhibit., 1867.) Vol. 3, p. 109. 
 7 vols., 8vo. London, 1868-69. 
 
 1397 — Palliser, Mrs. F. Bury — Reports of the U. S. Commissioners, Lace, Net, 
 Embroidery and Trimmings, Vol. 3, p. 109, 6 vols., 8vo, Washington, 1870. 
 S. K. M. 
 
 1398 — Parasole, Elisabetta Catanea — Fior d'ogni Virtv per le nobile et honeste 
 matrone, doue si verdono bellissimi lauori di ponto in aria, reticella, di 
 maglia et a piombini dissagnati, da Isabetta Catanea Parasole. In 
 Roma apresso Antonio Fachetti. MDCX (1610). Con Licenza de su- 
 periori. In-4° oblong. Au-dessus de l'adresse de l'editeur les armes 
 d'Espagne, surmontees d'une couronne. Autour de l'ecusson qui conti- 
 ent ces armes, 22 petits drapeaux piques dans cet ecusson, 11 de chaque 
 cote. Rien au verso. Les pages sont numerotees en haut a droite en chiff- 
 res arabes, et il y a l'explication de chaque dessin. 2 Dedicace: Alia se- 
 
340 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 renissirua Princepessa Donua Elisabetta Borbona d 'Austria, Principessa 
 Spagna, 14 lignes se terminant par les mots: Di Eoiua a di 5 di niarzo 
 1610. Elisabetta. Catanea Paras ole. Puis les broderies. Au-dessous les 
 memes armes que sur le titre et au-dessous : Stampato in Roma appresso 
 Autonio Fachetti MDCX. 37 tres beaux modeles de dentelles et de bro- 
 deries, coins de moueboirs et autres objets de lingerie. Vente Destail- 
 leurs, 1895. 
 
 1399 — Parasole, Isabella C. — Modeles de dentelles et de broderie. Sans lieu ni 
 date. In-4° oblong, cartonne. 31 planches (B-H par 4, I par 3). Ces 
 planches font sans doute partie d 'un ouvrage publies par Isabella C. Para- 
 sole. Foulc Sale, Paris, June, 1914, No. 461, frs. 180. 
 
 1400 — Parasole, Isabetta Catanea — Pretioso Gemma Delle Virtuose Donne Doue 
 si vedono bellissimi lauori di punto in aria, reticella, di maglia, e piombini, 
 disegnati da Isabella Catanea Parasole. E. di nuouo dati in luce da 
 Lucchino Gargano, con alcuni altri bellissimi lauori nuouamente inuentati. 
 Stampata in Venetia, Ad instantia di Lucchino Gargano. M. D. C. Con 
 Licenza de' Superiori. 4°. Title, dedication, 18 leaves of cuts. 
 
 1401 — Parasole, Isabelle Catanea — Pretiosa gemma delle virtuose dame. Done 
 si vedono bellissimi lauori di punto in aria, reticella, di maglia e piom- 
 bini, desegnati da I. C. Parasole. E di nuovo dati in luce de Lucchino 
 Gargano, 1618, con alcunti altri bellesimi lauori monamente inuentati. 
 Venice, L. Gargano, 1600. Reprinted in Venice, 1879. S. K. M. Metro. 
 Mus. 
 
 1402 — Parasole, Isabella Catanea — Secondo Libro della Pretiosa Gemma Delle 
 Virtuose Donne. Doue con nuoua inuentione si vedone bellissimi Lauori 
 di varie sorti di Merli grandi, e piccioli, punti in aria, punti tagliati, punti 
 a reticello, e Rosetti diuersi, che con l'aco si vsano hoggidi per tutta 
 Europa. Nouamenta dato in luce da Lucchino Gargano. Stampata in 
 Venetia, Ad instantia di Lucchino Gargano, MDCI. 4°. Title, dedica- 
 tion, 17 leaves of cuts. (Ongania reproduction.) 
 
 1403 — Parasole, I. C. — Gemma pretiosa delle virtuose donne, dore si vedono 
 bellisimi lavori de Ponti in Aria, Reticella, di Maglia, e Piombini diseg- 
 natida Isabella Catanea Parasole. In Rome, appreso Guliegno Facciotti, 
 1625. 4°. Title and 34 cuts. B. K. M. 
 
 1404 — Parasole, Isabella Catanea — Specchio delle virtuose done. Venice, 1594 
 and Rome, 1595. 
 
 1405 — Parasole, Isabella Catanea — Specchio delle virtuose donne. Done si ve- 
 dono bellissimi lavori di punto in aria, reticella, di maglia e piombini, 
 designati da Isabella Catanea Parasole. Roma, appresso Antonio Fac- 
 chetti, 1598. In-4° oblong, 1 feuillet de titre, 30 feuillets de modeles. 
 Vente Foulc. 
 
 1406 — Parasole, E. C. — Specchio delle virtuose donne. Dove si vedono bellis- 
 simi lavori. di ponto in aria, reticella, di maglia et piombini. Disegnati 
 da Isabetta Catanea Parasole. Roma, appresso Antonio Facchetti, 1598. 
 One volume in-4°, oblong cartonne. Un feuillet de titre, un feuillet blanc 
 et 38 feuillets chiffres contenent autant de modeles de dentelles, broderies, 
 coins de moueboirs, etc. Foulc Sale, Paris, June, 1914, No. 459, Frs. 500. 
 
BIBLIOGRAPHY 341 
 
 1407 — Parasole, Isabella Catanea — Studio, Delle Virtuose, Dame, Doue si ve- 
 dono bellifsirai lauori di puuto in aria reticella, di maglia. DifTeganti da 
 Ifabetta Catanea Parafole. In Roma, Appreffo Antonio Faccbetti. 
 M.D.XCVII. Con Licenza De' Superiori. 4°. 36 leaves consisting of title 
 page, 2 dedications (In Spanish and Italian) To Dona Joana de Aragon y 
 Cordona, whose coat of arms is on the title page. 33 plates This is the 
 only copy known of the original edition. Stranges Trans. Bib. Soc. 
 VII. 254-257. Metro. Mus. 
 
 1408 — Parasole, Isabella Catanea — Studio delle virtuose dame; Roma, Antonio 
 Fachetti, 1597. Quaritch's reprints of rare books, II. London, 1884. 
 obi. 12°. 
 
 1409 — Parasole, Isabetta Catanea — Studio delle Virtuose Dame. Doue si vedo- 
 no bellissimi lauori di punto in aria, reticella, di maglia. Dissegnati da 
 Isabetta Catanea Parasole. In Roma, Appresso, Antonio Facchetti. 
 M.D.XCVII, Con Licenza de' Superiori. 4°. Title, 2 dedications (in 
 Spanish and Italian). 33 if. S. K. M. 
 
 1410 — Parasole, E. C. — Theatro delle nobile et Virtuose donne, dove si rap- 
 presentano Varij Disegni di Lauori nouamente Inventati et disegnati da 
 Elisabetta Catanea Parasole Romana. Ce titre est ornemente de la meme 
 facon que celui de l'edition de 1616. La seule difference est dans la date 
 de la signature 1636 au lieu de 1616 et clans la dedicace au recto de la 
 page suivante : Al magnifico Giovanni Orlandi da Giacomo Marcucci, au 
 lieu de: Alia Serenissima Principessa donna, & &. Ce titre est inscrit 
 dans une tablette entouree de rinceaux, et au-dessus d'un socle en magon- 
 nerie au milieu duquel on voit en bas clans un cartouche ovale, un buste 
 de fernine, ayant autour du con une vaste fraise goudronnee. En haut au- 
 dessus du titre au milieu, un ecus son armoirie. Get ecusson est dans un 
 cartouche, sur lequel deux femmes sonnant de la trompette ont une main 
 posee. De petitis genies, tenant Pun compas, Pautre une regie, une plume 
 et un encrier agrementent cettfe composition gravee sur cuivre. En bas 
 sur un rebord du socle qui supporte ce dessin, on lit a gauche: In Roma 
 l'anno 1616, con Licentia de superiori. 
 
 1411 — Parasole, E. C. — Teatro delle nobili et virtuose donne, dove si rappresen- 
 tano varij disegni di lavori novamente inventati et disegnati da Elisabet- 
 ta Catanea Parasole Romana. In-4° oblong. Dedicace: Alia serenis- 
 sima Principessa Donna Elisabetta Borbona d'avstria, Principessa di 
 Spagna . . . et finissant par les mots : Di Roma a di 5. di Marzo, 
 1616. Other editions, 1620, 1625 and 1636. The last is dedicated to the 
 Grand Duchess of Tuscany, and has the Medici and Delia Rovere arms in 
 the title-page. Obi. 4to, 47 ff., 46 plates, beautifully executed, the titles 
 printed to each plate, as "Lavori di punti in aria, Merletti di ponti reti- 
 cella, Merletti a piombini," etc. Chacune des broderies imprimees seule- 
 ment au recto des pages, porte en haut 1 'indication du genre de travail 
 qu'elle represente. Apres la planche 50, une page non cotee. C'est une 
 grande planche repliee en trois, dite : Le grand mouchoir. Vente Santa- 
 relli. Vente Benedetto Maglione Paris, 1894. Une edition de 1619, vente 
 
342 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 Piot, 1891. Florence, Bib. Prof. Saiiterelli. Milan, Bibliotheque de 
 l'Ambroisienne. Rome, Bibliotheque de Prince Massimo. 
 1412 — Parasole, Isabella Catanea — Teatro delle nobili et virtuose dame dove si 
 rappresentano varij desegni di lauori bonamente inventati et disegnati da 
 I. C. Parasole. Eoma, 1616. Reprinted in Venice, 1891, by Ongania. 
 1413 — Parasole, E. C. — Tbeatro delle nobili et virtuose donne dovi si rappresen- 
 tano Varij disegni di Lauori nouamente inventati et disegnati da Elisa- 
 betta Catanea Parasole Romana. In Roma l'anno 1620. In-4° oblong. 
 Frontispice grave au burin avec les armes de Medicis et de la Rovere 
 plusieurs fois repetes dans un cartouche avec des amours dans les poses 
 les plus charmantes et d'un si beau style que nous inclinons fort a croire 
 qu'il fut execute au siecle precedent pour un tout autre ouvrage. On y 
 trouve la devise: Nisi canant qui fortia quid isti gerunt. In Roma l'anno 
 1620. Mauritio Bona in Piazza Navona. 49 feuillets dont deux pour le 
 titre et la dedicace. La grande planche de la fin, repliee en trois est un 
 vrai chef-d'oeuvre de xylographie. Les planches sont au nombre de 45, 
 imprimees au recto seulement. Foulc collection accounted for only 40 
 plates, June, 1914. Paris, No. 460, frs. 600. 
 1414 — Paris — Souvenir de 1 'Exposition de 1839. Par J. Dumas. Fol. Paris, 
 
 n. d. S. K. M. 
 1415 — Paris Exhibition, 1855 — Reports. French. Reports du Jury mixte inter- 
 national. (Dentelles, Vol. 2, p. 1100.) 2 vols. 8vo. Paris, 1856. S. K. M. 
 1416 — Paris Exhibition, 1867 — Reports. French, Dentelles, Tulles, Broderies 
 
 et Passementeries. Vol. IV., p. 231. 13 vols. 8vo. Paris, 1868. S. K. M. 
 1417 — Paris Exhibitions, 1878 — Rapports des Membres des Jurys, etc. (Belgian) 
 sur 1 'Exposition universelle de Paris en 1878. (Dentelles et Broderies, 
 vol. in., p. 491.) 5 vols. 8vo. Bruxelles, 1879-80. S. K. M. 
 1418 — Parkes, Kineton — Occupations for Gentlewomen. I. Lace Work and Em- 
 broidery. Atalanta, November, 1894, London. 
 1419 — Parsons, E. — Outwork or Renaissance Embroidery. Woman's Rome Com- 
 panion. V. 31, p. 22, March, 1904. 
 1420 — Pasini, T. — Fiori di ricami nuovamente posti in luce ne i quali sono varii, 
 et diversi dissegni di lavori ; Come Merli, Bauari, Manichetti, & altre sorti 
 di opere, che al presente sono in uso, utilissimi al ogni stato di Donne. 
 Seconda Impressione. Obi. 8vo, 20 ff., 18 plates like Vecellio, one "ba- 
 varo." Mostly indented patterns on black grounds. Bologna, 1596. Bib. 
 del 'Arsenal. 
 1421 — Passerotti, A. — Passerotti Aurelio Pittore Bolognese dissegnatore e minia- 
 tore figlio di Bartolommeo Passerotti circa al 1560. Libro Primo di lavo- 
 rieri alle molto illustre et virtuosissime gentildonne Bolognesi. Libro se- 
 condo alle molto magnifici et virtuosissimi signori Bologne, n.d. In fol. 
 obi. 67 ff., including two dedications and a frontispiece. Designs for 
 embroidery, etc., drawn with a pen. In the title-page of the first book is 
 the device of a sunflower, "Non san questi occhi volgere altrove." Cata- 
 logue Cicognara. 
 1422 — Passerotti, Aurelio. — Libro di Lavorieri Alia Serenissima sig-ra Mar- 
 garita Gonzaga da Este Duchessa di Ferrara, Patrona Colendissima. In 
 
BIBLIOGRAPHY ' ; 343 
 
 Bologna. Appresso Fausto Bonardi, Con licenza de' Superiori. M.D.XCI. 
 4°. Dedication dated "17 Agosto 1591," signed "A. P." Cuts (with 
 several shields of arms). B. K. M. 
 
 1423 — Patching, John F. — Lace in Interior Decoration. Illus. Good Furniture 
 Mag. Grand Eapids, 1918. V. 10, p. 307-316. 
 
 1425 — Patterns of cutworkes — Here followeth certaine patternes of Cutworkes; 
 and bat once printed before. Also sundry sorts of spots, as flowers, 
 birds, and fishes, &. Londres, 1632. In-4°. 33 patrons et le titre. Biblio- 
 theque Bodleyenne d 'Oxford. 
 
 1426— Pattern Book. Published by 0. Foelix in Cologne, 1527. 
 
 1427 — Pattern Book. Published by Wilhelm Vosterman, Antwerp, 1542. 
 
 1428— Patterns of Nottingham Lace. March, 1850. 
 
 1429 — Patterns — Patrons pour brodeurs, lingieres, massons, verriers, et autres 
 gens d'esperit; nouvellement imp rime, a, Paris, rue Saint- Jacques, a. la 
 Queue-de Regnard M.DLXIIII. (1564.) Quoted by Willemin. See 1566, 
 1567 and 1568. 1 . 
 
 1430 — Pattern Book — An extensive Collection of upwards of 150 Original Draw- 
 ings, mostly in pen and ink, of various designs, including a few executed 
 in water-colors, mounted on toned paper. From the library of H. R. H. 
 The Duchess of Gloucester. 
 
 1431 — Pattern Book — A series of about 220 drawings in sepia of Patterns of 
 Lace, Embroidery, etc., on 80 leaves. Circa, 1830. 
 
 1432 — Patterns for Needlework. — Muster altdeutscher und moderner Stickereien 
 Herausgegeben von Frau M. Beeg-Aufsess, etc. 30 colored plates. Fol. 
 Leipzig, 1883. S. K. M. 
 
 1433 — Pattison, H. — Crochet Applique Lace. Harper's Bazaar.. V. 42, pp. 1231- 
 1233, December, 1908. 
 
 1434 — Pattison, H. — Crocheted Doilies. Harper's Bazaar. V. 45, p. 129, March 
 1911. ' \ 
 
 1435 — Pavot, T. — Dentelle du Havre. Intermediare des Chercheurs, 1896, Paris. 
 
 1436 — Peacock, N. — New Movement in Russian Art. International Studio. V. 
 13, p. 268-276, June, 1901. 
 
 1437 — Pegg, Wm. H. at Nottingham — Pro jet d'un eventail en dentelle. Art ap- 
 plique, 2e annee, Paris. 
 
 1438 — Pelegrin, Francisque — La fleur de la science de Portraicture Et patrons 
 de broderie; facon arabique et Italique. Cum privilegio Regis. Ce 
 titre est inscrit en lettres gothiques au haut de la page. Au-dessous 
 une gravure sur bois, representant une femme presque nue, portant sur les 
 epaules une sorte de chasuble transparente lui descendant jusqu'aux 
 genoux. Elle se dirige vers la gauche, retournant la tete de trois quart a. 
 droite, cette tete couronnee de rayons lumineux. Elle tient de la main 
 droite sur son epaule un joug et de 1 'autre une banderole sur laquelle on 
 lit: Exitus acta Probat. Ses cheveux denoues flottent sur son dos. 
 Ses pieds sont enchaines a un gros boulet qu'elle traine derriere elle. 
 A gauche des tiges de plantes qui s'elevent droites hors du sol, et sont 
 terminees par des fleurettes a quatre petales. En suyt le priuilege. 
 Francoys par la grace de Dieu Roy de France, au preuost et bailly 
 
344 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 de Paris ou ses lyeutenans et a tous noz autres justiciers, salut et 
 dilection. Reeue avons 1 'humble supplication de nostre cher et 
 bieu ame Francisque pelegrin de Florence, contenant que pour tousiours 
 decorer, publier, et a coustre Part et science de pourtraicture. II auec 
 grant peine, et labeur fait, inuente et compose Ung liure de feuillages, 
 entrelatz, et ouuraiges moresques et damasquins, leql il desireroit voule- 
 tiers faire imprinter et mettre en lumiere. Done a Bordeaulx le xBii iour 
 de Jung. Par le Eoy a nostre relation. Barillon. Ce present liure a este 
 imprime a Paris, par Jacques Nyuerd le IX jour d'aoust. L'an de grace 
 mil cinq ces XXX pour noble borne messire Francisque Pelegrin de Flor- 
 ence. On les vend a Paris en la grant rue Saint Anthoyne deuant les Tour- 
 nelles. Au logis de Monseigneur le Conte des Larpes. Par messire Fran- 
 cisque Pelegrin de Florence. In-4°. Soixante-deux feuillets cotes de 2 a 
 62 avec cinquante-neuf plancbes representant des moresques. Le titre est 
 gotbique. La date de 1530 de ce volume est bien plus ancienne que celle 
 du Vinciolo, 1587 que M. Alvin nous donne pour le plus ancien livre de ce 
 genre imprime a Paris. No animals or natural objects. At plate 33, sur- 
 rounded by arabesques, is an N, the initial of the printer. Bibliotheque 
 de 1 'Arsenal. 
 
 1439 — Pellegrin, Francisque — La Fleur de la Science de Pourtraicture. Patrons 
 de Broderie. Facon arabicque et ytalique. 1530. Beimpression en fac- 
 simile, avec introduction par Gaston Migeon, conservateur des objets d'art 
 au Musee du Louvre, Jean Schemit, Paris, 1908, in 4to, en cartonnage en 
 percaline. 
 
 1440 — Pellegrino — Splendore della virtvose Giovanni dove si contengono molte et 
 varie mostre di fogliami, Cioe punti in aere et punti tagliati bellissime et 
 con tale artificio che li punti tagliati serueno alii punti in aere et da qvelle 
 che sopragasi far si possono medesimamente, molte altre. In Venegia ap- 
 presso Iseppo Foresto in calle dell'acque a san Julian, AU'insegna del Pel- 
 legrino (1557). In-4°. Au-dessous du titre au milieu, et au-dessus de 
 l'adresse de l'editeur, un fleuron entoure de cuirs, representant un pelerin, 
 son baton sur l'epaule, se dirigeant dans la campagne, de gauche a droite. 
 Autour du fleuron on lit les mots : Non habemus hie civitatem permanen- 
 tem sed futuram inquirimus. Au verso une dedicace, Iseppo Foresto a i 
 lettori. Une lettre ornee, un V entre les branches duquel on apergoit un 
 forgeron assis devant une enclume et frappant avec son marteau. Cette 
 lettre est en tete de 17 lignes de teste finissant par les mots : . . . gli anui 
 Nostri Lunghi et felici. En resume 16 feuillets, dont un titre et 29 
 planches de broderies. Bibliotheque Nationale. 
 
 1441 — Pellegrino — Splendore delle virtuose Giovanni, dove si contangono molte 
 et varie mostre fogliami. Cioe punti in aere et punti tagliati bellissimi, 
 & con tale artificio che li punti tagliati serueno alii punti in aere, et da 
 qvelle che sopragasi far si possono medesimamente molte altre. In Vene- 
 tia per Iseppo Foresto in calle dell'acqua a san Zulian, all'insegna del Pel- 
 legrino, 1558. In-4°, 16 feuillets. Catalogue Cicognara. 
 
 1442 — Perry, W. C. — Needlework as an Art. From the "National Review," 
 August, 1886. 8vo. Lond. 1886. S. K. M. 
 
BIBLIOGRAPHY 345 
 
 1443 — Peterborough — Cat. of the tercentenary of Mary, Queen of Scots Exhib., 
 1887. (Lace, Needlework, etc., p. 23.) 8vo. Peterborough, 1887. S. K. M. 
 
 1444 — Peuchet — Dictionnaire Universel de la Geographie Commergante. 1789. 
 
 1445 — Pfnor, R. — Ornementation usuelle de toutes les Epoques dans les Arts 
 Industriels et en Architecture. (Plates 6, 15, 16, 46, 68.) 2 vols. 4to. 
 Paris, 1866-67. S. K. M. 
 
 1446 — Photographs of Laces. 1879. (Collection of Kursheedt Manufacturing 
 Co., N. Y.) 
 
 1447 — Photos, of Lace, Nat'l Art Library, S. Kensington Coll'n. of Italian (Vene- 
 tian, Genoese, etc.) Flemish (Brussels, Mechlin, etc.) French, English and 
 Irish Lace. Contained in portfolios. No. 428. S. K. M. 
 
 1448 — Piece of Old Lace, A. — (Argentan, XVIIth century.) The Connoisseur, 
 March, 1902, London. 
 
 1449— Pillow Lace-Maker. Every Saturday. V. 10, p. 325. 
 
 1450 — Pin-money Made with the Needle. Ladies Home Journal. V. 21, p. 22, 
 January, 1904. 
 
 1451 — Pinson, Paul — Dentelle du Havre. Intermediare des Chercheurs, 1896, 
 Paris. 
 
 1452 — Piot, C. — Quelques notes concernant des Brodeurs Beiges du XV siecle 
 et du siecle suivant. "Bull, des Commissions Boy. d'art et d'Archeol." 
 Vol. II, p. 295. 8vo. Bruxelles, 1863. S. K. M. " 
 
 1453 — Plantadis, J.— L'art de la Dentelle en France. Revue Universelle, Sep- 
 tember, 1904, Paris. 
 
 1454 — Politique — Ordonnantie — raekende — de — koop-lieden — en — Wercksters — 
 der — spelle-werck, Kanten, — binnen Cortryck. Courtrai, (1765). 
 
 1455 — Pollen, Mrs. J. H. — Ancient Lace in the Boyal Museums, Brussels. Bur- 
 lington Magazine, 1912. V. 21, pp. 328-334. 
 
 1457 — Pollen, Mrs. J. H. — Early Designs in Lace-making. Burlington Magazine. 
 V. 19, pp. 73-79, May, 1911. 
 
 1458 — Pollen, Mrs. J. H. — Seven Centuries of Lace. London, W. Heineman, 1908. 
 B. M. 
 
 1459 — Pollock, Elizabeth, at Londonderry — Cols en dentelles au crochet. Even- 
 tail en dentelle. Art applique, 2e annee, Paris. 
 
 1460 — Polonaise Lace, Book of, by the Silkworm. (The Silkworm Series.) 8 vo. 
 Loud. (1875). S. K. M. 
 
 1461 — Pompe, Le — Le Pompe, opera nova nella quale si ritrovano varie & di- 
 verse sorti di mostre per poter far cordelle ouer Bindelle d'oro, di seta, 
 di Filo, ouero di altra cosa dove le belle et virtuose Donne potranno fare 
 ogni sorte di lauore ; cioe merli di diuerse sorte, Cauezzi, Colari, Mane- 
 ghetti, & tutte quelle cose que li piaceranno. Opera non men bella che 
 utile et necessaria, Et non piuveduta in luce. In Venetia, MDLVEI 
 (1557). Catalogue Cicognara. Bibliotheque du Vatican. 
 
 1462 — Pompe, Le — Le Pompe, opera nova nella quale si ritrovano varie & di- 
 verse sorti di mostre per poter far cordella ouer Bindelle d'Oro, di seta, 
 di Filo, ouero di altra cosa dove le belle et virtuose Donne potranno fare 
 ogni sorte di lauore; cioe merli di diuerse sorte, Cauezzi, Colari, Mane- 
 ghetti, & tutte quelle cose que li piaceranno. Opera non men bella che 
 
346 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 utile et necessaria, Et non pin veduta in luce. In Venetia, MDLVIII 
 (1558). Petit in-4°. Au-dessous du titre une marque de libraire formee 
 par un assemblage de bouts de rubans enlaces, sur lesquels on lit M. Jesus. 
 F. En tout 14 pages dont un titre, en tout vingt-six planebes de dentelles. 
 Bibliotheque Nationale. 
 
 1463 — Pompe. — Le Pompe Opera Noua Nellaquale Si Eitrouano Varie & diuerse 
 sorti di mostre, per poter jar Cordelle, ouer Bindelle, d'Ore, di Sera, di 
 Filo, ouero di altra cosa. Doue le belle & virtuose Donne potranno fare 
 ogni sorti di lauoro, cioe Merli de diuerse sorte, Cauezzi, Collari, Mane- 
 gbetti, & tutte quelle cose cbe li piaceranno. Opera non men bella, cbe 
 vtile, & necessaria. Et non piu veduta in luce. [Mark of tbe brotbers 
 Sessa of Venice.] MDLVIII. Si vendeno alia Libraria della Gatta. 4°. 
 31 cuts. B. K. M. 
 
 1465 — Pompe, Le. — Le Pompe, opera nova, nella qvale si ritrovano varie et di- 
 uerse sorti di mostre per poter far cordelle, ouer Bindelle d'oro, di seta, 
 di Filo, ouero di altra cosa. Dove le belle et virtuose donne potranno fare 
 ogni sorte di lauoro cioe merli di diuerse sorte, cauezzi, Colari, manegbetti, 
 & tutte quelle cose le piacceranno. Opera non men bella cbe vtile et neces- 
 saria, et non piu veduta in luce. In Venetia, MDLIX (1559).Petit in-4°. 
 Au-dessous du titre un fieuron ovale, dans lequel on voit un vautour de- 
 bout sur le cadavre d'une bicbe qu'il tient dans ses serres. Sur une ban- 
 derole qui serpente autour du cartoucbe, on lit les mots : Virtute Parta, 
 Non Sibi Tantum. Page non cotee. Le verso de cette page est blanc, et 
 on lit au milieu de cette page: Si vendano alia libreria della Grata. En 
 tout, 16 pages dont un titre et 30 planebes de broderies. Vente Piot, 1891. 
 Bibliotheque de 1 'Arsenal. 
 
 1466 — Pompe Le — Le pompe, libro secondo, opera nvova nella quale si ritrovano 
 varie et diverse sorti di mostre per poter far cordelle, ouer Bindelle d'Oro, 
 di seta di Filo, ouero di altra cosa. Doue le belle & virtuose donne potranno 
 fare ogni sorte di lauoro cioe merli di diuerse sorte, Cauezzi, Colari, mane- 
 gbetti, & tutte quelle cose cbe li piaceranno. Opera non men bella cbe utile 
 et necessaria. Et non piu veduta in luce. In Venetia, MDLX (1560). 
 Sur cette page qui est en largeur et non en bauteur comme dans la 
 premiere partie un fieuron ovale dans lequel on voit un Pegase volant 
 dans les airs de gauche a, droite. Impresa of tbe printer and below, In 
 "Venetia 1560." Obi. 8vo, 6 or 16 pages. 29 plates. Mrs. Stisted's copy 
 is dated 1562, and tbere is one at Vienna, in tbe Imperial Library, of the 
 same date. Bib. de 1 'Arsenal. 
 
 1467 — Pott, A. — Neue Zierscbriften fur Weiss-und Kunst-Stickerei. (54 pp. 
 of examples.) Fol. Hamburg, 1869. S. K. M. 
 
 1468 — Pourtraicts de Venise, point coupe — P. De Sajow. (Collection of Kur- 
 sheedt Mfg. Co., N. Y.) 
 
 1469— Pratt, L. M— Lace Collar. The Art Worker's Quarterly, July, 1902, Lon- 
 don. 
 
 1470 — Prevot — Eventail. L'Art decoratif, February, 1902, Paris. 
 
 1471 — Prevot, Gabriel et Gaston Devresse — Motifs modernes. Serie IV. Den- 
 telles et Broderies d'Art. Plauen, Cbr. Stoll, n.d. 
 
BIBLIOGRAPHY 347 
 
 1472 — Prevot, Gabriel — Stores, dentelles et broderies style moderne. 3 series, 
 Paris, A. Calavas. 
 
 1473 — Prevot, S. — Modern Designs for Lace. Nottingham. 
 
 1474 — Priestrnan, M. T. — Artistic Darning. Handicrafts in the Home, 194-198. 
 
 1475 — Priestrnan, M. T. — Needle-craft in Curtains. Country Life, V. 12, p. 364. 
 July, 1907. , 
 
 1476 — Priestrnan, M. T. — Old Time Handicraft Eevived. Harper's Bazaar, V. 42, 
 pp. 905-907, September, 1908. 
 
 1477 — Priestrnan, M. T. — Suggestions for Darning. American Homes, V. 8, pp. 
 134-136, April, 1911. 
 
 Prince, Le — See Nourry, Claude. 
 
 Prince, Le — See Sainte-Lucie, Pierre. 
 
 1480— Princess Louise Lace. Delineator, V. 64, pp. 586-587: 782-783, October- 
 November, 1904. 
 
 1481— Priscilla Crochet Book, The— Ed. E. A. Taylor. 1913. 
 
 1482 — Priscilla Cross-stitch Book — Boston. (Collection of Kursheedt Mfg. Co., 
 New York.) 1912. 
 
 1483 — Proceedings of the Society of Designers — Nottingham Lace with W. Stew- 
 art Elliott's designs. The Artist, October, 1899, London. 
 
 1484— Production of Lace. Nation, V. 80, pp. 158-159, February 23, 1905. 
 
 1485 — Programma der Nederlandsche Kantwerkschool, Gesticht door Jhr. Ern- 
 est van Loon. Apeldoorn, P. C. Ackerman, 1802. 
 
 1486 — Protection of Lace-Making in England. Saturday Review, V. 72, p. 691. 
 
 1487 — Pulszky, C. de — Acta nova Musei Nat. Hungarici. Tom II. Ornaments 
 de 1 'Industrie domestique de la Hongrie. (Planches.) Fol. Budapest, 
 1878. S. K. M. 
 
 Quaritch Reprints — See Nos. 1351, 1408. 
 
 1488 — Queen Lace Book, The — Part I. Mediaeval Lacework and Point Lace. 
 London, "The Queen's" Office, 1874. B. M. 
 
 1489 — Quentel, P — Eyn new kunstlich boich, etc. Gedruckt in Collen durch P. 
 Quentell, 1527. (Facsimile reproduction.) Ornaments, patterns and let- 
 ters for needlework. Sm. 4to. Leipzig, (1882). S. K. M. 
 
 1490 — Quentell,Peter — Eyn new Kunstlich boich dair yn E. vnd rrr viij figurem, 
 monster ad stalen befonden, wie man na der rechter art, laufferwerk, 
 spansche stiche mit dernalen vort op der Kamen, und vp der laden, bor- 
 den, wirken sail wilche stalen all-tzo samen verbessert synt vnd vil kun- 
 stlicher gemacht da dye eirsten zc sere nutzlich alien wapensticker frau- 
 wen ionferren und met ger dair uf s kunst licht lich tzu leren. Gedruckt tzu 
 Collen up dem Deem Hoff. durch Peter Quentell. Anno MDXXXjj. 
 (1532.) Ce titre est dans une bordure ornementee, ou l'on voit quatre 
 femmes et un homme ocupes a des travaux d 'aiguille et de passementerie. 
 Le volume est compose de 24 feuillets signes A. F. entierement remplis par 
 des dessins de broderies, sauf le recto du premier feuillet qui contient le 
 titre ci-dessus et le verso qui contient un portrait de Charles V assis. Vente 
 Santarelli. 
 
348 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 1491 — Queutell, Peter — Ein new Kunstlich Modelbiich dair yn meir, dan seeks 
 bundert figurenn monster a der stalen befonden, wie niann na der recbter 
 art Perlenstickers, Lauffer werck spansclie stielie, mit der nalen vort 
 up der ramen unnd up der laden, borden, wircken sail wilcbe stalen altzo 
 sanien verbessert synt vn vill Kunstlicber gemaclit dan die eirste mit vil 
 meir neuwe stalen bier by gesatzt,zc. Sere nutzlicb alien wapensticker frau- 
 wen ionfferenn und metger dair usz solcb Kumst lrcbtlieh tzo luren. — Ung 
 nouviau libure auec pluseurs sciences et patrons qui n'ont point estes en- 
 core imprimes. Gedruckt tzo Collen up dem Dcemboff. durch Peter Quen- 
 tell. Im jair MDXXXVL (1536). In-4° gothique. Au-dessous de ce titre, 
 trois compartiments, celui du milieu encadre par deux colonnes. Dans le 
 compartiment de gaucbe une femme assise de profil a droite et travaillant 
 a un metier. Dans celui du milieu une femme assise de trois quart a droite 
 et cousant. Dans celui de droite une femme travaillant a un petit metier a 
 rubans. Le verso de cette page est occupe par une gravure sur bois qui 
 sert de titre a plusieurs autres livres a dentelles, notamment au Pierre 
 Quentel de 1527. C 'est un fronton circulaire posant sur deux colonnes 
 surmontees cbacune d'une petite figure de femme brodant a 1 'aiguille. Au 
 milieu un bomme travaillant a un petit metier qu'il tient des deux mains 
 appuye sur un genou. En bas deux femmes travaillant, l'une, celle de 
 droite a, un metier de baute lisse, 1 'autre, celle de gaucbe a un petit metier 
 pose devant elle sur une table. L'inteiieur de la page, a, l'endroit ou devait 
 etre imprime le titre est blanc. Puis commencent les broderies. Au verso 
 de la derniere page, les armoiries de la ville de Cologne, representant deux 
 animaux fantastiques. Celui de droite a tete de lion, celui de gaucbe a, tete 
 d'aigle. On voit sur l'ecusson central les couronnes des trois Eois, et cet 
 ecusson est surmonte d'un casque beraldique. En bas sur une tablette : 
 Felix Coloniae. En resume, 52 pages dont 101 plancbes de broderies. 
 Vente F. Didot, 1879. 
 
 1492 — Quentell, P. — Eyn New Kiinsticb Modelbuecb, daryn vill scboner Staelen 
 begriffen die ietzundt auff des newst unnd nocb nye in druckt ausgangen 
 als Rortgens werck, Lobartiscb vn uberlegt werck, aucb wapenstickers vn 
 Scbnitzlers, frauwen vn Junckfrauwen fust nutzlicb darauf zu lernen, ec. 
 Gedruckt zu Coin durch Peter Quentell. Im iair 1544. Vng nouveau liure 
 avec plusieurs sciences et patrons qui nont poinct este encore imprimees. 
 4°. Title page and 6 leaves. B. 11". M. 
 
 1493 — Quentel, P. — Ein new kunstlicb Modelbuob . . ., etc. Exemplaire absolu- 
 ment semblable a celui est decrit ci dessus, avec cette difference qu'il 
 est date de 1545. Les cotes des pages ne sont pas en caracteres go- 
 tbiques comme dans 1 'autre exemplaire. Vente Didot, 1879. Vente Des- 
 tailleurs, 1895. P. Quentel a ete longtemps considere comme le plus ancien 
 editeur de livres a dentelles. On a de lui un livre de broderie publie en 
 1527. Ce livre fut reimprime en 1529, 1532 et 1544. Cette derniere edition, 
 celle qui nous occupe ici a ete decrite exactement pour la premiere fois 
 dans le catalogue de la vente Didot. 
 
 1494 — Qraentel Peter — Modellbucb (Ornamente und Stickmuster). Nacb der 
 
BIBLIOGRAPHY 349 
 
 hochst seltenen Coiner Ausgabe (1527-29) auf 80 Tafelii in Lichtdruckre- 
 produktion herausgegeben. Leipzig, 1880. 
 
 1495 — Quentel, Peter — 1527-1529, Musterbucb fiir Ornaniente und Stickmuster. 
 Leipzig, A. M. Gotze, n.d. Kunstgewerbe-Museums zu Leipzig. 
 
 1496 — Qui laborat orat (travail de la Den telle). Dublin University Magazine, 
 December, 1869, Dublin. 
 
 1497— Quignon, G. EL— La Dentelle Cliantilly. Establisbed by tbe Ducbesse de 
 Longueville. 
 
 1498 — Quinty, Pierre — Liure nouveau et subtil toucbant lart et science tant de 
 brouderie, fronssures, tapisseries come aultres mestiers qun fait ales- 
 guille, soit au petit mestier, aultelisse ou sur toille clerc, tresvtile et neces- 
 saires a toutes gens usans des mestiers et ars dessuld ou semblables ou il y 
 ba C et xxxviij, patrons de diuers ouvraiges faicb per art et proportion. 
 En primere a culoge (Cologne) par metrepiere quinty (Pierre Quinty), 
 demorant denpre leglie de iii Eoies. Petit in-8°. Ce titre est dispose dans 
 un rectangle blanc entoure d'un trait carre. Dans ce rectangle une com- 
 position gravee sur bois. Voir ci-dessus la description de cette com- 
 position. Verso. Des armoiries des deux cotes desquelles sont deux ani- 
 maux fantastiques, celui de droite a tete de lion, celui de gaucbe a tete 
 d'aigle. On voit sur l'ecusson central les couronnes des trois Eois, et cet 
 ecusson est surmonte d'un casque keraldique. En bas de la composition 
 une petite tablette rectangulaire sur laquelle on lit: Felix Colonia, 1527. 
 Puis commeneent les broderies imprimees au recto et au verso. — Une page 
 non cotee, alphabet gotbique a fond de canevas, allant de la lettre A a la 
 lettre P. Verso, fin de cet alphabet. — Une page non cotee, alphabet en capi- 
 tales droites a fond de canevas. — Verso, alphabet en capitales droites, les 
 lettres d 'impression sur fond blanc. En resume, 22 feuillets avec 42 
 planches. Bibliotheque Nationale. 
 
 1499— R., J. S.— Nottingham Lace Edgings. The Artist, March, 1900, London. 
 
 1500 — E., Mme. de — Traite de la dentelle aux fuseaux, dentelles de Mirecourt, de 
 Valenciennes, de Malines, de Flandre, de Bruxelles, de Venise, 1879. 
 
 1501 — Eamsey, A. E. — Masterpiece of Mary Queen of Scots. Ladies' Home Jour- 
 nal, V 17, p. 13, June, 1900. 
 
 1502 — Eapport general sur la situation de l'industrie et du commerce dans le 
 ressort de Saint-Nicolas, annee, 1872. 
 
 1503 — Easmussen, S. — Kloppelbuch. Eine Anleitung zum Selbstunterricht in 
 Spitzenkloppeln. Plates. 4to. Kopenhagen, 1884. S. K. M. 
 
 1504 — Easmussen, Sara — Notiser om Point de Venise og Point de Prance. Ticls- 
 skrift for Kunstindustri, 1889, Copenahagen. 
 
 1505 — Eeal Lace, A Hint to Collectors — The Connoisseur, November, 1905, Lon- 
 don. 
 
 1506 — Eeboul — Memoire historique sur le Tulle et les Dentelles mecaniques de 
 Calais, Preface de M. Passy. Calais, L. Fleury, 1885. 
 
 1507 — Eechami, de — Per elquale se impara in diversi modi, l'ordine el il modo 
 de recamare,etc. Eeprint. n.p. n.d. 
 
350 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 1508 — Eecueil faetiee de 126 planches de deutelles de broderie et points coupes. 
 En un vol. in-4. 
 
 1509 — Eedmond, L. M. — Lace in the Household. House Beautiful, V. 28, pp. 18- 
 20. June, 1910. 
 
 1510 — Eegnal, Georges — La cause de la vraie dentelle francaise. Simple Revue, 
 May, 1904, Paris. 
 
 1511 — Beiffenberg, di — Notice sur la Dentelle. Dictionnaire de la Conversation, 
 etc., au mot "Dentelle." 
 
 1512 — Eeiser, D. H. — -New Eussian Drawn-work. Ladies' Home Journal, V. 23, 
 p. 64, March, 1906. 
 
 1513 — Eenner, Henry — Zeichnungen fur Spitzen und Stickereien. Zurich, M. 
 Kreutzmann, 1911. 
 
 1514 — Eeusens — Album de l'art Ancien a, 1 'Exposition de Bruxelles, 1884. La 
 Dentelle Notice par le chanoine Eeusens. In folio de 7 pages de teste et 
 30 planches en phototypie reproduisant les plus beaux specimens des 
 dentelles qui ont figurees a 1 'Exposition. 
 
 1515 — Eevival of the European Lace-industry. Review of Reviews, V. 35, pp. 
 607-608, May, 1907. 
 
 1516 — Eevolte des Passements, 1660, La — By a friend of Mine, de Sevigne. 
 
 1516a-Eevue des Deux Mondes — L 'Industrie de la dentelle en Normandie, Ire 
 avril, 1900. 
 
 1517 — Eeynolds, L. A. — A Lesson in the Making of Honiton Lace. Art Workers' 
 Quarterly, V. 4, No. 13, pp. 40-43. 
 
 1518 — Ehead, G. Wolliscroft — History of the Fan in Ancient and Modern Times. 
 Magnificently illustrated with 27 full-page colored illustrations, 127 full- 
 page illustrations in black and white. London, 1910. 
 
 1519 — Eheden, Klaus von — Brabanter Spitzen. Velhagen & Klasings Monats- 
 hefte, Jahrg. 16, pp. 145-156. Bielefeld, 1902. 
 
 1520 — Ehone, Fabrication de la Dentelle dans le Departement du, et les departe- 
 ments limitrophes. (Maison Dognin et Cie.). 4to. Lyons, 1862. S. K. M. 
 
 1521 — Eiano, J. F. — Catalogue of the Art Objects of Spanish Production in the 
 S. Kensington Mus. (Class X. Lace.) 8vo. London, 1872. S. K. M. 
 
 1522— Eiano, J. F.— The Industrial Arts in Spain. (Lace). 8vo. (Lond.), 1879. 
 S. K. M. 
 
 1523 — Eibello — Trionfo di Virtv, Libro novo da cusir, nel qual si contengono 
 molti et diuerse sorti di f ogliami del quale ogni gentil et virtuosa Madonna 
 se potra servire. In far Ponti a fili, Ponti cruciati, ponti intrezola, ponti 
 instura, ponto scritto tirar in opera cuchiar, Terser e molti altri ponti 
 come a loro piacera. Ce titre est dans un cartouche ovale, forme de cuirs 
 enroules et decore sur les cotes de guirlandes de fruits et de fleurs. Au- 
 dessous une composition gravee sur bois. On voit a. gauche une femme de 
 la haute societe, assise sur une chaise de bois, dont le dossier est decore de 
 sculptures. D'une main, elle tient une etoffe posee sur) ses genoux, de 
 1 'autre elle indique un ouvrage pose sur les genoux d'une autre femme 
 assise pres d'elle a droite. Deux autres femmes completent cette composi- 
 tion. Celle qui est a, l'extremite de droite, a egalement sur ses genoux un 
 ouvrage representant des entrelacs et elle se penche a gauche pour regarder 
 
BIBLIOGRAPHY 351 
 
 le travail que fait sa eompagne. Le parquet est forme de carreaux blancs 
 et noirs et ou voit un panier en osier, contenant du linge et des etoffes. 
 Au fond un paysage. Au verso d'un page, une grande marque de libraire 
 gravee sur bois. Une femme a genoux de profil a droite, tenant des deux 
 mains devant elle un calice. Pres d'elle couchee par terre la Salnte- 
 Croix. Medaillon ovale, entoure d'une bordure sur laquelle on lit: Senza 
 di me l'buom fassi a dio Eibello. En tout un titre et 15 feuillets, done 16 
 feuillets dont 28 planches de broderies. B. M. 
 
 1524 — Ricami per Biancberia, 200 incisioni e testo esplicativo. Fratelli Trevas, 
 Editori. Milan. 
 
 1525 — Bicci, Elisa — Anticbe trine Italiane. Bergamo. Instituto Italiano d'Arti 
 Grafiche, 1908. B. M. 
 
 1526 — Bicci, Elisa — Old Italian Lace. 2 vols. London, W. Heineman. Phila- 
 delphia, J. B. Lippincott Co., 1913. 
 
 1527 — Ricci, Elisa — Peasant Art in Italy. Special Number of tbe International 
 Studio, 1913. 
 
 1528 — Bicci, E. — Revival of Needle-work in Italy. International Studio, V. 52, 
 pp. 197-206, May, 1914. 
 
 Bicci, E.— See Nos. 1324, 1364a, 1805a, 1813, 1894. 
 
 1529 — Ricci, Leone — Catalogue of tbe Leone Ricci collection of old Lace. Class- 
 ified, described and catalogued by Sara Hadley. New York, Metropolitan 
 Art Association, 1915. 
 
 1530— Riqbard, J. M.— Mahaut, Comtesse d'Artois, etc. (1302-1329.) (Needle- 
 work.) 8vo. Paris, 1887. S. K. M. 
 
 1531 — Rieger, F. — Rieger'sche. Modeles de broderie en noirs et enlumines. 
 (18 plates.) Obi. fob Mannheim. 1808. S. K. M. 
 
 1532 — Rieujeyroux, A. de — Traite de la Dentelle au Puseau. 1879. 
 
 1533 — Riotor, Leon — La concours de dentelles de 1 'Union Centrale des Arts De- 
 coratifs. L'Art decor atif, 1905, Paris. 
 
 1534 — Riotor, Leon — Les Dentelles de l'Ecole des Arts et Metiers de Vienne. 
 L'Art decor atif , October, 1900, Paris. 
 
 1535 — Ripley, C. — Lace and Lace Making, Court of the Connoisseur; the Lineage 
 of Laces. Good Housekeeping , V. 63, pp. 54-55, October, 1916. 
 
 1536 — Risa, Dr. A. — Schlesische Spitzen. Mittheil. des Kais. Fr. Jos. Museum 
 fur Kunst und Geiverbe. Troppau, 1899-1900. 
 
 1537 — Rizzardi, Gio. Dominico — Giardino, nel quale si dimostra varij. disegni per 
 far Ricami et altri lauori che con lago hoggidi si usano. Padoua. Gio. 
 Dominico Rizzardi, 1607. 32 feuillets y compris le titre et 3 feuillets de 
 dedicace et de vers a la signora Isabella Francazani Alecarda. Les 
 planches ainsi que le cartouche ornemente du titre sont imprimes seule- 
 ment au recto. Vente Santarelli. 
 
 1538 — Robie,V. — Quest of the Quaint. Bypaths in Collecting, 496-516. 
 
 1539— Robinson, F. Mabel— Irish Lace. The Art Journal, 1887, London, V. 39, p. 
 144. 
 
 1540 — Robinson, F. Mabel — The Lace School at Burano. The Magazine of Art, 
 April, 1884, London. V. 7, p. 257. 
 
352 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 1541 — Eobinson, F. Mabel — Old Venetian Point. The Magazine of Art. De- 
 cember, 1883, London. 
 
 1542 — Eobson, Isabel Stuart — England's Oldest Handicrafts — Hand-made Lace. 
 The Antiquary, July, 1898, London. 
 
 1543 — Bock, Dr. — Introduction to Textile Fabrics at South Kensington Museum. 
 
 1544 — Bock, Bev. Dr. — Textile Fabrics, a Descriptive Catalogue of the Collection 
 of Church Vestments, Dresses, Silk Stuffs, Needlework, and Tapestries, 
 in the South Kensington Museum. 20 full-page plates, some colored. Thick 
 royal 8vo. London, Published for the Committee, 1870. 
 
 1545— Bocker. E.— Crochet Doilies. Delineator, V. 79, pp. 222-223, March, 1912. 
 
 1546— Bocker, E.— Latest Crochet Collars. Delineator, V. 79, p. 338, Apr., 1912. 
 
 1547— Bocker, E.— Narrow Crochet Edgings. Delineator, V. 79, p. 143, Feb. 1912. 
 
 1548 — Bocker, E. — Venetian Lace Crochet. Delineator, V. 79, p. 65, Jan., 1912. 
 
 1549 — Boger-Milles — Comment discerner les styles! Etudes sur les formes et 
 les decors dans les objets d'art . . . dentelles, etc. Paris. Ed. Bouveyre, 
 n.d. 
 
 1550 — Boger-Milles — Comment discerner les styles? La Dentelle. Transforma- 
 tions progressives XVIe et XVIIe siecles. Paris, Ed. Bouveyre, n.d. 
 
 1551 — Bogge, Elizabeth, et A. von Saber — Tentoonstelling van Kunstnaaldwerk 
 in bet Museum van Kunstnijiverheid to Haarlem, 1904. Amsterdam, 
 Scheltema & Holkema, n. d. 
 
 1552 — Bomanelli-Marone, Giacinta — L'Arte delle Trine in Italia. II Secolo XX, 
 January, 1903. 
 
 1553 — Bomanelli-Marone, G. — Trine a Fuselli in Italia. Manuali Hoepli. Mi- 
 lano, 1902. B. M. 
 
 1554 — Bonaldson, Miss — Lady's Book of Crochet Work. 1848. 
 
 1555 — Bonse, Alfred — Discours prononce le 15 mars, 1884, au conseil communal 
 de Bruges. 
 
 1556 — Bosevear, E. — A Manual of Needlework and Knitting. 136 pages. Lon- 
 don, 1894. In British Museum. 
 
 1557 — Bosevear, E. — Needlework, Knitting and Cutting Out. London, 1894, 3 
 parts. In British Museum. 
 
 1558 — Bosevear, E. — Needlework and Knitting for Older Girls, etc. 3 parts, 
 London, 1894. B. M. 
 
 1559 — Botherham, Jeremiah & Co. — Lace curtains : new designs for 1898. Lon- 
 don, (1898). la. 8vo. 
 
 1560 — Bottigni-Marsilli, Ctessa G. — Una grande Industria Artistica Italiana. I 
 Merletti di Venezia. L' Italia Moderna, 1904, No. 6, Borne. 
 
 1561 — Bottigni-Marsilli, Giannina! — Seritti Vari. Borne Union Coop. Editrice, 
 1896. 
 
 1562 — Bouaix, P. — Dictionnaire des Arts decoratifs a, 1 'usage des artisans, etc. 
 (Broderie et Dentelle.) 8vo. Paris, 1886. S. K. M. 
 
 1563 — Bouaix, P. — Les Styles. 700 gravures classees par epoques. (Embroid- 
 ery) fol. Paris, 1886. S. K. M. 
 
 1564 — Bousseau, Eugene — Dans la Cite binchoise. L 'Industrie de la dentelle. Le 
 Peuple, Sept. 12, 1904, Brussels. 
 
 1565 — Boyal Trousseaux — The Lady's Realm. September, 1889, London. 
 
BIBLIOGRAPHY 353 
 
 1566 — Euelle, Jehan — Patrons pour Brodeurs, Lingieres, Massons, Verriers et 
 autres gens d'espirt, nouvellement, Imprime a Paris, Par Jehan Euelle. 
 Encadrement du titre absoluruent le meme que dans P No. 1567. Le titre 
 est egalement le meme. Page non cotee, au verso trois petites gravures sur 
 bois, tires de la Vie de Notre-Seigneur. En liaut, les fernmes au Saint- 
 Sepulchre. En bas a gauche Jesus apparaissant a ses disciples, a droite 
 Jesus et les compagnons d'Emmaiis. En tout un titre, et 23 feuillets dont 
 31 planches de gravures. See No. 1429. B. M. 
 
 1567 — Euelle, Veuve Jean — Patrons pour Brodeurs, Lingieres, Massons, Ver- 
 riers et autres gens d'Espirt. A Paris, pour la Veuve lean Euelle, Eue 
 S. Jacques a Penseigne Sainct-Nicolas. Ce titre est inscrit dans un rec- 
 tangle en hauteur, entoure de trois filets et encadre par un entourage de 
 cuirs roules et de rinceaux. De chaque cote de cette composition, une 
 femme en cariatide, portant sur sa tete un chapiteau, sur lequel s'appuie 
 la base d'une arcade ogivale. Sur ces chapiteaux se voient egalement une 
 petite femme assise, tenant d 'une main une plume, de 1' autre un livre 
 ouvert. En bas, au milieu, un mascaron, entre deux petits enfants et des 
 chimeres grotesques, portant sur leurs tetes des couronnes a pointes. En 
 tout, un titre et 23 feuillets dont 31 planches de gravures. Bib. de P Arsenal. 
 11,954 (with D. de Sera.) See No. 1429. Bibliotheque de P Arsenal. 
 
 1568 — Euelle, V. Jean — Pattern Book, Paris, 1564, 23 pages, 32 plates. See No. 
 1429. 
 
 1569 — Eupprecht, M. A. and Haffner, J. C. — Verschiedene Modell zum Strick- 
 en und Nahen. Obi. 4to. Augspurg, n.d. (18th century). S. K. M. 
 
 1570 — Buutz-Bees, J. E. — Home decoration; art needlework and embroidery, 
 etc., 8vo. N. Y., 1881. Another edit. 8vo. N. Y. 1884. S. K. M. 
 
 1571 — Eyland, Clarice, at Handsworth — Col de dentelle. Projet d'un voile de 
 mariage. Art applique, 2e annee, Paris. 
 
 1572— S., A. M. (Mary Sharp)— Point and Pillow Lace. E. P. Dutton & Co., 
 London, 1899. B. M. 
 
 1573— S., A. M.— Point and Pillow Lace. Nation, V 70 p. 18, Jan. 4, 1900: 
 Athenaeum, V. 2, pp. 651-652, Nov. 17, 1900. Magazine of Art, V. 25, 
 pp. 227-230, March, 1901. See Sharp, Mary. 
 
 1574 — S. — M. de — Epaulettes de Dentelle. Journal des Dames et des Demoiselles, 
 March 1, 1902, Brussels. 
 
 1575 — S., E. M. — Nuw Modelbuch, allerley gattungen Dantelschnur so diser zyt 
 in hoc Tiitschlanden geng und briichig sind zu vnderricht jven Leertoch- 
 teren vnnd alien anderen schurwiirkeren zu Ziirych, vnd wo die sind, yetz 
 nuwlich zubereit, vnd estmals in Truck, verfergket durch E. M. S. Petit 
 in-4°. 24 ff. Tres rare. Sorti probablement des presses de Froschovern. 
 Les 2 ff. liminaires, contiennent le titre avec une gravure representant 
 deux dames faisant de la dentelle, et une preface. Les feuillets I a XIX 
 chiffres, contiennent de nombreux modeles graves sur bois et les trois 
 derniers la table. Catalogue Tross, 1870. New Modelbuch. "Printed at 
 Zurich, by Christoph. Froschowern. About The year, 1560." 
 
 M 
 
354 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 S. — E. M. see M ,— E. 
 
 1577 — S., T. E. D. — Buckinghamshire Lace. Atalanta, November, 1896, London. 
 1578 — Sachs, Phyllis G., at London — Projet de col et barbe. Art applique, Ire 
 
 annee, Paris. 
 1579 — Sainte-Croix, Dr. Le Eoy de — Parement d'Autel ancien en Dentelle et 
 
 Broderie, appartenant a Mrs. Hailstone. 8vo. Wakefield and Paris. 1874. 
 
 S. K. M. 
 
 1580 — Sainte Lucie, Pierre de — La fleur des patrons de lingerie a deux endroits, 
 a point croise, a point couehe et a point picque en fil d'or, fil d 'argent 
 et fil de soye ou aultre en quelque ouuraige que ce soit en compre- 
 nant Part de broderie et tissuterie. Imprimees a Lyon en lai maison de 
 Pierre de Sainte Lucie, diet le Prince pres Nostre dame de Confort. In-4°. 
 Ce titre est dans un encadrement absolument pareil a celui qui est decrit 
 ci-dessus. La seule difference est que cette premiere page n'est pas 
 cotee A comme elle Pest dans L 'edition ci-dessus et qu'il y a au 
 verso un dessin de broderie. Page non cotee, verso. Au verso de 
 cette page, une marque d'imprimeur, representant un rocker, sur- 
 monte d'une ville forte. A gauche un honrme cherche a monter le 
 chemin escarpe qui mene a cette ville. Pres de sa bouche on lit le mot 
 spero. A droite dans une grotte, une furie la tete et les bras entoures de 
 serpents. Au-dessous de cette marque: Imprime a Lyon par Pierre de 
 saincte Lucie diet le Prince, 1549. 8vo, 12 ff., 21 plates. Frontispiece. 
 Title in Gothic letters, with woodcuts representing people at work. Below 
 two women sitting at frames ; above, two others ; and between, a man with 
 a frame in his hand. On each side a shield, one with crowned heart, 
 on the other a lion, three fleurs de lys in chief. Patterns mediaeval.. Sil- 
 vestre gives 1530 to 1555 as the date of Pierre de Saincte Lucie. Voila 
 done dit M. le marquis d'Adda, dans sa bibliograpkie, le premier volume 
 de ce genre imprime a Lyon et anterieur de 36 ans a l'ouvrage d'Ostaus, 
 Tresor des Patrons, que M. Alvin nous donne non seulement pour le pre- 
 mier livre sur ces matieres publie a Lyon, mais encore pour le premier en 
 date de toute la France. Bound in one volume witk tke tkree following. 
 (Nos. 16, 17 and 18.) — Catalogue des Livres provenant de la Bibliotkeque 
 de M. L. D. D. L. V. (Duke de La Valliere). Paris, 1763. T. xi., No. 
 2,204. Bibliotkeque Sainte-Genevieve. 
 
 1581 — Saincte Lucie, Pierre de — Lyure nouueau diet patrons de lingerie: e'est 
 assauoir a deux endroitz, a point croise, point coucke, et point picque en 
 fil d'or, d 'argent, de soye et aultre en quelque ouurage que ce soit: en 
 comprenant Part le broderie, et tissuterie. On les vend a Lyo ckez Pierre 
 de Saicte Lucie, pres. nostre Dame de Confort. C'est absolument le 
 meme exemplaire que celui de Pedition de Claude Nourry decrit ci-dessus 
 menie nombre de pages, merries dessins de broderies, memes cotes par ca- 
 hiers de 4 pages. Au verso de la derniere page la marque d'imprimeur 
 est differente. Ici c'est une sorte d'Ecusson dans une couronne de bran- 
 chages ; au-dessous de cette couronne et enlacee avec elle une banderole sur 
 laquelle on lit: Oculi mei semper ad Dominum. Psal. 24. Au bas une 
 main tenant un bassin circulaire dans lequel on voit deux yeux. 40 wood- 
 
BIBLIOGRAPHY 355 
 
 cut lace designs, engraved title, and printer's mark, 16tn century. 8vo. 
 Lyons, n.d. See also Belin, A. S. K. M. 
 1582 — Saincte Lucie, Pierre de — Livre nouueau diet patrons de lingerie, e'est 
 assauoir a deux endroitz a point croise, point couche et point picque en fil 
 d'or, d 'argent, de soye et aultre en quelque ouvrage que ce soit, en com- 
 prenant l'art de bro'derie et tissoterie. Imprime a Lyon, chez Pierre de 
 Saincte Lucie, pres Nostre Darne de Confort. In-4°. Ce titre est dans 
 un eneadrement absolunaent pared a celui de l'edition de Claude Nourry. 
 La seule difference est que cette page n'est pas cotee A comnie dans la sus- 
 dite edition, et qu'il y a ici au verso un dessin de broderie. Les cotes des 
 pages sont exactinent les merries, et leur nombre egalement. Au verso de 
 la derniere page, une marque d'imprirneur representant un rocher sur- 
 monte d'une vide fortifiee. A gauche un homme cherche a monter le che- 
 min escarpe qui mene a cette ville. Pres de sa bouche on lit le mot : Spero. 
 A droite dans une grotte, une furie, la tete et les bras entoures de serpents. 
 8vo, 24 ff., 41 plates. Frontispiece. Title in Gothic letters ; the same 
 shields; two women at work. Patterns medieval. At the end the same 
 device. The copy of the Arsenal is a different impression. Instead of 
 "Imprimes," &c, we have, "On les vend," etc. Cat. d'Estrees. Bib. 
 de 1 'Arsenal. Bib. Sainte Genevieve. 
 
 1583 — Sainte Lucie, Pierre de — 
 
 Patrons de diuerses manieres, 
 Inuentez tres subtilement 
 Duysans a Brodeurs et Lingieres, 
 Et a ceux lesquelsz bravement 
 Veullent par bon entendement 
 User d 'antique et Eoboesque 
 Frize et moderne proprement 
 En comprenant aussi moresque, 
 A tous massons, menuisiers et verriers, 
 Feront proffit ces pourctraitz largement 
 Aux orpheures et gentilz tapissiers 
 A ieusnes gens aussi semblablement 
 Oublier point ne veulx aucunement 
 Contrepointiers et les tailleurs d'ymages. 
 Et tissotiers lesquels pareillement 
 Par ces patrons acquerront heritages. 
 
 Imprimees a Lyon par Pierre de Sainte-Lucie, diet le Prince, pres Nos- 
 tre -Dame de Confort. Ce titre est dans le meme eneadrement que celui 
 decrit ci-dessus avec cette difference que la page n'est pas cotee AA, 
 comme elle Pest dans l'edition ci-dessus. Non cotee. S'ensuyent les Pa- 
 trons de Messire Antoine Belin reclus de Sainct Martial de Lyon. Item 
 plusieurs autres beaux patrons nouueaulx qui ont ete inventez par Jehan 
 Mayol Carme de Lyon. On les vend a Lyon chez le Prince. Ce titre est 
 dans un eneadrement forme de deux collonnes autour desquelles tourne 
 un rinceau de feuillage. Au milieu de la page une marque d'imprirneur 
 
 [ representant un rocher surmonte d'une ville fortifiee. A gauche un 
 
356 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 homme cherche a monter le chemin escarpe qui mene a cette ville. Pres 
 de sa bouche on lit le root : Spero, a droite dans une grotte, ime f urie, la 
 tete et les bras entoures de serpents. Au verso un quadrille, sans des- 
 sin de broderie. 8vo, 16 ff., 31 plates. Title in Gothic letters. Patterns 
 mediaeval. The copy at the Arsenal is a later impression. ' ' On les vend 
 a Lyon, par Pierre de Saincte Lucie, en la maison du deffunct Prince, 
 pres," etc. It has only 12 ff., and 23 plates. Bibliotheque de Sainte-Ge- 
 nevieve. 
 
 1581 — Sainte Lucie, Pierre de — 
 
 Patrons de diuerses manieres, 
 Inuentez tres subtilement 
 Duysans a Brodeurs et Lingieres, 
 Et a ceux lesquelsz bravement 
 Veullent par bon entendement 
 User d 'antique et Eoboesque 
 Frize et modeime proprement 
 En comprenant aussi moresque, 
 A tous massons, menuisiers et verriers, 
 Peront promt ces pourctraitz largenient 
 Aux oi - pheures et gentilz tapissiers 
 A ieusnes gens aussi semblablement 
 Oublier point ne veulx aucunement 
 Contrepointiers et les tailleurs d'ymages. 
 Et tissotiers lesquels pareillement 
 Par ces patrons acquerront heritages. 
 On les vend a Lyon, par Pierre de Saincte Luck\ 
 En la maison du deffunct Prince, pres Nostre-Dame de Confort. 
 Quelques exemplaires portent au lieu des trois dernieres ligncs ci-dessus-: 
 Imprimees a Lyon par Pierre de Sainct-Lucie, diet le Prince, pres Nostre- 
 Dame de Confort. C'est absolument le nieme livre que celui decrit ci-des- 
 sus, sauf les differences dans Pen once du titre. Bibliotheque de L 'Ar- 
 senal. 
 — Nos. 1580-1584 bound in 1 vol. Ellis (London) Cat. No. 177, 1918. 
 
 1585 — Sainte Lucie, P. de — Patrons de divers manieres, etc. Sm. obi. 4to. 
 Lyons, Pierre de Ste. Lucie, 1590. 11 tracings of these patterns by C. E. 
 Clerget. S. K. M. 
 
 1586 — Sainte Lucie, Pierre de — La vera perfettione del disegno, di varie sorti 
 di recami, et di cucire ogni sorte di punti a fogliami, punti tagliati, punti a 
 fili & rimessi, punti incrociati, punti a stuora & ognaltre arte che dia opera 
 a disegni a di nuovo aggiuntoui varie sorti di merli, e mostre che al pre- 
 sente sono in vso pratica. In Venetia Appresso Francesco di Franceschi, 
 senese all' insegna della Pace, 1591. In-4° oblong. Sur le titre un neuron, 
 representant une femme assise, tenant d'une main une branche d'olivier, 
 de l'autre une torche allumee dont la flamme repose sur le sol. Dedicace: 
 Alia Clarissima signora Lvcretia Contarini. Verso, une gravure sur bois, 
 representant Lucrece Romaine entouree de ses femmes. A droite un guer- 
 rier dans une porte. Signee en bas a gauche dans l'interieur du dessin; 
 
BIBLIOGRAPHY 357 
 
 Jose Sal. 1557. (Joseph. Salviati, plus connu sous le noni de Porta Grar- 
 fagnino.) Deux sonnets en regard l'un de 1 'autre. Celui de gauche: 
 Alia Clarissima signora Lucrecia Priuli. Celui de droite: Sonetto alle 
 saggie et Virtuose donne. Verso, preface aux lecteurs : Alii saggi et 
 giuditiosi lettori. La derniere page non cotee, mais numerotee LXXVIIII, 
 a au verso : Eegistro, ABODE Tutti sono quaderni. Puis au-dessous 
 un cartouche dans lequel on voit la Paix personnifiee par une femnae te- 
 nant d'une main une branche d'olivier, de 1 'autre une torche, la fiamme ren- 
 versee. Au-dessous on lit : In Venetia M D X C. Cette date ne concorde 
 pas avec celle du titre. II pourrait done se faire qu'il y ait eu une edition 
 anterieure en 1590. 73 planches de broderies. Catalogue Yemenitz. Cat- 
 alogue Riva. Bibliotheque de L 'Arsenal. Bibliotheque Nationale. 
 
 Sainte Lucie — See A. Belin and Johan Troulon. 
 
 1587 — Salwen, Ebba — Russische Frauenarbeiten. Plauen, C. Stoll, 191(f). 
 1588 — Sammlung neuer Muster zuni Sticken in Plattstich und Tambourin gez- 
 eichnet von einer Hamburgerin. 1822, 1824, 1827 und 1828. Mit zus. 66 
 Taf. in Kpfst. Qu.-fol. Hamburg. 
 1589 — Sammlung von Spitzenmustern nach Originalen des XIV., XV. und XVI. 
 
 Jahrhunderts. Berlin, Ernst Wasmuth, 1882. 
 1590 — Samplers of our Lovely Ancestresses. Booh Buyer, V. 22, pp. 216-220. 
 
 April, 1901. 
 1591 — Saunier, Charles — Broderies et Dentelles. L'Art decoratif, August, 1891, 
 
 Paris. 
 1592 — Saward, Blanche C. — Church Festival Decorations, and papers on fancy 
 and art work in The Bazaar, Artistic Amusements, The Girl's Own 
 Paper. 
 1593 — Scailquin — Enquete scolaire sur l'enseignement professionnel et litteraire 
 donne dans les ateliers d'apprentissage et les ecoles dentellieres. Brus- 
 sels, 1884. 
 1594 — Scantlebury, E. E. — Old and Bare Samplers. House Beautiful, V. 32, pp. 
 
 138-139, October, 1912. 
 1595 — Schaarschmidt, M. — Ornamentik der Gegenwart. Plauen, n.d. One vol., 
 
 oblong folio, original boards. 24 plates with 2, 3 or 4 designs in colors. 
 1596 — Schartzemberger, Johan — 
 
 Ain New Formbiichlin bin ich gnandt 
 Allen Kiinstlern noch vnbekandt 
 Sih mich. lieber Kauffer recht an 
 Findst drefflich, in dieser Kunffstan, 
 Schon gsehnierlet gebdglet, auf glade, 
 Und gold auch schon vos premen stadt. 
 Es gibt dir ain prem umb ain Kleydt. 
 Wenn mans recht aussainander schneydt 
 Das kanst schneyden auss der Ellen 
 Von Samat Seyden wie mans wolle, 
 Ich mag braucht wern in allem landt, 
 Wenn man mich ersucht mit verstandt. 
 One volume petit in-8° oblong. Le titre ci-dessus est au millieu de la page 
 
358 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 dans un rectangle blanc entoure en haut et sur les cotes de rinceaux. On 
 remarque en haut a gauche les armes d'Autriche, a droite celles d'Espag- 
 ne. En bas trois compartirnents formes par des arcs surbaisses repo- 
 sant sur des colonnes. Dans celui de gauche, une feinme travaillant a un 
 petit metier de basse lisse, dans celui du milieu un homme brodant, dans 
 celui de droite deux femmes travaillant a 1 'aiguille. Tout l'exemplaire 
 est compose de planches ou le dessin est en blanc, s'enlevant sur un fond 
 rouge brique. Le texte, les explications et la notice sont imprimes en 
 noir. Gedruekt in der Keiserlichen Reickstatt Augsburg durch Johan 
 Schartzemberger Formschneyder 1534. 20 feuillets non cotes et 38 plan- 
 ches de broderies. Graceful arabesque borders. Bibliotheque Nationale. 
 
 1597 — Schinnerer, L. — Lehrgange fur Weisstickerei und Knupfarbeit nebst ein- 
 em Anhang stilvoller Handarbeiten. Stuttgart, Deutsche Verlags An- 
 stalt, 1893. 
 
 1598 — Schirek, Carl — Zur Gesehiehte der Spitzenerzeugung in Mahren. Mittheil. 
 des Mahrischen Geiverbe Museums in Brunn, 1895, No. 7. 
 
 1599 — School of Art Needlework, South Kensington — Cat. of special exhib. of 
 Needlework. 8vo. Lond., 1881. S.K. M. 
 
 1600 — Schorn, 0. von — Die Spitzen geschichtliches und technisches. Kunst 
 und geiverbe, Vol. VIII., p. 331. 4to. Niirnberg, 1874. S. K. M. 
 
 1601 — Schramm, E. K. — Die alte Tondernsche Spitzenindustrie. Daheim, April 
 15, 1905, Leipzig. 
 
 1602 — Schroedter, A. — Neue Muster fur Schnur Stickerei, 4to. Frankfurt, 
 n.d. S. K. M. 
 
 1603 — Schultz, C. F. — Sammlung der "Wertvollstern Spitzen Ostreichischer Par- 
 amento. Plauen, C. F. Schultz & Co., 1907. 
 
 1604, Schultz, H. — Muster-Sammlung alter Leinen-stickerei. Sm. 4to. Leipzig. 
 1887. S. K. M. 
 
 1605— Schiitte, Marie— Alte Spitzen. Berlin, R. C. Schmidt & Co., 1914. 
 
 1606 — Schiitte, Marie — Alte Spitzen, am Anlass der Spitzenausstellung im staed- 
 tischen Kunstgewerbe Museum zu Leipzig 1911 herausgegeben. Three 
 large portfolios with superb plates. 
 
 1607— Scott, Anna Dike— The A. D. Scott Collection of Old Lace, a Catalogue. 
 Boston, Thomas Todd, 1905. 
 
 1608— Scott, E.— Flowers in Point Lace. Pub. by Win. Barnard, obi. 4to. 
 Lond., (1873). S. K. M. 
 
 1609 — Scott, Gladys Annie, at Londonderry — Projets de dentelles modernes. 
 Art applique, 2e annee, Paris. 
 
 1610— Search for Old Lace in Venice, A— The Catholic World, March, 1876, New 
 York. 
 
 1611 — Sebillot, Paul — Legendes et curiosites des metiers — Les Dentellieres. Paris, 
 Ern. Flammarion, n.d. 
 
 1612 — Sedeyn, Emile — La Dentelle Francaise au Musee Galliera. L'Art decoratif, 
 May, 1904, Paris. 
 
 1613 — Sedgwick, Miss — A series of upwards of 160 original pen and ink draw- 
 ings of designs for lace, in various styles, 1828, 
 
BIBLIOGRAPHY 359 
 
 1614 — Seemann, E. U. — Em new Modelbiicli, etc. durch Heinrich Steyner. Augs- 
 burg, 1534 — Facsimile edition, Leipzig, E. U. Seemann, 1889. 
 
 Seemann Reproductions — See Nos. 1614, 1714. 
 
 1615 — Seguin, J. — La Dentelle, histoire, description, fabrication, bibliograpbie. 
 Woodcuts and 50 Phototypograpbic plates, fol. Paris, 1875. S. K. M. 
 
 1616 — Seguy, E. A. — Ornamentation for Textiles. Paris, n.d. One vol. folio, 
 original boards. 20 plates in black and colors, with 4, 6, 8 or 9 designs. 
 
 1617 — Seigfried, L. M. — Braids for Lace-Making. Harper's Bazaar, V. 33, pp. 
 2262-2263, Dec. 29, 1900. 
 
 1618 — Seigfried, L. M. — Lace-making. Harper's Bazaar, V. 35, pp. 176-177, 
 June, 1901. 
 
 1619 — Seigfried, L. M. — Lace-making as an Art. Harper's Bazaar, V. 33, pp. 
 1403-1407; V. 34, pp. 246-247; pp. 1002-1003, Sept. 29, 1900, Jan. 26, 
 1901, Apr. 13, 1901. 
 
 1620— Seigfried, L. M.— Lace Work. Harper's Bazaar, V. 38, pp. 814-816, Aug- 
 ust, 1904. 
 
 1621 — Seillac, Leon de — La Greve des Tullistes de Calais. Musee social, No. 4, 
 1901, Paris. 
 
 1622 — Selmersheim, Mine. Pierre, at Paris — Cols et empiecements en dentelle et 
 broderie. Art applique, Ire annee, Paris. 
 
 1623 — Senneville, P. — Patrons de broderies. Gazette des Beaux-Arts, 1873, 
 Paris. 
 
 1624 — Sera, Domenico da — Libbretto novellamete coposto p. maestro Domenico 
 da Sera detto il Franciosino : dove si appara et insegna a tutte le nobili et 
 leggiadre giovanette di lavorare di ogni sorte di punti : Cusire, reccamare, 
 et ultimatamete far tutte qlle vaghe et belle opere : che si appartegono alle 
 vertuose et lode voli fanciulle : et quai se diletta no di far con le sue mani 
 alcuna gentilezza : et oltre dicio il detto libretto e molto utile a gli tessadri ; 
 che sogliono lavorare di seta. Stampato in Leone, MD et XXXII, del 
 mese Aprile. In-4° gothique. Ce titre est inscrit dans le milieu de la 
 page, voir le n° ci-clessus pour la description des gravures sur bois qui 
 ornent ce titre. Ce sont iclentiquement les memes. Verso, l'avis au lec- 
 teur au-dessous duquel on voit trois petites gravures sur bois. Celle de 
 gauche represente un carre dans lequel on voit une rose, celle de droite un 
 carre dans lequel on voit un ceillet de poete. Celle du milieu est un ecus- 
 son avec une croix et le monogramme de Dominique de Sera. Au verso 
 d'une page, une ballade - de 28 vers avec le refrain: A gens qui besongnent 
 de l'aiguille. Au-dessous de la Ballade, la devise: Mieulx que jamais. Et 
 au-dessous: Imprime a Lyon, L'an de grace mil cinq cens trente et deux, 
 le xij jour du mois d'auril. Domenicus de Celle fecit. 40 planches de 
 broderies. Edition inconnue d'un ouvrage infiniment rare, dont Brunet 
 n'indique qu'une edition de 1583 avec un titre en Francais cite par Du Ver- 
 dier. Vente Benedetto Maglione, Paris, 1894. 
 
 1625 — Sera, D. de — Le livre de Lingerie, compose par Maistre Dominique de 
 Sera, Italien, enseignant le noble & gentil art de l'esguille, pour besong- 
 ner en tous points : utile & profitable a toutes Dames & Damoyselles, pour 
 passer le temps, & euiter oysivete. Nouvellement augmente, & enrichi, de 
 
360 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 plusieurs excelents & divers patrons, tant du point coupe, raiseau, que 
 passement, de 1 'invention de M. Jean Cousin, Peintre a Paris. A Paris. 
 Chez Hierosme de Marnef, & la veufve de Guillaume Cauellat, au mont 
 S. Hilaire a l'enseigne du Pelican. 1584. Avec privilege du Roy. In the 
 Cat. d'Estrees, No. 8848, is Livre de Pourtraicture de Jean Cousin. 
 Paris, 1637, in 4 fig. 4to, 28 ff., 51 plates of mediaeval design. Frontis- 
 piece, three women and a child at work, on each side of the title a man 
 and a woman at work under a trif oliated canopy. He gives at least eighty 
 designs for the use and singular profit of many, "homines tant que fem- 
 mes." Below, "Finis coronat opus." Then follows a "Balade" of 28 
 lines. On the last page, the impresa of Cavellat, a pelican in its piety, 
 "Mors in me vita in me." Bih. de 1 'Arsenal. 
 
 1626 — Sera, D de. — Opera nouva, doue si insegna a tutte le nobili et leggiadre 
 giovanette di lavorara di ogni sorte, di punti, cusire, reccamere, . . . 
 Vinet. M. Pagan et Gr. da Fontaneto di Monferrta, 1543. 4°. Title and 
 38 cuts. 
 
 1627 — Sera, D. de — Opera nova, etc. 1543. Ongania Reproduction of No. 1626. 
 
 1628 — Sera, Domenico da — Fede Opera Noua composta per Domenica da Sera, 
 detto il Franciosino : dove si insegna a tutte le nobili et leggiadre gio- 
 uanette di lauorare di ogni sorte di punti : Cusire, Recamare, et far tutte 
 qlle belle opere, che si appartengono alle virtuose fanciulle: e qual si di- 
 lettano di far co le sue main alcuna gentillezza, et canchora, molto vtile a 
 gli tessadri che fogliono lauorara di seta, stampato in Venegia per Matio 
 Pagan, sta in Fregeria e Oulielmo da Fontaneto di Monferrato 
 MDXXXXVI. Petit in-4°. Ce titre est inscrit sur une draperie decoree 
 en bas par une bordure de petits glands et fixee en haut par trois nceuds 
 a un encadrement forme de rinceaux, en haut duquel on voit une petite 
 figure de femme representant la Foi, agenouillee de profil a gauche et te- 
 nant des deux mains devant elle un calice surmonte d'une hostie. Sur les 
 cotes des petits amours debout ou assis sur les rinceaux. Dans le bas une 
 tablette rectangulaire. Sur cette tablette on voit a droite une femme trav- 
 aillant a un metier de basse lisse. A gauche une autre femme assise, 
 ayant un ouvrage de broderie sur ses genoux et mesurant avec un compas, 
 un modele que lui presente une femme debout devant elle. Au haut de ce 
 titre, au-dessus de 1 'encadrement au milieu le mot Fede. En resume 24 
 pages dont 46 planches de broderies. Domenico da Sera, publia des 1532 
 a Lyon un recueil de patrons de dentelles. Vente Destailleurs, n° 1623 
 du catalogue. II y aurait une premiere edition en 1543. Voir catalogue 
 Pirovano, Rome, 1901. Vente Destailleurs, 1895. 
 
 1629 — Sera, Domenico, da — Opera noua composta per Domenico da Sera detto il 
 Franciosino : doue si insegna a tutte le nobili & leggiadre giuanette di 
 lauorare di ogni sorte di puti: Cusire: Recamare, & jar tutte qlle belle 
 opere : che si appartengono alle virtuose fanciulle e quarsi dilettano di far 
 co le sue mani alcuna gentilezza & e anchora molto vtile a gli tessadri che 
 sogliono lavorare di seta. Stampato in Vinegia per Matio Pagan sta in 
 frezeria e Gulielmo da Fontaneto di Monferrato. M.D.XXXXVI. 4°. — 
 leaves. Small, 45 plates. Reprinted by Ongania in 1879. 
 
BIBLIOGRAPHY 361 
 
 1630 — Serena — Opera nova di recami (punti in chiaro e punti a filo). 1564. 
 
 1631 — Serena — Opera nova di recami nello quale si ritrova varii & diverse sorte 
 di pnnta in stnora & punti a filo. 1564. Ongania Eeproduction, 1879. 
 
 1632— Sharp, Mary— Point and Pillow Lace. London, J. Murray, 1905. B. M. 
 See S., A. M. 
 
 1633 — Shepard-Wolff, Hanna MacLaren — Photographs of lace handkerchiefs 
 made by Mrs. Shepard-Wolff, who spent 3,000 hours in the work finished 
 in 1910. 16x16 inches, mounted. 
 
 1634— Sherren, E. F.— The Art of Torser. 1849. 
 
 1635 — Shoninger Bros. — Government inquiry of alleged undervaluations in lace 
 cases being made. N. Y. Times, May 28, VII, 6 :6. 
 
 1636 — Shorleyker, Richard — Here f oloweth certaine patternes of Cut-workes : 
 newly invented and never published before. Also sundry sorts of spots, 
 as flowers, Birdes and Pishes &c. and will fitly serve to be wrought, some 
 with Gould, some with silke, and some with crew ell, in coullers: or other- 
 wise at your pleasure. And never but once published before. London 
 Printed in Sho-lane at the signe of the Faulcon, by Rich. Shorleyker. 4°. 
 Title, 24 leaves, cuts; 1 p. conclusion. Musee Royale, Brussels. 
 
 1637 — Shorleyker, Richard — Here followeth certaine patternes of Cut-workes; 
 and but once Printed before. Also sundry sorts of Spots, as Flowers, 
 Birds, and Fishes, &c, and will fitly serve to be wrought, some with Gould, 
 some with Silke, and some with Gewell or otherwise at your pleasure. 
 London: Printed in Shoe-lane, at the signe of the Faulcon, by Rich- 
 ard Shorleyker. 1632. Obi. 4to. The copy in the Bodleian is probably due 
 i to the above. It has no date and varies in title: "Newly invented and 
 never published before," with "crewell in coullers," etc; and "Never but 
 once published before." Printed by Richard Shoreleyker. 33 patterns 
 and title. In the possession of Mrs. Marryat. "Maes y dderwen." — Bib. 
 Bodleian. 
 
 1638 — Shorleyker, Richard — A Schole-House for the Needle : Teaching by sun- 
 dry sortes of patterns and examples of different kindes, how to compose 
 many faire workes : with an addition, newly invented : placed in the be- 
 ginning of the second booke, which being set in order and form, accord- 
 ing to the skill & understanding of the workwoman ; will no doubt yeeld 
 profit unto such [as] live by the Needle, and give good content to adorne 
 the worthy. London Printed in Sho-Lane at the Faulcon by Richard 
 Shorleyker, 1624. (On the second title) And are to be sould by John Gres- 
 niand in Paules-alley at the sign of the Gunne. 4°. 2 titles, 6 pp. intro- 
 duction, dialogue in verse, 32 leaves, cuts. Musee Royale, Brussels. 
 
 1639 — Shorleyker, Richard — A Schole Howse for the Needle. Teaching by 
 sundry sortes of patterns and examples of different kindes, how to com- 
 pose many faire workes ; which being set in order and forme according to 
 the skill and understanding of the workwoman will, no doubt yield profit 
 unto such as live by the needle and give good content to adorne the worthy. 
 London printed in Shoe Lane at the "Faulcon" by Richard Shorleyker, 
 1632. To the Reader. Gentle Reader, I would have you know that the Diver- 
 sities of Examples which you shall find in this " Schoole-howse for the 
 
362 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 Needle" are only but patterues which serve but to helpe and inlarge your 
 invention. But for the disposing of them into forme and order of Workes 
 that I leave to your own skill and understanding. And againe for your 
 behoafe I have in the end of this booke made two scales or checker pat- 
 terues which by enlarging or contracting into greater or lesser squares 
 you may enlarge or make lesser any of the saide patterues and examples 
 in the booke or any other whatever. 
 
 1640 — Shrimpton, L. — How to Know Good Embroideries. Country Life. V. 23, 
 pp. 59-60, January, 1913. 
 
 1641 — Sibmacher, Johann (Reeueil de modeles pour le broderies et la tapis- 
 serie) sans lieu ni date-li-4° oblong, cartonne. Ce volume, incomplet des 
 2 premiers et du dernier feuillets fait partie de 1 'edition de 1597, II ren- 
 ferme encore 2 feuillets de texte et 34 planches de modeles differents de 
 ceux donnes dans le recueil ci-apres. Allemagne. Foulc Sale, June, 1914, 
 No. 371, 110 frs. 
 
 1642 — Sibmacher, J. — Modelbuch in Kupfer gemacht. Nuremberg, 1601. In-4°. 
 Premiere edition de cet ouvrage. Jean Sibmacher le graveur en avait 
 publie deja un autre en 1597. Bibliotheque Eoyale de Bruxelles. 
 
 1643 — Sibmacher, J. — Modelbuch in Kupfer gemacht, etc. (Copper-plate en- 
 gravings' for lace latterns, etc., 19 plates only.) Obi. 4to. Niirnberg, 
 1601. S. K. M. 
 
 1644 — Sibmacher, J. — Modelbuch in Kupfer gemacht Nurmberg, bei Michel Kuis- 
 ner, 1601, by J. Sibmacher. The Victoria and Albert Museum possesses a 
 copy of this edition in a contemporary binding of leather, stamped with 
 small running ornament, a central arabesque, and the words Modelbuch — 
 1601. Brussels, Bib. Roy.— 8847. 
 
 1645 — Sibmacher, Johann — Newes Modelbuch In Kupffer gemacht darinen aller- 
 hand'arth newer model von dun mittel, vnd dick aufzgeschidener arbeit 
 auch andern kunstlichen Nehwerck zu gebrauchen mit uleisz Inn driick ver- 
 fertigt. Mit. Rom. Kay. May Freyheit. Nurnberg, MDCI (1601). 
 In-4" oblong. Ce titre est dans un cartouche, decore de mascarons, de 
 tetes d'anges ailes. On voit en haut a gauche assise sur les rinceaux du 
 cartouche, une femme une aiguille a la main, un metier tambour sur ses 
 genoux. A droit une autre femme egalement assise, un metier reseau sur 
 ses genoux. En bas sur une petite etiquette collee sur la page on lit : Zu 
 Nurmberg Bey. Balthaser Laimoxen zuerfragen. Avertissement au lec- 
 teur. Au bas duquel on lit: Johann Sibmacher Gradirer und Burger das 
 elbsten. Rien au verso. Page non cotee. En haut de la page dans un 
 cartouche decore a droite et a gauche de tetes ailees, 4 vers allemands. Au- 
 dessous de ce cartouche trois femmes dans un jardin. Celle du milieu est 
 assise au pied d'un arbre contre lequel elle s'adosse. Elle travaille a un 
 ouvrage de broderie. Au-dessous d'elle sur le terrain on lit le mot In- 
 dustria. Celle de droite de profil a gauche, personifie 1 'ignorance comme 
 l'indique le mot ignavia, qu'on voit a ses pieds. La troisieme femme de 
 profil a droite personnifie la sagesse, et on lit a ses pieds le mot. sophia. 
 Au-dessous de cette gravure on lit: Cum Privilegio Ro. Cces. Majestatis. 
 Johan Sibmacher Noriberg fecit et excudit. Aij, dialogue entre 1'indus- 
 
BIBLIOGRAPHY 363 
 
 trie, 1 'ignorance et la sagesse. Avertissement au lecteur. Puis commen- 
 cent les broderies. Chaque page en contient deux, l'une au-dessus de 
 1 'autre. 58 planches. En resume, un titre, un frontispice, liuit feuilles de 
 texte et 58 planches de broderies. Un certain nombre de ces dessins sont 
 inspires de la Corona de Vecellio. Vente Tross, 1866, Vente Destailleurs, 
 1895. 
 
 1646 — Sibmacher, Johann — Newes Modelbuch In Kupf er gemacht, darinnen aller- 
 band art newer Model von Dim Mittel vnd Dick, auszges cbnidener arbeit 
 audi andern Kunstlichen Neb werck zu gebrauehen, mit vleisz. Inn druck 
 verfertig. Mit. Bom. Kaij. mai j. Freibeit. Nurnberg, MDCIIII (1604). 
 Meme edition que celle decrite ci-dessus avec un millesime different 1604 
 au lieu de 1601 et en plus apres le titre une epitre a Marie Elisabeth, com- 
 tesse Palatine du Rhin, Nuremberg, le 3 mars 1601. Vente Piot, 1891. 
 Stockholm. Royal Library. In the same library is a work, without title- 
 page or date, for "broderies et de tous autres besongnant a 1 'aiguille," 
 by Hieronymus Cock, containing, with designs of every description, a few 
 patterns for Spanish point of great beauty. Obi. 4to, 58 plates carefully 
 engraved upon copper. Title-page surrounded by a richly ornamented 
 border, with two figures, one sewing, the other at embroidery; also a sec- 
 ond ornamented frontispiece, J. Sibmacher, citizen and engraver. Nurem- 
 berg, German Museum. 
 
 1647 — Sibmacher, J. — Newes Modelbuch in Kupfer gemacht, etc. (Copper-plate 
 engravings for lace patterns, etc., 37 plates only.) Obi. 4to. Nurnberg, 
 1604. Facsimile reprint (two titles and 58 designs). Obi. 4to. Edited 
 by Dr. J. D. Georgens, Berlin, 1874. Facsimile reprint (two titles and 36 
 designs.) Berlin, 1881. S. K. M. 
 
 1648 — Sibmacher, Johann — Newes Modelbuch in kupffer gemacht. Darnen al- 
 lerbanf Arth Newer Model von Dun, Mittel und Dick ausgeschnidener Ar- 
 beit auch andern Kunstlichen nehwerck zu gebraucben, mit vleisz in Druck 
 verfertigt Nurnberg, 1602. In-4°, oblong cartonne. Ce volume se com- 
 pose du titre grave ci-dessus, contenu dans un grand cartouche, de 2 
 feuillets imprimes de dedieace a, la Princesse Marie Elizabeth, pfalsgrave 
 du Rhin, d'une figure ou se voient dans un jardin les 3 personnages So- 
 phia, Industria et Ignavia qui ont ensemble un entretien fort interessant, 
 qui occupe les 5 feuillets suivants. Enfin apres un faux titre viennent les 
 planches de modeles de broderie au nombre de 57 (sur 58, le dernier man- 
 que) ; chaque plancbe off rant 2 ou plusieurs dessins. Foulc sale, June, 
 1914, No. 372, 450 frs. 
 
 1649 — Sibmacher, Johann — [Another edition.] Jn Kupffer gemacht . . . Nurn- 
 berg, MDCII. Johann Sibmacher. Mit. Rom : Kaij : Maij Freybeit. B. K. M. 
 
 1650 — Sibmacher, Johann — Diese naehfolgende Model Kdnnen auff mancherley 
 Arth genahet werden, Als mit der Zopffnath, Glatt, oder Creutz vnd Ju- 
 denstich, auch auff der Laden zu wircken, vnd sonderlich zu dunn auss- 
 gesschnittener Arbeit, wie es etliche nennen, furnemlich zu gebrauchen, 
 &c. This titlepage also is found with the 35 plates of the 1597 edition de- 
 scribed above. "Schon Neues Modelbuch," etc. 
 
 1651 — Sibmacher, J. — Schon Neues Modelbuch von allerley lustigen Modeln nach- 
 
364 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 zunehen Zuwiircken vn Zusticke: geniackt in Jar Oh: 1597. Zn Niirm- 
 bergbey Balthaser Ca'unoxvn • Zuerfragen. Io. Sibmacher f. 4°. Engraved 
 title and 35 plates. The titlepage has the monogram. B. K. M. 
 
 1652 — Sibmacher, J. — Schon nenes Modelbucb von allerley lustigen Modem nac- 
 znnehen zn wurcken un zn sticke, (Copper-plate engravings for lace pat- 
 terns, etc., 20 plates only). Obi. 4to. Nurnberg, J.597. S. K. M. 
 
 1653 — Sibmacher, J. — Schon neues Modelbucb, etc. 1597. Facsimile reproduc- 
 tion of the above complete, 35 plates and engraved title. Obi. 4to. Wien, 
 1866. 
 
 1654 — Sibmacher — Osterreickisches Museum (K. K.) Hans Sibmacher's Stick 
 — und Spitzenmusterbueh, 1597. Facsimile, 3d edition, Vienna, Carl Ger- 
 olds Solm, 1882. 
 
 1655 — Sibmacher — Stick-Muster, nach Motiven aus dem 16 ten Jabr hundert 
 von Hans S. . . . herausgegeben und in Farben gesetzt von Theodor 
 Wendler. 4to. Berlin, 1882. S. K. M. See 1654. 
 
 1656 — Sibmacher — Another Facsimile reproduction of No. 1651. Obi. 4to. Ber- 
 lin, 1885. S. K. M. See 1652. 
 
 1657 — Sibmacher, Joh. — Sticb und Spitzen-Musterbuch. 1597; reprinted 1887. 
 
 ■ Sibmacher — See Laimoxen. 
 
 1659 — Sigismund — Schon newes Modelbucb von hundert und achtzig shonen 
 Kunstreichen und gerechten Model, teusche und welsche auff maucherley 
 Art konnen geneet werden, etc. Franckfurt am Mayn, in Verlegung Sig- 
 ismund — 1607. Petit in 4° derelie. Becueil d'un titre et 50 planches de 
 modeles de broderies et dentelles. Le titre est legerement colorie et orne 
 d'une gravure sur bois representant l'interieur d'un atelier ou des femmes 
 font de la broderie. Le dernier f euillet est coupe vers le milieu. Foulc 
 Sale, June, 1914, No. 394, 95 frs. 
 
 1660 — Silljan, Elise — Norwegian Lace and Embroidery. 
 
 1661 — Singleton, Esther — Lace and Lace-making. The Mentor, May, 1917, New 
 York. 
 
 1662 — Sketchley, B.E.D. — Buckinghamshire Lace. Art Journal, June, 1905, pp. 
 177-181. 
 
 1663 — Smith, K. L. — Revival of Fireside Industries. New England Magazine, 
 n.s., V. 29, pp. 442-449, December, 1903. 
 
 1664 — Smith, L. A. — Lace-makers of Belgium. Current Literature. V. 31, p. 723, 
 December, 1901. 
 
 1665 — Sociedad Espanola de Amigos del Arte. Madrid — Artes Graficas "Ma- 
 ten" Paseo del Prado, 34, 1915. 
 
 1666 — Societe de Part aneien en Belgiqne — Broderies, etc. Plates with letter- 
 press. Fol. Bruges. (1883). S. K. M. 
 
 1667 — Somascho, G. A. — Nova Esposizione de Recami et Dessegni. Alia Molto 
 Illustre Signora Ippolita Manfredi. In Venetia. Appresso Giacomo An- 
 tonio Somascho. (c. 1602.) 4°. 14 leaves, engraved. V. & A. M. 
 
 1668 — Somascho, Giac. Ant. — Nova esposizione de Recami et Dessegni. In Vene- 
 tia. Facsimile. 
 
 1669 — Sombart, W. — L'industrie a domicile. (Extrait clu Handworterbuch der 
 Staatswissenschaften.) 
 
BIBLIOGRAPHY 365 
 
 1670 — Something about Lace. The Catholic World, April, 1873, New York. 
 1671 — Soulier, Gustave — La Broderie etlaDentelle al'Exposition (Paris, 1900). 
 
 Art et Decoration, 1901, Paris. 
 1672 — Soulier, Gustave — Dentelles. L' Art decoratif, March, 1902, Paris. 
 1673 — South Kensington Museum — Catalogue. 
 1674 — South Kensington Mus. — Cat. of the special exhib. of works of art on 
 
 loan, 1862. (Tissues, etc. p. 249, by Eev. D. Rock.) 8vo. London, 1863. 
 1675 — S. K. Museum Cat. of the special loan exhib. of Decorative Art Needle- 
 work made before 1800. Photos. 4to. Lond. 1874. 
 1676 — S. K. Museum. — Classified list of photographs of works of decorative art 
 
 in the South Kensington Museum, and other collections. (Lace, p. 288.) 
 
 8vo, London. 1887. 
 1677 — South Kensington Museum — Kendrick's Catalogue of Samplers in the 
 
 South Kensington Museum. 
 1678 — South Kensington Museum — List of Books on Lace : Victoria and Albert 
 
 Museum. 85 pp. London, 1888. 8vo. B. M. 
 1679 — South Kensington Museum — List of Samplers in the Victoria and Albert 
 
 Museum. (Board of Education, S. Kens.) London, 1908. 8vo. 
 1680 — South Kensington Museum — Photos, of embroidery, etc. A series, con- 
 sisting of 78 specimens, exhibited at the S. K. Mus. during the special loan 
 
 exhibition of Decorative Art Needlework, 1873. 
 1681 — South Kensington Museum — Photos. Mechlin lace, 18th century in S. K. 
 
 Mus. 10 photos. Russian lace belonging to the Duchess of Edinburgh. 
 
 16 photos. 
 1682 — South Kensington Museum — Portfolios of Industrial Art. Colored illus. 
 
 fol. Lond. 1881, etc. 
 1683 — South Kensington Museum — The Industrial Arts. (Lace, p. 257). Illus. 
 
 (S.K. Mus. Art Handbooks.) 8vo. London. 1876. 
 1684 — South Kensington Museum, London, Supplemental Descriptive Catalogue 
 
 of Specimens of Lace 46 pages, 1891. B. M. 
 1685 — Sparrow, W. S. — Leek School of Embroidery and its Work. Magazine of 
 
 Art. V. 26, pp. 550-554, October, 1902. 
 1686 — Specchio, II — Di pensiere, delle belle donne dove si vede varie sorti 
 
 di punti, cioe, punti tagliati, gropposi, &c. Venetia, 1544. In 4to. Quoted 
 
 in Cat. Cappi, of Bologna, 1829. 
 1687 — Specifications relating to lace-making, etc., Abridgements of — London, 
 
 1879. 
 1688 — Specimen of Point Lace made at the Convent of Poor Clares, Kenmare, 
 
 County Kerry. The Art Workers' Quarterly, July, 1902, London. 
 1689 — Spellewerk — Blaetter fur Kunstgewerbe, 1878, Vienna. 
 1690 — Spitze, die historische und neuzeitliche — 29 Lichtdruektafeln. Plauen, 
 
 1910. 
 1691 — Spitzen, Alte — 30 Blatt Photographien nach Originalen, Venezianische, 
 
 Guipure — , Valenciennes — und a. Spitzen. Fol. (Paris) Nachbildgn. her- 
 
 vorragend schoner Stiicke. 
 1692 — Spitzenfacher. Illustrirte Zeitung, March 23, 1878, Leipzig. 
 
366 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 1693 — Spitzenkragen im Charakter der veuetianiscken Eelief-Spitzen, entworfen 
 von Prof. J. Storck, ausgefiihrt von Jos. Strarnitzer in Wien. Blaetter 
 fur Kunstgewerbe, 1879, Vienna. 
 
 1694 — Spitzenkloppeln, — Vom — Daheim, 1883, No. 9, Leipzig. 
 
 1695 — Spitzenmappe. Chr. Stoll, Plauen, 1909. 72 pages. (Collection of Kur- 
 sheedt Mfg. Co., N. Y.) 
 
 1696 — Spons 's Encyclopaedia of the Industrial Arts, Manufactures and Commer- 
 cial Products — (Lace, Division IV., p. 1200.) 8vo. London, 1879-80. 
 S. K. M. 
 
 1697 — Staffe, Baronne — Les Hochets feminins. La Dentelle, etc. Paris Ern. 
 Flammarion, n.d. 
 
 1698— -Staines, F. J. — Nottingham Lace Edgings. The Artist, March, 1900. Lon- 
 don. 
 
 1699 — Stanley, K. — Needlework and Cutting; being hints, etc., for the use of 
 Teachers. (Illus.) 8vo. Lond. 1883. S. K. M. 
 
 1700 — Stassof, W. — L'Ornement National Russe. Broderies, Tissus, Dentelles. 
 (Coloured illus., text in Russian and French.) Fol. St. Petersburg, 1872. 
 S. K. M. 
 
 1701 — Statutender Vereeniging "De Nederlandsche Kantwerkschool" te's Grav- 
 enhagen, gesticht door Jhr. Ernest van Loon. 
 
 1702— Staub, George— Pattern Book. St. Gall, 1593. 
 
 1703 — Stegmann,H. E. L. — Stickerein, Spitzen und Pasamentierarbeiten. Nur- 
 emberg, 1901. 
 
 1704 — Sterling, A. — Antique and Modern French Lace. Chautauquan, V. 34, pp. 
 580-584, March, 1902. 
 
 1705 — Sterling, A. — Cut-works, New and Old. Chautauquan, V. 35, pp. 496-501, 
 August, 1902. 
 
 1706 — Sterling, Ada — Dilettanteism of Fine Lace. New York, "Evening Post," 
 Saturday, Feb. 9, 1901. 
 
 1707 — Sterling, A. — French Lace, Antique and Modern. Chautauquan, V. 34, p. 
 580. 
 
 1708 — Sterling, Ada — Italian Laces Old and New. Chautauquan, V. 34, pp. 16-21. 
 
 1709— Sterling, A.— Making of Venice Lace. Chautauquan, V. 34, p. 243-246. 
 
 1710 — Sterling, A. — Plea for American Needlecraft. Atlantic, V. 86, pp. 557- 
 562, October, 1900, same cond. Current Literature, V. 29, pp. 607-608, 
 November, 1900. 
 
 1711 — Stevens, Amy, at Battersea — Dessin pour ombrelle en dentelle de Carrick- 
 macross. Art applique Ire annee, Paris. 
 
 1712 — Stewart, F. and M. E. Bradley — Decorations for Towels. Good House- 
 keeping, V. 54, pp. 98-102, January, 1912. 
 
 1713 — Steyner, H. — Ein New Modelbuch auff die Welschen monier. Gedruckt zu 
 Augspurg durch Heinrich Steyner. M. D. XXXIIII. 4°. Title and 55 
 cuts. 
 
 1714 — Steyner, H. — Ein New Modelbuch, etc., 1534. Seeman Reproduction of No. 
 1713. Leipzig. 1889. See 1614. 
 
 1715 — Stick- Album des "Berliner Modenblatt." Sammlung farbiger Muster- 
 
. BIBLIOGRAPHY 367 
 
 blatter fur Handarbeiten. (Patterns for needlework.) Fol. Berlin, 
 (1880.) 
 
 1716 — Stilarten der Spitzen, in verscbiedener Auffassung und neuer Combination, 
 n.t.p. Plauen, C. F. Schultz & Co., 1908 (?). 18 pages. (Collection of 
 Kurscbeedt Mfg. Co., N. Y.) 
 
 1717 — Stocking, Mary E. — Hand-made Laces. Pratt Institute Monthly, V. 8, No. 
 4, February, 1900, pp. 83-88. 
 
 1718 — Strange, Edward F. — Early Pattern-Books of Lace, Embroidery and 
 Needlework. Transactions of the Bibliographical Society, December, 
 1904, London. 
 
 1719 — Strange, E. F. — Needlework at tbe Liverpool Scbool of Art. Internation- 
 al Studio, V 24, pp. 147-149, December, 1904. 
 
 1720 — Strassen, Melcbior zur — Spitzen des 16. bis 19. Jebrhunderts aus den 
 sammlungen des Kunstgewerbe Museums zu Leipzig. Leipzig, L. W. 
 Hiersemann, 1899. 
 
 1721 — Strassen, zur — Spitzen, Ornamentale und Kunstgewerblicbe Sarnmelmap- 
 pe. Series 4 & 5, 25 plates eacb. Hiersemann, Leipzig, 1893-1894. (Col- 
 lection of Kursbeedt Manufacturing Co.) 
 
 1722 — Strauben, G. — New Model Bucb darinnen allerley G-attung scboner Modeln 
 der newen aussgescbitnen Arbeit auff Kragen, Hempter, Jakelet und der- 
 gleicben zu newen, so zuvor in Teutscblandt nicbt gesehen. Allen tbugent- 
 samen Frawen und Jungkfrawen, Natterinnen, aucb alien audern so lust 
 zu solcber kunstlicben Arbeit haben, sebr dienstlicb. Getruekt in uerle- 
 gung George Strauben, von S. Gallem, Anno 1593. Printed for tbe pub- 
 lisber, G. Strauben. A reprint of tbe tbird book of Vecellio's Corona. 
 V. & A. M. 
 
 1723 — Stringber, Vittorio — L'industria dei merletti nelle campagne, Pp. 75. 
 Eome, G. Bertero, 1893. B. M. 
 
 1724 — Studies in Modern Lace Making. 1898. (Collection of Kursbeedt Manu- 
 facturing Co., N. Y.) 
 
 1725 — Sturgis, Eussell — A study of tbe Artists' way of working. New York, 
 Dodd, Mead and Co., 1905. 
 
 1726 — Sybil Carter Indian Mission and Lace Industry, The — (New York, March, 
 1905.) 
 
 1727 — Sylvia — Book of Macrame Lace. Containing Illus. of many new and orig- 
 inal designs. 8vo. London, 1883. S. K. M., B. M. 
 
 1728 — Szontagh, A. von — Die Csetneker Spitzen. Plauen, O. Haebler, 1911. 
 
 1729 — T. — Ueber Styl in der Spitzen-Industrie. Blaetter fur Kunstgewerbe, 
 1875, Vienna. 
 
 1730 — Tabin, B. — New Kunstlichs Modelbucb Von allerhand artlichen vn gerech- 
 ten Moledn auff der Laden zu wircken, oder mit der zoppffnot. Creutz 
 vnd Judenstich vnd anderer gewonlicher weifs zu macben : alien model- 
 wurckerin, Naderin, vnnd solcber Modelarbeit geflissenen Weibsbildern 
 schr dienstlich vnnd zu andem mustern an leytlich vnnd verstandig. Auff 
 ein newes wider getruekt vnd mit vielen newer model gemehret. Mit 
 
368 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 • 
 
 Roin. Keys May. Freylieit. Bey. B. Tabin, 1582. In-4° oblong. 48 feud- 
 lets, le dernier est blanc. Un titre, un feuillet eontenant des vers et 45 
 planches de broderies, imprimees au recto seulement. Musee des arts et 
 de l'industrie de Dresde. 
 
 1731 — Tabin, B. — New Kunstlichs Modelbuch, von allerhand artlichen vn gerech- 
 ten Modeln, auff der laden zu wircken, oder mit der Zopffnot Creutz vnd 
 Jndenstieb vnd anderer gewonlicher weifs zu machen : Allen model wurck- 
 erin, Naderin vnnd soldier modelarbeit geflissenen Weisbildern, schr 
 dienstlicb, vnnd zu andern mustern and leytlich vnnd verstandig. Auff ein 
 newes wider getruckt vnd mit vielen newer model gemebret. Mit Rom. 
 Keys. May. Freyheit. Bey. B. Tabin, 1588. In-4° oblong. Titre in- 
 scrit sur une double tablette occupant le haut de la page et entouree de cuirs 
 roules, de rinceaux, de fruits, de petits genies. En bas dans une cliambre 
 des femmes travaillant a 1 'aiguille. L'une d' elles a gauche, de profil a 
 droite, son chien a ses pieds montre une piece d'etoffe a une femme debout 
 qui se penche vers elle. Au meme plan et a cote une femme assise vue de 
 dos. Au fond deux femmes travaillant pres d'une fenetre ou se voit un 
 homme accoude. Gravure sur bois de Tobias Stimmer. A2, page encadree 
 par un nielle sur bois. Piece de vers sur deux colonnes. Verso fin de la 
 piece de vers. En resume 48 pages dont un titre, une feuille pour les vers 
 et une page blanche a la fin. 45 planches de broderies imprimees au recto 
 seulement. Bibliotheque Nationale. 
 
 1732 — Tack — Discours prononce a la Chambre des Bepresentauts le 2 avril, 1884. 
 
 1733 — Tagliente, Antonio — Esempio di ricami. Venice, 1528. 
 
 1734 — Tagliente, G. A. — Esemplario Nuouo Che Insegna A Le Donne a cuscire 
 . . . Stampato in Vinegia per Giouanantonio et i Fratelli da Sabbio. 
 MDXXXI. 4°. 55 cuts, etc. B. K. M. 
 
 1735 — Tagliente, G. — Esemplario nuovo che insegna a le Donne a cuscire, a rac- 
 camare et a disegnare a ciascuno etc. Vinegia, 1531. (Facsimile reprint, 
 Boy. 8vo. Ongania, Venice, 1879.) S. K. M. Metro. Mus. 
 
 1736 — Tagliente, Giovanni Antonio — Opera nuova che insegna alle donne a cusire 
 a raccamare, et a disegnar, a ciascuno Et La ditta opera sara di molta utilta 
 ad ogni artista, per esser il disegno ad ognuno necessario, laqual e intitolato 
 essempio di reccami. Con gratia et Privilegio, MDXXVII. Ce titre est 
 en haut d'une page au bas de laquelle on voit quatre compartiments, deux 
 en haut, deux en bas. Dans celui d'en haut a gauche, deux femmes assises 
 et travaillant a 1 'aiguille, une troisieme femme debout a gauche, tenant 
 un panier a la main. Dans le compartiment de droite, deux femmes as- 
 sises et travaillant a, un metier. Dans le compartiment du bas a gauche, 
 une femme montre un ouvrage de broderie a un homme coiffe d'une 
 toque a plumes. Pres d'eux une femme assise. Dans le compartiment de 
 droite, une femme travaillant a uu metier. Toute cette composition y coni- 
 pris le titre est entouree d'une trait carre et d'un filet. Verso Un homme 
 barbu, vetu a l'antique, est assis de profil a, droite sur un tertre. II tient 
 des deux mains, levees devant lui un sextant avec lequel il vise le ciel, ou 
 Ton voit la lune et les etoiles. A ses pieds a, droite, un compas, un livre 
 et une planche sur laquelle sont des figures de geometric Dedicace : A 
 
BIBLIOGRAPHY 369 
 
 qualcunque nobili et illustre Madonna et a ciaseun altro inoderato et can- 
 dido lettore, Giovanni, Antonio Tagliente. Page divisee en quatre com- 
 partiments carres. Dans celui dn haut a gauche, des fleurs, dans celui de 
 droite un gland de chene et des feuilles. Dans les deux du bas des entre- 
 lacs. On lit au bas de cette page 5 lignes de texte. Page non cotee, verso, 
 un phylactere avec les mots : La virtv al Huomo sempre li rista ne morte 
 nel po privar di questa. Sur un autre phylactere : Tu vedi. Page non 
 cotee, des pkylacteres portant. Occhi piangete, acopagnate il core. Inclita 
 virtus. Verso. — Page non cotee, verso. — Le verso precedent et le recto de 
 la page suivantene font qu'un seul et meme dessin: Orphee charmant les 
 oiseaux et les animaux. Verso, une tortue dans une guirlande de feuillage, 
 entouree de rubans. Au-dessous sept lignes de texte. Au verso, un me- 
 daillon rond dont la bordure renferme un entrelac. Dans le milieu de 
 ce medaillon des animaux antour d'un lac. Une licorne plonge sa corne 
 dans Peau et se desaltere. En haut sur un pkylactere les mots : Virtus im- 
 pavida. En bas six lignes de texte, Vente Bertin. Vente Yemenitz. Bib- 
 liotheque Nationale. ' 
 
 1737 — Tagliente, Giovanni Antonio — Opera nova che insegna a le donne, a cus- 
 cire, a raccamare, et a disegnare ciascuno. Et la detto opera sara di 
 grande utilita ad ogni artista per esser il dissegno a ogni uno necessario, 
 laqual e intitolata, Esempio di raccami. 4to, 23 ff. 36 plates. Title in red 
 Gothic letters ; beneath four woodcuts representing women at work. De- 
 dicace de 33 lignes de texte. A qualcunque nobile et illustre madonne & a 
 ciaseun altro moderato et candido lettore, Giouanni, Antonio Tagliente. 
 Then follows a most miscellaneous collection of what he terms, in his dedi- 
 cation "fregi, frisi, tondi maravigliosi, groppi moreschi et arabeschi, 
 ucelli volanti, fiori, lettere antique, maiuscoli, & le francesche," etc., three 
 pages very much like the pictures in a child's spelling book, rounds (tondi) 
 for cushions, and two pages representing hearts and scrolls ; hearts trans- 
 fixed, one with an arrow, another with a sword, a third torn open by two 
 hands, motto on the scroll. Then follow six pages of instructions, from 
 which we learn the various stitches in which these wonderful patterns may 
 be executed, "damaschino, rilevato, a filo, sopra punto, ingaseato, Cipri- 
 oto, croceato pugliese, scritto incroceato, in aere, fatto su la rate a mag- 
 liata, desfilato, & di racammo, " to be sewn in various coloured silks, gold 
 and silver thread, or black silk, for "collari di huomo & di donna, camis- 
 ciole con pettorali, frisi di contorni di letti, entemelle di cuscini, frisi di 
 alcun boccassina, & scufie," etc. On the last page, "Stampa in Vineggia 
 per Giovan Antonio Tagliente & i Fratelli de Sabbio. 1530." Brunet 
 gives an edition dated 1528. Page non cotee, finissant par les mots : 
 Stampato in Venegia per Giouantonio Taglienti & i fratelli da Sabbio, 
 MDXXX (1530). En tout 28 feuillets. 47 planches de niodeles. Tag- 
 liente est aussi l'auteur d'un traite de calligraphie contenant divers orne- 
 ments et chiffres entrelaces, qui se retrouvent dans ce volume de dentelles. 
 Vente Destailleurs, 1895. Vente Foulc, 1914, Paris, frs. 500. Cav. Merli, 
 1528 (?) Genoa. Bib. Nat. 
 
 1738— Tann, S. PL— Drawn Thread Work. The Art Workers' Quarterly, October, 
 1903, London. 
 
370 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 1739 — Tariff, protest — Lace and Embroidery Importers' Association of New 
 York on appraisement of Swiss embroideries, N. Y. Times, May 31, 13 :3. 
 
 1740— Taylor, Eliza A.— Priscilla Irish Lace Book. 
 
 1741 — Taylor, J. — Glasgow School of Embroidery. International Studio, V. 41, 
 pp. 124-134, August, 1910. 
 
 1742 — Tebbs, Augusta Louisa — The Art of Bobbin Lace. London, Wm. Barnard, 
 1860. Later edition— Chapman & Hall, 1907. B. M. 
 
 1743 — Tebbs, Louisa and Bosa — The Art of Bobbin Lace. Supplement. London, 
 1911. 
 
 1744 — Tebbs, Louisa A. — The New Lace Embroidery. 1905, London. B. M. 
 
 1745— Tebbs, L. A.— New Punto Tagliato Embroidery. 3rd ed. 1908. 
 
 1746 — Teneriffe Lace-Making — Healy Method. (Collection of Kursheedt Manu- 
 facturing Co., N. Y.) 
 
 1747 — Teschendorf, T. — Kreuztichmuster fur Leinenstickerei. Heft 1 :10 Far- 
 bendrucktafeln. Polio. Berlin, 1879. 
 
 1748 — Teschendorff, Toni — Kreuzstich- Muster fur Leinenstickerei. Berlin, E. 
 Wasmuth, 1884 and 1891. 10 color plates. 
 
 1749 — Testard, Maurice — Joannes Chaleye et la Dentelle du Puy. Art decora- 
 tif, Paris, 1913. Vol. 29, pp. 51-60. 
 
 1750 — Thys, Ch. M. T. — Broderies et Tissus anciens, trouves a Tongres. (Acad. 
 d'Archeologie de Belgique.) 8vb. Anvers, 1869. S. K. M. 
 
 1751— Tincker, M. A.— Lace. Catholic World, V. 17, p. 56. 
 
 1752 — Tixier, E., at Paris — Eventail. Art applique, 1 re annee, Paris. 
 
 1753 — Tobin, Jeanie, at Cork — Dentelles au crochet. Projets de dentelles. Art 
 applique, Ire annee, Paris. 
 
 1754— Tordois, M— Coup d'Oeil sur Valenciennes de Pan IX a, l'an XIII. 
 
 1755 — Toretto, Giuseppe — Lucidario di Eicami di Giuseppe Toretto or Torello 
 Venezia, 1556. In-4°. Catalogue de Lucques, 1816. 
 
 1756 — Torond, H. — Designs for Crochet. No date. 
 
 1756a-Touche, Victor — Handbook of Point Lace. London, Wm. Barnard, 1869. 
 Illus. 
 
 1757 — Townsend, L. — Collecting Old Samplers. American Homes, V. 10, pp. 361- 
 362, October, 1913. 
 
 1758 — Tozzi, Paolo — Gbirlanda di sei vaghi fiori scielti da piu famosi Giardini 
 d 'Italia, raccolti da Pistro Paolo Tozzi. Primo libro. Belle lettere Mod- 
 erne mansioni dotte sententie leggiadri lauori noui merli usati numeri. In 
 Padoua alia libreria del Giesu. Con Privilegio. In-8° oblong. Les mots 
 Pietro Paolo Tozzi sont inscrits dans une guirlande de fleurs des deux 
 cotes de laquelle on voit deux moutons, l'un a droite, l'autre a gauche. De- 
 dicace : Alia molto Ill r a Rever da Sig ra Maria Ginevra Macchiavelli signora 
 Mia Colendissima . . . di Padoua il di 1 octobre, 1604. Pietro Paolo 
 Tozzi. Bomano. Avertissement au lecteur. F. Paolo Frassinelli da Bo- 
 logna dell' ordine di sant' agortino. Cinq pages renferment des instruc- 
 tions et des formules de salutations propres a chaque situation sociale, 
 a chaque degre de la hierarchie, une instruction pour la tenure des livres, 
 une table de multiplication, etc. Puis commence la serie des modeles d'ecri- 
 ture, d 'alphabets, sur le recto de chaque page, le tout dans des encadre- 
 
BIBLIOGRAPHY 371 
 
 ments de dentelles, de guipure, qui font de ce livre un veritable livre a 
 dentelle, rentrant dans le cadre bibliographique que nous etudions dans le 
 present ouvrage. Ces planches sont toutes numerotees en bas dans l'in- 
 terieur de l'ancadrement, par les cbiffres arabes de 1 a 42. La derniere 
 planche porte : Fine delle Tavola. La plancbe 40 est chiffree par erreur 36. 
 Les niodeles d'ecriture sont l'ceuvre de Ant. Bertozzi et Seb. Zanella. M. le 
 marquis d'Adda, dans sa bibliograpMe, en signale une autre edition de 
 1616. Vente Piot, n° 217. Une autre edition de 1621. Vente Destailleurs, 
 1895. Vente Eugene Piot, 1891. 4°. 14 pp. of text, 40 engravings. 
 
 1759 — Tozzi, Fr. — Gioiello della Corona per le nobili e virtvose donne nel quale 
 si dimostra altri nuoui bellissimi dissegni di tutte le sorte di Mostre di 
 Punti in aria Punti tagliati et Punti a Reticello, cose per Freggi come per 
 Merli et Rosette eke con l'aco si vsano koggidi per tutta Europa. Et 
 molte delle quali Mostre possono servire ancora per Opere a Mazette. 
 Nouamente posto in luce con molte bellissime inventioni non mai piu 
 usate ne vedute. In Fiorenza apresso Fr. Tozzi, 1594. In-4° oblong. 2 
 feuillets imprimes suivis de 23 planches et a la fin d'une grande planche 
 pliee qui represente une broderie ombree, sur un fond clair quadrille. Le 
 marquis d Adda dans sa bibliographie mentionne de ce livre une edition de 
 1593. Vente Solar. Vente Libri, 1862. 
 
 1760 — Tozzi, P. P. — Instructione delle Inscrittione, etc. (Each alphabet, etc. 
 is surrounded by designs for lace or cut-work.) Obi. 4to. Padua, 1604. 
 S. K. M. 
 
 1761 — Tracy, Theo. — The Renaissance of Aristocracy's Lace. The 20th Century 
 Home, February and March, 1934, London. 
 
 1762 — Traite de la Dentelle irlandaise et das Jours a l'aiguille (Point d'Alen- 
 gon). Paris, Fr. Ebhardt, n.d. 
 
 1763 — Tranter and Adams — Roumanian Knitting Cards. 1891. B. M. 
 
 1764 — Treadwin, Mrs. — Antique Point and Honiton Lace. London ; Ward, Lock 
 & Tyler, 1873. 100 illus., 4to. 
 
 1765 — Treadwin, Mrs. — Antique, Point, and Honiton Lace. 100 illus. 4to. 
 Loud. (1874). S. K. M. 
 
 1766 — Trine Irlandesi, Lavori in Applicazione, Ricamo a punto piatto. Milan, 
 Fratelli Treves, 1892. 
 
 1767 — Trionfo di Virtv, Libro novo da cusir, nel qual si contengono molti et diuersi 
 sorti di fogliami del quale ogni gentile et virtuosa Madonna se potra ser- 
 vire. In far ponti a fili, Ponti cruciati, Ponti in Trezola, ponti in stura, 
 ponto scritto tirar in opera, Cuchiar, tesser e molt 'altri ponti come a loro 
 piacera. Venetia, 1559. In-4°. 16 feuillets. Bibliographie du marquis 
 d'Adda. Bibliotheque Cicognara, An Vatican. 
 
 1768 — Trobridge, G. — Vanished Art : Embroidery on Muslin. Magazine of Art, 
 V. 26, pp. 199-201, March, 1902. 
 
 1769 — Troulon, Jehan — Patrons de diuerses manieres. 
 Inuentez tres subtilement, 
 Duysans a Bi^odeurs et Lingieres. 
 Et a, ceus lesquelsz bravement. 
 Veullent par bon entendement. 
 
372 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 User d 'antiques et Roboesque. 
 
 Frize et rnoderne proprernent. 
 
 En eomprenant aussi Moresque. 
 
 A tous rnassons, menusiers, et verriers. 
 
 Fei'ont proffit ces pourtraictz largement. 
 
 Aux orpheures et gentilz tapissiers. 
 
 A ieusnes gens aussi semblableinent. 
 
 Oublier point ne veulx aucunement. 
 
 Conti-epointers et les tailleurs d'y mages. 
 
 Et Tissotiers lesquelz pareillement. 
 
 Par ces patrons acquerront heritages. 
 
 Le sire Jehan Troulon diet de bourgogne a este. 
 
 Inventeur de ces presens patrons. 
 
 Pareillement sont. 
 
 Adioustez plusieurs beaulx ouuraiges par messire. 
 
 Antoine Belyn, Eecluz de Saint Martial de Lyon. 
 
 Petit in-4°. Ce titre cote en bas AA, est dans un encadrement forme de rinceaux, 
 de fleurons et de feuillage. S'ensuyuet les patrons de messire Antlioine 
 Belyn, recluz de sainct Martial de Lyon. Item plusieurs aultres beaux 
 patrons nouueaulx qui out este inuentez par frere Jeban Mayol, Carme 
 de Lyon. Ce titre cote EE, est dans un encadrement forme de deux co- 
 lonnes autour desquelles tourne un rinceau de feuillage. En bas une bande 
 rectangulaire au milieu de laquelle est un petit ecusson blanc soutenu a 
 droite et a gauche par deux petits amours nus et ailes. Au-dessous du 
 titre un ecusson eomprenant un cceur surmonte d'une couronne. En des- 
 sous un lion rampant. Autour de 1 'ecusson et du lion, une bordure rectan- 
 gulaire sur laquelle on lit : Cor contritum et humiliatum deus non des- 
 picies. Psalmo 50. Au verso broderie. Vente Destailleurs. II y a a la 
 Bibliotheque Mazarine, une plaquette dans laquelle se trouve cette der- 
 niere partie. Le titre est le meme mais l'interieur de l'encadrement off re 
 quelques differences qui feraient croire a une autre edition. On voit dans 
 celle-ci au milieu, au-dessous du titre, dans un trait carre et un filet rec- 
 tangulaire en hauteur, un ecusson au milieu d'une couronne de feuilles en 
 bas dans un plat que tient une main deux yeux, et au-dessous enroule dans 
 le bas de la couronne de feuilles un phylactere sur lequel on lit: Oculi mei 
 semper ad Dominum, Psal. 24. En bas un sujet religieux grave sur bois, 
 en haut au-dessus du titre, le pere Eternel entoure d'anges. Vente Des- 
 tailleurs, 1895. See A. Belin and Saincte Lucie. 
 
 1770 — Truchet, le Reverend pere Sebastian — see Douat. 
 
 1771 — Trust de Dentelle Beige, Le — La Gazette, Dec. 2, 1902, Brussels. 
 
 1772 — Tuquet, Marcel — Compositions pour dessins de rideaux. 3 series. Paris, 
 A. Calavas, n.d. 18 plates in each series. 
 
 1773 — Turgan — Pabrique de dentelles 0. de Vergines et soeurs, ancienne maison 
 Vanderkelen-Bresson a Bruxelles. (Les Grandes Usines), Paris. 
 
 1774— Turgan— Les Grande Usines. Les Dentelles, Vol. V. p. 229; VI. p. 237. 8 
 vols., 8vo. Paris, 1863-68. S. K. M. 
 
 1775 — Tyrsova, R. — 0. obrozeni lidoveho vysivani. (Dentelles et Broderies de 
 Boheme). Cesky Lid (Le Peuple tcheque), 1899, Prague. 
 
BIBLIOGRAPHY 373 
 
 1776 — U — La Belgique dentelliere. Bruxelles Feminin, Jan. 15, 1903, Brus- 
 sels. 
 
 1777 — Ubiscli, E. von — tiber Spitzenbiiclier und Spitzen. In Reportorium fur 
 Kustweissenschaft, 1893. V. 16, pp. 88-99. 
 
 1778 — U. S. Bureau of manufactures — Machine-made lace industry in Europe. 
 Wash. 1905. 
 
 1779 — U. S. Dept. of commerce and labor — Lace industry in England and France. 
 Washington, 1909. 
 
 1780 — Urbani de Gheltoff, G. M. — Les Arts industriels a, Veuise, au Moyen Age 
 et a la Benaissance. Traduction de Alf. Cruvellie. Venice, Usiglio & 
 Diena, 1885. 
 
 1781— Urbani de Gheltof, G. M.— I Merletti a Venezia. Venice, 1876. 
 
 1782 — Urbani de Gheltof, G. M. — Trattato storico tecnico della fabbricazione dei 
 merletti Veneziani. C. tavole. Venezia, 1878. 
 
 1783 — Urbani de Gheltof, G. M. — Trattato storico tecnico della fabbricazione dei 
 Merletti veneziani. (Venezia-Burano.) Con tavole. Sm. 4to. Venezio, 
 1878. English translation by Lady Layard. "A Technical History of 
 the manufacture of Venetian Laces." Illustrations. Sm. 4to. Venice, 
 1882. S. K. M. 
 
 1784 — Urbani de Gheltoff, G. M. — Traite historique-technique de la fabrication 
 des dentelles venitiennes (Venise-Burano). Edition frangaise revue par 
 M. Le Monnier. Venice, F. Ongania, 1893. 
 
 1785 — Ure, A. — Dictionary of Arts, Manufactures and Mines. (Lace Manu- 
 facture, Vol. II.) 3 vols. 8vo. Loud. 1867. S. K. M. 
 
 1786 — Valverde, Marques de — Catalogo de la Exposicion de Lenceria y Encajes 
 Espanoles del siglo XVI al XIX. 
 
 1787 — Van de Casteele, De — Un fil de l'ancienne Industrie dentelliere a Liege. 
 Bull. Institut archeol. liegois. 1885, Liege. 
 
 1788 — Van de Wiele, Margaret — Le "point" de Flandre par Natalis (pseudon.) 
 Le Peit Bleu, Dec. 8, 1898, Brussels. 
 
 1789 — Van Holsbeek — L 'Industrie dentelliere en Belgique. Etude sur la condi- 
 tion physique et morale des ouvrieres. Brussels, 1863. 
 
 1790 — Van Meerton, W. A. B. — Penelope of Maandwerk aan het Vrouwelijk 
 Geslacht toegewijd betattende de beschrijving en afbeelding van aller- 
 hande soorten van A^rouwelijke handwerken benevens eenige lektur over 
 onderwerpen uit den vrouwelijken Kring. Profusely illustrated with a 
 great number of colored plates of embroidery, tapestry, etc. 8 volumes. 
 Amsterdam, 1829. 
 
 1791 — Van Schoel, Henrico — Fogliami diversi nouamete posti in luce. Opera 
 vtiliss-ma e necessaria p. li racamatori, serittoriorij. et lauoranti di 
 ebano et intagliator de lego Orefici, Argentarii, et altre arte, diuerse. 
 Henrico van schoel excudit Boma S. A. (circa 1580.) Becueil de 31 plan- 
 
374 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 ches d'orneinents dessines dans la seeonde moitie du XVI siecle et 
 gravees au trait. C'est une reunion de modeles pour les fabricants do 
 dentelles, les ecrivains, les artistes mosai'queurs en ebene et en cuivre, les 
 orfeves, les bijoutiers, etc. 
 1792— Vaulabelle, Alfred de— La Dencelle. Le Rappel, April 12, 1903, Paris. 
 1793 — Vaulabelle, Alfred de — Industrie du Tulle et de la Blonde. Cosmos, Oct. 
 
 11, 1890, Paris. 
 1794: — Vauxeelles, Louis — Broderies, Dentelles et Passementeries de Fernand 
 
 Courteix. La Femme d'aujourd'hui, 1904, No. 7, Paris. 
 1795 — Vavassore, G. A. (?) — Burato. . .con nova maestria, gratios donner novo 
 artificio vi apporto. A second edition witbout date. 4to, ff . 59 ; frontis- 
 piece, ladies at work, verso, Triumph of Fame. Four books of designs of 
 great elegance and taste. The Marquis d'Adda assigns them to Vavas- 
 sore. 
 1796 — Vavassore, Giovanni Andrea — Esemplario di lauori: che insegna alle done 
 il modo e ordine di lauorare; cusire et racamare, et finalmente far tutte 
 qlle opere degne di memoria, lequale poz fare una donne virtuosa con laco 
 in manno. Et vno documento che insegna al compratore accio sia ben 
 seruito. A la fin du volume on lit : Stampata in Vineggia per Giouanni 
 Andrea Vauassore detto Guadagnino, ne li anni del signore, MDXXX 
 (1530) a di XXII Nouembrio. Get exemplaire est le meme que celui de 
 l'Esemplario di Lavore de Zoppino avec une date d'une annee posterieure 
 1530, au lieu de 1529. Vente Bancel, 1882. 
 1797 — Vavassore, G. A. — Exemplario di lauori, che insegna alle donne il modo 
 et ordine di lauorare, cusire et raccamare, et finalmete far tutte qlle 
 opere digne di memoria, lequale po fare una donna virtuosa con laco in 
 mano et uno documeto che insegna al copratore accio sia ben seruito. In- 
 4°. Le mot exemplario . . . est tire en noir ; le reste du titre est en rouge. 
 Ce titre est au milieu de la page, entoure des quatre cotes par six compo- 
 sitions gravees sur bois. Trois en haut, une sur chaque cote vertical et 
 une plus grande en bas. On remarque en haut a gauche, une femme de 
 profil a, droite travaillant a un metier de basse lisse. Au milieu une femme 
 presentant un ouvrage de broderie a un homme qu'on voit a droite, coiffe 
 d'un bonnet a plumes. A droit une femme assise devant une table sur 
 laquelle est pose un petit metier a broder. Dans les compositions des 
 cotes, on remarque a droit un homme assis de profil a, gauche, une toque a 
 plumes sur la tete, travaillant a un ouvrage pose devant lui sur un pupitre. 
 A gauche une femme assise de face, brodant a un metier pose devant elle. 
 Dans la composition du bas, on voit une femme assise sur une chaise, de 
 face, travaillant a une ouvrage de broderie pose sur ses genoux. Une autre 
 femme assise pres d'elle a, droite, lui off re une aiguille. En bas de cette 
 composition, on lit au milieu: Fiorio Vauassore fecit. Au verso on lit 
 sept lignes commencant par les mots. .. . Documento per el eornpratore 
 et au-dessous a qualun que nobile et illustre Madone, et a ciascun altro 
 moderato e candido lettore, Giouan Andrea Vauassore detto Guadagnino. 
 S. Puis commencent les broderies. AXIII, verso. Le verso de cette 
 page et le recto de la page suivante, ne forment qu'une seule feuille ployee 
 
BIBLIOGRAPHY 375 
 
 en deux qui constitue le milieu du volume et qui contient un sujet repre- 
 sentant Orphee charmant les animaux. Alphabet de eapitales droites. 
 Page non cotee, 30 lignes de texte, au-dessous desquelles on lit : Stampato 
 in Vineggia, per Giouanni Andrea Vauassore, detto Guadagnino, ne li 
 anni del signore MDXXXI a di X Marzo. 26 Feuillets dont un titre au 
 commencement, une page a la fin dont le recto contient la suscription ci- 
 dessus et 24 planches de broderies imprimees au recto et au verso. Troi- 
 sieme edition de ce recueil. Bibliotheque Nationale. 
 
 1798 — Vavassore, G. A. — Esemplario di Lauori che insegna alle donne il modo e 
 ordine di lauorare, cusire e racamare . . . fiorio Vauasore fecit (1531). 
 4°. 40 cuts. B. K. M. 
 
 1799 — Vavassore, G. A. — Esemplario di lauori: che insegna alle donne, il modo 
 et ordine li lavorare, cusire et raccamare et finalmente, far tutte quelle 
 opere digne di memoria: lequale po fare una donna virtuosa con laco in 
 mano et uno documento che insegna al compratore accio sia ben seruito. 
 A la fin: Stampato in Veneggia per Giouanni Andrea Vauassore detto 
 Guadagnino, ne li anni del nro Signore MDXXXij a di primo augusto. 
 Quatrieme edition de ce recueil. Voir pour la description de ce volume 
 celle que nous donnons ci-dessus les deux sont identiques et ne different 
 que par le millesime. Vente Destailleurs, 1895. Vente Pirovano, Rome, 
 1901. 4°. Cuts (26 leaves). Sig. A-l-XIII. Another copy of this book, 
 47 plates, in Cat. of Weyhe, N. Y., No. 20, 1918. Metro. Mus. 
 
 1800 — Vavassore, G. A. — Esemplario di lavori che insegna aele donne il modo et 
 ordine di lauorare, cusire, e raccamare e finalmete far tutte qlle opere 
 degne di memoria : lequale po fare una donna virtuosa con laco in mano et 
 uno documento che insegna al compratore accio sia ben seruito. A la fin: 
 Stampato in Veneggia per Giovanni Andrea Vauassore, detto Guadagnino 
 et Fiorio Fratello, nelli anni del nostro Signore, MDXXXXIII. A di XIII 
 Marzo. Cinquieme edition de ce recueil. Voir pour la description de ce 
 volume celle que nous donnons ci-dessus. Les deux sont identiques et ne 
 different que par le millesime. Catalogue Cappi de Boulogne. Catalogue 
 de la vente Seillieres, par Porquet, 1890. 
 
 1801 — Vavassore, G. A. — Esemplario di lavori: che insegna alle done-il modo e 
 ordine di lavorare : cusire : e racamare : e finalmete far tutte qlle opere 
 degne di memoria : lequale po fare una donna virtuosa con laco in mano. 
 Et uno documento che insegna al copratore accio sia ben servito. In 8vo, 
 25 ff., printed on both sides, 48 plates. Title in red Gothic characters, 
 framed round by six woodcuts similar to that of Vosterman ; at the foot, 
 "fiorio Vavasore fecit." There is no date to this copy; but in the library 
 of Prince Messimo, at Rome, is a copy dated Venice, 18 Feb., 1546, con- 
 taining 50 plates; and Brunet quotes an edition, "Stampato in Vinezia, 
 1556;" Cav. Merli also possesses an edition of the same date. Mr. E. Ar- 
 nold has also a copy with the same date. The patterns are mediaeval, on 
 black grounds, with counted stitches, a large flower pot, mermaid, Paschal 
 lamb, and a double plate representing Orpheus playing to the beasts. Bib. 
 Nat. Grav. 
 
 1802 — Vavassore, G. A. — Esempalrio di lavori : che insegna alle donned il modo 
 
376 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 et ordine di lavorare, cusire et raccare et finalrnent far tutte quelle 
 opere degne di memoria. Lequale por fare una donna virtuosa con laco 
 in mano. Et uno documento che insegna al compratore accio sia ben ser- 
 vito. A la fin : Stanipato in Vineggia per Giouanni Andrea Vauassore 
 detto Guadagnino. Nelli anni del nostro Signore MDXXXXVI. A di 
 XVIII Febraro. Sixierne edition de ce recueil. Voir pour la description 
 de ce volume celle que nous donnons ci-dessus (MDXXXXIII). Les deux 
 sont identiques et ne different que par le millesinie. Vente Libri, 1857, 
 Vente Destailleurs, 1895. 4°. Cuts (26 leaves). (Rosenthal Sale Cat.) 
 
 1803 — Vavassore, G. A. — Essemplario novo di piu di cento variate niostre di 
 qualunque orte bellissime per cusire intitolato Fontana di gli essempli. 
 Oblong 8vo. No date. 16 ff., 28 plates. In tbe frontispiece is a fountain 
 with the motto, "Solicitudo est mater divitiarum," and on each side of tbe 
 fountain — "Donne donzelle cb, El cusir seguite — Per farvi eterne alia, 
 Fonte venite." On tbe back of tbe frontispiece is tbe Dedication, beaded, 
 "II Pelliciolo alia molta magnifica Madona Cbiara Lipomana;" tbe page 
 finished by a sonnet; in tbe last leaf, "Awiso alle virtuose donne et a qua- 
 lunque lettore Giovanni Andrea Vavassore detto Guadagnino." Says he 
 has "negli tempi passati fatto imprimere molto e varie sorte d'essemplari 
 di mostre," etc. At the foot " Nuevamente stampeto." This work is 
 also described by Count Cicognara with the same title, only with the date 
 1550. In this last edition the author writes his name Valvassore. Cata- 
 logs ragionata dei libri posseduti dal Conte di Cicognara. Pisa, 1821. 
 Bib. Nat. In the Bibliotheca Communitativa, Bologna, is a copy of the 
 same date. 
 
 1804 — Vavassore, G. A. — Essemplario novo di piu di cento variato mostre di 
 qualunque sorte di Telissime per cusire, intitulato Fontana de gli Essem- 
 pli. Au-dessous de ce titre est un grand neuron representant un vase 
 dont la panse est decoree de tetes d'enfants qui crachent par leurs bouches 
 de minces filets d'eau. Ces filets sont recueillis par de petits enfants as- 
 sis, ou debout par terre autour du vase. En haut une banderolle sur la- 
 quelle on lit: Solicitudo est mater Divitiarum. Des deux cotes du vase 
 les vers suivants : Donne et donzelle che el cusir seguite, Per farvi eterne 
 alia fonte venite. Au verso une dedicace : II Pellicolo alia mostro mag- 
 nifica Madonna Lipomana Signora et Patrona honorandissima. Puis 17 
 lignes de texte et au-dessous 14 vers disposes 7 a droite, 7 a gauche. Puis 
 commencent les broderies. Page non cotee. Sur ce recto on lit: Alle vir- 
 tuose donne et a qualunque lettore Giouanni Andrea Valvassore detto 
 Guadagnino. S. 17 lignes de texte au-dessous desquelles on lit : Nouamente 
 stampato per Giuanni Andrea Valuassore detto Guadagnino MDL. En 
 resume 16 pages dont 27 planches de broderies a cause du dessin double 
 qui occupe deux pages. Catalogue Cicognara, Cicognara en donne une des- 
 cription detaillee. Vente Destailleurs, 1895. Bibliotbeque Nationale. 
 
 1805 — Vavassore, G. A. — Esemplario di lavori: che insegna alle donne il modo 
 et ordine di lauorare, cusire et raccamare, e finalmete far tutte quelle 
 opere degne di memoria, lequale po fare una donna virtuosa con laco in 
 mano. Et uno documento che insegna al copratore accio sia be servito. 
 
BIBLIOGRAPHY 377 
 
 A la fin: Stampato in Vineggia per Giovanni Andrea Valuassore detto 
 Guadagnino. 1552. Septieme edition de ce recueil. Voir pour la des- 
 cription de ce volume celle que nous donnons ci-dessus (MDXXXXVI). 
 Les deux sont identiques et ne different que par le millesime. Tross, cata- 
 logue de 1867. 
 
 1805a— Vavassore, G. A. — Essemplario di lavori, etc. Eeproduced under direc- 
 tion of Elisa Bicci. Bergamo. 
 
 1806 — Vavassore, G. A. — Libro secondo di Bellissime et variate mostre, 
 intitulato, fior de gli Essempli, nouamente dato in luce. In-4° oblong. 
 Au-dessous de ce titre, un fleuron compose d'une tablette, sur laquelle sont 
 des fruits, grenades, melons, raisins, le tout surmonte d'une palme, et de 
 brancbes chargees de fruits. A gauche de ce fleuron on lit : Leggiadre 
 donne cbe desiate bonore, et a, droite, Del cusir vostro non lasciate il fiori. 
 Au verso : II Pellicolo alia Clarissima Madonna Chiara Lippomana sua os- 
 servandissima. Puis quatorze lignes de dedicace. Sur une 22° feuille 
 correspondant au titre, on lit: Alle virtuose donne et a, qualunque Lettore 
 Giovanni Andrea Vauassore detto Guadagnino. S. Puis 16 lignes de 
 texte et au-dessous : Nouamente Stampato per Giouanni Andrea Vauas- 
 sore, detto Guadagnino et Florio Fratello. Vente Yemenitz, Venetia, 1550. 
 Bibliotbeque Nationale. S. K. M. 
 
 1807 — Vavassore, Giovanni- Antonio, known as Zoan Andrea and Guadagnino — 
 La Fior de gli esempli, la Corona di ricami. 1550. 
 
 1808 — Vavassore, Giovanni- Antonio — Fontana de gli esemplio. 1546. 
 
 1809 — Vavassore, G. A. — Opera nova universal intitulata, Corona di Eaccami, 
 dove le venerande donne e fanciulle, trovarono di varie opere per far 
 colari di camisiola et torniaenti di letti etemella di cuscini boccasini : schu- 
 fioni : cordilli di piu sorte. Et molte opere per reccamatori et per dipitore 
 et porevesi : de laqual opere e vero essempli ciascuno le potra pore in 
 opera secondo el suo bisogno. Con gratia. Nouamente stampata ne la 
 inclita citta di Vineggia per Giovanni Andrea vavassore detto Guadag- 
 nino. s d. In-4°. Le titre entierement xylographie est inscrit a mi-page 
 et est surmonte d'un petit sujet au point compte, sur fond de tapisserie. 
 Le tout est renferme dans un encadrement forme de quatre bandes rec- 
 tangulaires, deux horizontals, deux verticales, renfermant des rinceaux et 
 des ornements. Dans l'une de ces bandes verticales, on remarque les 
 initiales : G. A. V. qui est le monogramme de Giovanni Andrea Vavassore. 
 Dans le coin de la derniere page on lit : Finisce il libro intitulato Corona 
 di Eacami. En resume 26 feuillets dont un titre et 51 planches de bro- 
 deries. II existe des exemplaires oii le verso du titre n'a pas de broderies. 
 Dans ce cas il y a toujours 26 feuillets, mais il n'y a plus que 50 planches 
 de broderies. Vente Pirovano, Eome, 1901. Vente Destailleurs, 1895. 
 Bibliotbeque Nationale. 
 
 1810 — Vavassore, Gio. A. — Opera nova Universal intitulata corona di ricammi; 
 Dove le venerande donne e fanciulle : troverafio di varie opere p fare colari 
 di camisiola & torniaenti di letti eternelle di cuscini boccasini schufioni: 
 cordlli di piu sorte; et molte opere per recamatori p dipitore poreuesi: 
 de lequale opere o vero esempli ciascuno le potra pore in opera secodo 
 
378 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 el suo bisogno: con gratia novamente stampata ne la inclita citta di 
 viueggia per Giovanni Andrea Vavassore detto Guadagnio. 36 pp., sm. 
 4to. 13 ff., 52 designs. Library V. & A. M.— Venice, Lib. St. Mark.— 
 Milan, Bib. Marquis d'Adda. 
 
 1811 — Vavassore, G. A., detto Guadagnino — Opera nova, etc. . . . dove le ve- 
 nerande donne et fanciulle trovaranno di varie epere et molte opere per 
 recamatori et per dipintori, etc. Nnovaniente stampata, etc. A little 
 of everything in this volume. Zoan Andrea Vavassore was the pupil in 
 drawing and engraving of Andrea Mantegna. So greedy was he of gain 
 as to obtain for him the name of Guadigno, in Venetian patois, "covet- 
 ous." Milan, Bib. Marquis G. d'Adda. 
 
 1812 — Vavassore, And. detto Guadagnini — Opera Nuova Universale, intitulata 
 Coronna di Bicammi dove le venerande donne e fanciulle trovarono di 
 varie opere per far colari di camisiola, etc. Facsimile of the original of 
 1546 ( ?) with 40 plates. Venice, 1878. Sm. 4to. Ongania, 36 pp. S. K. M. 
 Metro. Mus. 
 
 1813 — Vavassore, G. A. — Opera nuova universale intitolata corona di Eicami, 
 Bergamo, 1910. Beproduced under direction of Elisa Bicci. 
 
 1814 — Vavassore, G. A. — La vera perfettione del disegno di uarie sorti di ricami 
 et di cucire ogne sorte di punti a f ogliami, punti tagliati, punti a fill, et ri- 
 messi, punti introciati, punti a stuora, & ogn'altro arte che dia opera 
 a disegni. In Venetia, presso gl'heredi de Luigi Valuassori e Gio. Do- 
 menico Micheli, 1584. Al segno del l'lppogrifo. In 4° oblong. II y aurait 
 une edition de 1585. (Bahir, catalogue Destailleurs.) Bibliotheque Na- 
 tionale. 
 
 1815 — Vecellio, C. — Corona delle nobile et Virtuose donne, Libro primo (e sec- 
 ondo) nel quale si dimostra in varij dissegni tutte le sorti di Mostre di 
 Punti Tagliati, Punti in aria, Punti a reticello, et d'ogni altra sorte, cosi 
 per Freggi, come per Merli et Bosette, che con l'aco si usano per tutta 
 l'Europa. In Venetia appresso Giorgio Angelieri a instantia di Cesare 
 Vecellio. (1591.) In-4° oblong. Titre different vente Yemenitz. Un e- 
 xemplaire de cet ouvrage mais date de 1592, se trouve a la Bibliotheque de 
 1 'arsenal. Un exemplaire de cette meme date 1592 est passe dans la vente 
 Santarelli faite par monsieur Danlos. Vente Foulc, 1914. 
 
 1816 — Vecellio, C. — Corona delle nobili etc. Marzo, 1591. Ongania reproduc- 
 tion, 1876. (There is also a Hoepli reproduction of this book.) 
 
 1817 — Vecellio, C. — Corona delle nobili et virtvose donne, libro primo Nel quale 
 di dimostra in varij dissegni tutte le sorte di Mostre di Punti tagliati, 
 Punti in aria, Punti a reticello e dogni altra sorte cosi per Freggi, come 
 per Merli et Bosette che con laco si vsano hoggidi per tutta l'Europa. Et 
 molte delle quali mostre possono seruire anchora per opere a Mazette. 
 Aggiuntoui in questa Terza impressione molti bellissimi disegni non mai 
 piu veduti. Petit in-4° oblong. Au-dessous de ce titre une marque d'lm- 
 primerie. C 'est un Cartouche ovale dans la bordure duquel on lit : Volup- 
 tatum et malorum effetur dissipatio. Dans ce Cartouche un oiseau regarde 
 de profil a, gauche des serpents qui grouillent a, ses pieds. Le cartouche 
 qui renferme cet oiseau, est entoure de cuirs, de mascarons, de petits 
 
BIBLIOGRAPHY 379 
 
 amours et a droite et a gauche des femmes assises qui travaillent a, le 'ai- 
 guille. Au-dessous de cette marque d'imprimerie on lit: Con Privilegio. 
 In Venetia appresso Cesare Vecellio in Frezzaria nelle case de Preti. 1591. 
 Dedicace. . . .Alia clarissima et illustrissima Signora Viena Vendramina 
 Nani . . . Finissant au verso par les mots : Di Venetia a di Genaro. 1591, 
 et signee Cesare Vecellio. Gravure sur bois representant une femme de- 
 bout sur une tortue, de face, une main tenant un peloton de fil, 1 'autre 
 main levee en Pair, Pindex etendu. Au fond deux femmes assises, tra- 
 vaillant a, P aiguille et un sculpteur a une statue. Cette composition est 
 entouree en baut et sur les cotes de bandes de guipures. Au-dessus de 
 cette gravure on lit : Conviensi cbe la della donua la bonta et non la bel- 
 lezza sia divulgata. Au verso un dessin de broderie Corona delle nobili 
 et virtuose donne, Libro secondo. Nel quale si dimos-tra in varij dissegni 
 tutte le -sorte di mostre di Punti Tagliati, Punti in aaria, puntia a reti- 
 cello, e d'ogni altra sorte, cosi per Freggi, come per Merli et Eosette, cbe 
 con laco si vsano boggidi per tutta PEuropa. Et molte delle quali mostre 
 possono servire ancbora per opere a Mazette. Aggiuntoui in questa Terza 
 impressione molti bellissimi ricami non piu vedette. Meme marque d'im- 
 primerie que dans le livre premier ci-dessus, meme libelle du Privilege, 
 meme date. Meme dedicace qu'au livre premier ci-dessus. Corona delle 
 nobili et virtuose donne, Libro Terzo, nel quale si dimostra in varij dis- 
 segni molte sorti di mostre, di Punto in aria, Punti Tagliati, Punti a reti- 
 cello, et ancora di picciole cosi per Freggi, come per merli et Eosette, cbe 
 con laco si vsano boggidi, per tutta PEuropa. Con alcune altre noue in- 
 ventioni di Bauari all' usanza Venetiana. Opera nouva e non piu data in 
 luce. Meme marque d'imprimerie que dans le livre premier, ci-dessus, 
 meme libelle du Privilege. Dedicace: . . . Alia clarissima et illustris- 
 sima Signora Viena Vendramina Nani. Finissant au verso par les mots : 
 Di Venetia, a di. 15 Griugno. 1591, et signee : Cesare Vecellio. Feuille qua- 
 drillee indiquant la maniere de piquer un dessin et de le reduire ou agrandir 
 par les carreaux de proportion. Avertissement aux femmes sur la ma- 
 niere de travailler. On pourrait conclure de Fenonce des trois titres ci- 
 dessus, que cette edition serait la troisieme en date. Bib. Nationale. 
 
 1818 — Vecell, Cesare. — Corona delle nobili et virtuose donne. Libro Primo, 
 Secondo, Terzo. 1592. P. 77. 
 
 1819 — Vecellio, C. — Corona delle nobili et virtuose donne. Libro primo. Nel 
 quale si dimostra in varij Dissegni, tutti le sorti di Mostre di punti tagliati, 
 punti in aria, punti a, Beticello, e d' ogni altra sorte cosi per Freggi come 
 per Merli, & Eosette, cbe con P Aco si usano hoggidi per tutta PEuropa. 
 Et molte delle quali Mostre possono servire ancbora per Opere a Mazzette. 
 Aggiuntivi in questa Quarta impressione molti bellissimi dissegni non mai 
 piii veduti. Then follows tbe printer's impresa of the stork and serpent, 
 witb a lady at work on eacb side, and below — Con privilegio. In Venetia, 
 Appresso Cesare Vecellio in Frezzaria nelle Case de' Preti. 1592. Which 
 is repeated in the 2nd and 3rd Books. Obi. 4to, 32 ff., 28 plates. Dedica- 
 tion of Vecellio "Alia Clarissima, et Illustrissima Signora, Viena Ven- 
 dramina Nani, dignatissima Consorte dell'Illust-smo Sig. Polo Nani, il 
 
380 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 Procurator di S. Marco." Signed: Venice, Jan. 20, 1591. Beautiful de- 
 signs, among which are three corners for handkerchiefs, the last lettered : 
 "Diverse inventioni p. cantoni dee fazoletti." On Plate 3, within a point 
 coupe border, is a statue of Venus standing upon a tortoise, with other 
 figures. 
 
 1820 — Vecellio, C. — 2nd Book — See 1819 — Corona delle jiobili et virtuose donne. 
 Libro secondo. Nel quale si dimostra in varij Dissegni, tutte le sorti di 
 Mostre de punte tagliati, punti in aria, punti a Beticello, e d' ogni altra 
 sorte, cosi per Freggi, come per Merli, & Rosette, che con 1' Aco si usano 
 hoggidi per tutta l'Europa. Et molti delle quali Mostre possono servire 
 anchora per Opere a Mazzette. Aggiuntivi in questa Quarta Impressione 
 molti bellissimi dissegni non mai piii veduti. Con Privilegio. In Vene- 
 tia, Appresso Cesare Vecellio, in Frezzaria nelle Case de' Preti. 1592. 28 
 ff., 26 plates. The dedication of this and the next book, though differently 
 worded, are addressed to the same lady as the first. This is dated Jan. 
 24, 1591. Among the patterns are two designs for handkerchiefs, and on 
 the last plate a statue of Vesta, within a point coupe border. 
 
 1821 — Vecellio, C. — 3rd Book — See 1819 — Corono delle nobili et virtuose donne. 
 Libro terzo. Nel quale si dimostra in varii dissegni molte sorti di Mostri 
 di Punti in Aria, Punti tagliati, Punti a reti cello, and ancora di picciole; 
 cosi per Freggi, come per Merli, & Rosette, che con 1' Aco si usano hog- 
 gidi per tutta l'Europa. Con alcune altre inventione di Bavari all' usanza 
 Venetiana. Opera nouva e non piiv in luce. Con privilegio. In Venetia 
 Appresso Cesare Vecellio, sta in Frezzaria nelle Case de' Petri. 1592. 
 Dedication dated June 15, 1591. Vecellio says he has added "alcune in- 
 ventioni di bavari all' usanza nostra." In the copy (Bib. de l'Arsenal. 
 11,955 bis) are added instructions to transfer the patterns upon parch- 
 ment without injuring the book. The last plate shows how to reduce the 
 patterns and how to prick tliem. This is sometimes given at 
 the end of the first book instead of the third. 28 ff ., 26 plates, two of bavari. 
 On PI. 27, woman with a torch and Cupid. At PI. 28, in a point coupe bor- 
 der, is a fox holding the bust of a lady, the conceit of which is explained 
 by the verses that sense is better than beauty: — La Corona de Vecellio 
 est de beaucoup le plus important et le plus celebre des livres offrant des 
 modeles de dentelles. Cette quatrieme edition est plus complete que les 
 precedentes. Les trois parties renferment respectivement 27.26 et 28 
 planches. Foulc Sale, Paris, June, 1914, frs. 980. Le Gioiello ne parut 
 que l'annee suivante. Bib. de l'Arsenal. V. &. A. M. 
 
 1822 — Vecellio, C. — [Another edition.] In Venetia, Appresso Cesare Vecellio, 
 in Frezzaria nelle Case de' Preti, 1593. See 1819. B. K. M. 
 
 1823 — Vecellio, C. — [Another edition.] In Venetia, Appresso Cesare Vecellio, 
 in Frezzaria nelle Case de i Preti, 1593. (Ongania reproduction.) See 
 1819. 
 
 1824 — Vecellio, Cesare — Grioello della corona per le nobili e virtuose donne. Libro 
 quarto. Nel quale si dimostra altri nuovi bellissimi Dissegni di tutte le 
 sorte di Mostre di Punti in Aria, Punti tagliati & Punti a Reticello ; cosi 
 per Freggi, come per Merli, & Rosette, che con l'Aco si usano hoggidi per 
 
BIBLIOGRAPHY 381 
 
 tutta 1' Europa. Et molte delle quali niostre possono servire ancliora per 
 opere a Mazzette Nuovament posto in luce con molte bellissime inventioni 
 non mai piu nsate, ne vedute. Con privilegio. In Venetia, Appresso Ce- 
 sare Vecellio, in Frezzaria nella Casa de i Preti. 1594. Same impresa of 
 the stork and serpent. Dedicated to the Sign. Isabella Palavicina Lupi 
 Marchesa di Soragana, dated "Venetia alii 20 Novembrio 1592." Cesare 
 Vecellio. 30 plates. P. 78. (Part 4 of the "Corona" with which it is 
 often bound up.) Vecellio, author of the Corona and Gioiello, also pub- 
 lished a work on costume styled Degli Habiti Antichi et Moderni. In Ve- 
 nezia, 1590. Presso Damian Zenero. In the frontispiece is a salaman- 
 der; on the last leaf a figure of Vesta. It has been reproduced by F. Didot, 
 Paris. The Bib. de 1 'Arsenal possesses two copies of the Corona. The 
 Library of Rouen (No. 1,315) has a volume containing the Corona and 
 Gioiello. Book 1 "quarta Imp.," Book 2 "ultima," both dated 1594; and 
 Book 3 "quinta," 1593. The Gioiello, 1593. In the Bodleian is a copy of 
 the three books, date 1592 ; and another, date 1561, was in the possession 
 of the late Mrs. Dennistoun of Dennistoun. At Venice, in the Doge's Li- 
 brary, is a volume containing the three books of the Corona and the Gio- 
 iello, dated 1593. Mrs. Stisted, Bagni di Lucca, also possesses the three 
 books of the Corona, dated 1597, and the Gioiello, 1592. At Bologna the 
 Library has one volume, containing the first and second books only, evi- 
 dently the original impressions. The titles are the same as the above, only 
 to each is affixed, "Opera nuova e non piu data in luce," and "Stampata 
 per gli Hered' della Regina. 1591. An instantia di Cesare Vecellio, Sta 
 in Frezzaria. ' ' The same Library also possesses a volume, with the three 
 books of the Corona, the first and third "ottava," the second "quarta," 
 and the Gioiello, "nouvamente posto in luce." All "In Venetia appresso 
 gli heredi di Cesare Vecellio, in Frezzaria. 1608." At Vienna, in the new 
 Museum for Art and Industry, is a copy of the five books, dated 1601. 
 Cav. Merli cites from a copy of the four books, dated 1600. The various 
 impressions, therefore, date from 1591 to 1608. We see these different 
 parts, like those of Vinciolo and all these old collections, have been printed 
 and reprinted independently of each other, since the third part was at its 
 fifth impression in 1593, while the first, which ought to have preceded it, 
 was only at its fourth in 1594. Rouen, Bib. Bound in one vol. with the 
 three parts of the Corona. 
 
 1825 — Vecellio, O. — Corona delle nobili et virtuose donne, Libro Primo, nel quale 
 si dimonstra in varij dissegni tutte le sorti di mostre di punti tagiiati, 
 punti in aria, punti a reticello e d'ogni altra sorte, cosi per Freggi, come 
 per Merli et Rosette che con laco si usano hoggidi per tutta 1 'Europa. Et 
 molte delle quali mostre possono servire ancora per Opere a Mazetti. Ag- 
 giuntovi in questa quarta Impressione molti bellissimi dissegni non mai 
 piu veduti. Meme marque d'imprimerie que dans le livre premier meme 
 libelle du privilege avec la date de 1595, au lieu de 1591. Meme dedicace. 
 Meme gravure sur bois. Corona del nobili et virtuose donne, Libro sec- 
 ondo, nel quale si dimostra in varij dissegni tutte le sorti di mostre de punti 
 • Tagiiati, punti in aria, punti a Reticello, e d'ogni altra sorte, cosi per 
 
382 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 Freggi, come per Merli et Rosette, eke con l'aco si usano hoggidi per tutta 
 l'Europa. Et molte delle quali inostre possouo servire ancora per Opere 
 a Mazetti. Aggiuntovi in questa quarta Impressione molti bellissimi dis- 
 segni non inai piu veduti. Meme marque d'imprimerie, meme libelle du 
 privilege, avec la date de 1597, au lieu de 1591. Meme dedicace que dans 
 le livre deux. A la fin une figure dans un medaillon avec le mot Vesta dans 
 un encadrement de dentelles. Corona delle nobili et virtuose donne, Libro 
 Terzo, nel quale si dimostra in varij dissegni tutte le sorti di Mostre di 
 punti tagliati, punti in aria, punti a Reticello e d'ogni altra sorte, cosi per 
 Freggi come per Merli et Rosette, e, die con l'aco si usano hoggidi per tutta 
 l'Europa. Con alcune altre nuove inventioni di Bauari all uzanza Vene- 
 tiana. Opera nuova e non piu data in luce. Meme marque d'imprimerie 
 que dans le livre premier, meme libelle du privilege avec la date de 1597, 
 au lieu de 1591. Meme dedicace que dans le livre trois. A la fin une figure 
 en medaillon dans un cadre de dentelles representant le renard et le buste 
 accompagnee d'un sixain. Gioiello della Corona per le nobile e virtvose 
 donne, Libro quarto, nel quale si dimostra altri nuovi bellissimi disegni, di 
 tutte le sorti di Mostre, di punti in aria punti Tagliati, et punti a Reticello 
 cosi per Freggi come per Merli et Rosette che con laco si usano hoggidi per 
 tutta Europa, et molte delle quali mostre possono servire ancora per opere 
 a Mazetti, nouamente posto in luce con molto bellissimi inventioni non mai 
 piu usate ne vedute. Meme marque d'imprimerie que dans le livre pre- 
 mier. Meme libelle du privilege avec la date de 1596. Dedicace: Alia 
 illustrissima sig-ra Padrona Colendissima la sig. Isabella Pallavicina 
 Lvpi marchesa meritissima di Soragna. Finissant au verso par les mots : 
 Di Venetia alii 20 novembrio 1592, et signee : Cesare Vecellio. Puis com- 
 mencent les broderies. Vente Benedetto Maglione. Paris, 1894. 
 
 1826 — Vecellio, C. — Corona delle nobili et virtuose donne. Libro quinto. Nel 
 quale si contengono molti, & varij Dissegni di diuersi sorti, & specialmente 
 che seruono per Bauari ch' in Venetia si costumano, & in molte altre parti 
 del mondo. Opera molto vtile. . . . Nuouamente posto in lvce. Con privi- 
 legio. In Venetia, appresso Cesare Vecellio, in Frezaria nelle Case de 
 Reuer. Preti di S. Moise. 1596. 4°. 10 cuts. 
 
 1827 — Vecellio, C. — Corona delle nobili et virtuose, etc. 1596. Ongania Repro- 
 duction of No. 1826. 
 
 1828 — Vecellio, C. — Corona delle nobili et virtvose donne, Libro primo, nel quale 
 si dimostra in varij dissegni, tutte le sorti di Mostre, Punti tagliati, punti 
 in aria, punti a reticello, et d'ogni altra sorte cosi per Freggi, come per 
 merli et Rosette che con laco si usano hoggidi per tutta Europa. Et molte 
 delle quali mostre possono servire ancora per Opere a Mazette. Aggiutoui 
 in questo quarta impressione molti bellissimi disegni non piu verduti. 
 Meme exemplaire que le precedent avec des differences insignifiantes prin- 
 cipalement dans les cotes. Vente Piot, 1879. Bibliotheque Nationale. 
 
 1829 — Vecellio, C. — Corona delle Nobili et virtvose donne, Libro Primo nel quale 
 si dimostra in varij dissegni, tutte le sorti di Mostre, di punti tagliati, 
 punti in aria, punti a reticello, a d'ogni altra sorte cosi per Freggi, come 
 per Merli et Rosette, che con laco si usano hoggidi per tutta l'Europa. 
 
BIBLIOGRAPHY 383 
 
 Aggiuntoui in questa quarta impressione molti bellissimi dissegni non mai 
 piu verduti. Meme exemplaire que celui decrit ci-dessus avec cette seule 
 difference que le libelle du privilege en est date de 1598. Vente Yemenitz, 
 1867. Vente Bancel, 1882. 
 
 L830 — Vecellio, C. — Corona delle nobili et virtvose donne, Libro primo, nel qual si 
 dimostra in varij dissegni tutte le sorti di Mostre di punti tagliati, punti in 
 aria, punti a reticello e d'ogni altra sorte cosi per Freggi come per Merli 
 et Eosette, cbe con l'aco si vsano boggidi per tutta l'Europa. Et molte 
 delle quali mostre possono seruire ancora per opere a Mazette. Agguiun- 
 toui in questa quarta impressione molti bellissimi dissegni non mai piu ve- 
 duti, Con privilegio. Meme exemplaire que celui decrit ci-dessus avec cette 
 seule difference que le libelle du privilege est date de 1600. 
 
 1831 — Vecellio, C. — Corona delle nobili et virtvose donne, Libro primo nel, qual 
 si dimostra in varij dissegni, tutte le sorti di Mostre di punti tagliati, punti 
 in aria, punti a Eeti cello e d'ogni altra sorte, cosi per Freggi, come per 
 Merli et Eosette, cbe con l'aco si usano boggidi per tutta l'Europa. Et 
 molte delle quali mostre possono seruire ancora per opera et Mazette. Ag- 
 giontavi in questa ottaua impressionne molti bellissimi dissegni non piu 
 veduti. D'apres l'enonce du titre cette edition serait la buitieme. Meme 
 exemplaire que celui decrit ci-dessus avec cette seule difference que le 
 libelle du privilege est date de 1600. Bibliotbeque Nationale. 
 
 1832 — Vecellio, C. — [Anotber edition.] In Venetia, Appresso Cesare Vecellio, in 
 Merzaria, 1600. (Ongania reproduction.) See 1831. 
 
 1833 — Vecellio, C. — Corona Delia Nobili / / Et Virtuose Donne / / Libro Primo 
 / / Nelqual fi dimoftra in varij Diffegni, tutte le f orti di Moftre di punti 
 tagliati // punti in aria, punti a Eeticello, e d'ogn'altra forte cofi per 
 Fregi, come per // Merli, e Eofette, cbe con l'Aco fi ufano boggidi per 
 tutta 1' Eur opa // Et Molte delle quali Mostre Poffono feruire ancora 
 per Opere a Mazette / / Aggiontoui in quefta Ottaua Imprefsione molti 
 bellifsimi Diffegni non piu veduti / / Con Privilegio / / In Venetia. Ap- 
 preff o Cefare Vecellio, in Merzaria 1601 / / Metro Mus. 
 
 1834 — CoronaDelle Nobili / / Et Virtuose Donne / / Libro Terzo. Metro. 
 Mus. See 1833. 
 
 1835 — Corona Delle Nibili / / Et Virtuose Donne / / Libro Quarto. Metro. 
 Mus. See 1833. B. K. M. 
 
 1836 — Vecellio, C. — [Anotber edition.] In Venetia, Appresso gli heredi di Cesare 
 Vecellio, in Merzaria. 1608. See 1833. V. & A. M. 
 
 1837 — Vecellio, C. — Corona delle nobile, et virtuose Donne. Libro primo, Ve- 
 netia, 1592. Grioiello della Corona per le nobili, et virtuose Donne, Libro se- 
 condo, 1592; Libro terzo, 1592. Libro quarto, Venetia, 1608. 4 parts com- 
 plete. Obi. 8vo. Venice, 1592-1608. S. K. M. 
 
 1838 — Vecellio, C. — Corona delle nobile, etc. Anotber edition (imperfect) of 
 part 4. See No. 1837. S. K. M. 
 
 1839 — Vecellio, C. — Facsimile reprint of tbe above. Libro primo, ed. 1600. Libro 
 secondo, ed. 1600, Libro terzo, ed. 1600, Libro quarto ed. 1593. Ongania, 
 Venice, 1876. S. K. M. See 1837. Metro Mus. 
 
384 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 1840 — Vecellio, C. — Another facsimile reprint of the Lihro primo ed. 1600, with 
 title of edition. 1593. Ongania, Venice, 1879. S. K. M. 
 
 1841 — -Vecellio, C. — Another edition or early reprint of the Libro terzo of the 
 same work published "in Venetia, Appreso Alessandro de Vecchi, 1620." 
 Obi. 8vo. Venice, 1620. S. K. M. 
 
 1842 — Vecellio, 0. — Corona delle nobili et virtvose donne, Libro Primo, nel quale 
 si dimostra in varij dissegni tutte le sorte di mostre di punti tagliati, 
 punti in aria, punti Fiamenghi, punti a Eeticello, e d'ogni altra sorte, cosi 
 per Freggi, per Merli et Rosette che con l'aco si usano hoggidi per tutta 
 l'Europa. Et molte delle quali mostre possono seruire ancora per Opere 
 Mazette, con la dichiarationi a le mostre a lauori fatti da Lugretia 
 Eomana. Au-dessous de ce titre une gravure sur bois representant une 
 femme debout sur une tortue, de face, une main tenant un peloton de fil, 
 1 'autre main levee en l'air 1 'index etendu. Au fond deux femmes assises, 
 travaillant a 1 'aiguille et un sculp teur a une statue. Cette composition est 
 entouree en haut et sur les cotes de bandes de guipures. Au-dessus de ce 
 bois on lit: Conviensi che la donna la bonta et non la bellezza sia divul- 
 gata. Au-dessous de la gravure : In Venetia appresso Alessandro de Vecchi 
 1620. Vendesi in Eoma al magazino della Venetia. Dedicace: Alia 
 Clarissima et illustrissima signoraViena Vendramina Nani. Finissant au 
 verso par les mots : Di Venetia el di 20 marzo, 1591, et signee Cesare Ve- 
 cellio. Un cartouche ovale contenant le portrait de Marie d'Aragon, de 
 profil a gauche. Coiffee d'une resille,en buste, pose sur un piedouche. Au 
 bas du chignon a droite, dans interieur de l'ovale du cartouche, une cou- 
 ronne, au tour de la bordure du medaillon, on lit : D. Maria Aragonia. Ce 
 cartouche est ornemente de grotesques, d'anges ailes, de chimeres. Au 
 bas est une tablette sur laquelle on lit : Aetatis suae anno. XXXIX. A 
 droite et a gauche des bordures verticales de guipures, En haut du car- 
 touche on lit : Conviensi che la donna, la bonta et non la Bellezza sia divul- 
 gata. Eien au verso. Puis commencent les broderies. Chaque planche 
 porte en haut la mention du genre de broderies represents, et en bas l'u- 
 sage qu'on en fait et la partie desvetements a, laquelle cette broderie est des- 
 tinee. Corona delle nobili et virtvose donne, Libro secondo, nel quale si 
 dimostra in varij dissegni tutte le sorti di mostre di punti tagliati, punti 
 in aria, punti Fiamenghi, punti a Eeticello, e d'ogni altra sorte, cosi per 
 Freggi, per Merli e Eosette, che con l'aco si usano hoggidi per tutta 1'- 
 ' Europa. Et molte delle quali mostre possono servire ancora per opere a 
 Mazette con le dichiarationi a le mostre a lavori fatti da Lugutia Eomana. 
 Merne gravure sur bois que ci-dessus premiere partie. On lit au-dessous: 
 In Venetia appresso Alessandro de Vecchi 1617. Si Vendono in Venetia 
 al Ponte de Baretteri, alia libreria delle tre Eoie. Dedicace : Alia Claris- 
 sima et illustrissima signora Viena Vendramina Nani. Finissant par la 
 date de 1591 et la signature Cesare Vecellio. Page avec le buste de Marie 
 d'Aragon decrit ci-dessus premiere partie. Puis commencent les brode- 
 ries. Corona delle nobili et virtuose donne, Libro Terzo, nel qual si dimo- 
 stra in varij dissegni tutte le sorti di Mostre di punti tagliati, punti in aria, 
 punti Fiamenghi, punti a Eeticello et d'ogni altra sorte, cosi per Freggi, 
 
BIBLIOGRAPHY 385 
 
 per Merli et Eosette, che con l'aco si usano per tutta l'Europa, et molte 
 delle quali mostre possono servire ancora, per opere a Mazette, con le de- 
 chiarationi a le mostre a lavori fatti da Lugretia Eomana. Au-dessous de 
 ce titre meme gravure sur bois que ci-dessus premiere partie. Au-dessous 
 de cette gravure : In venetia appresso Alessandro de Vecchi 1620. Si 
 Vendono in Venetia, al Ponte de Barettori, alia Libreria delle tre Roie. 
 Dedicace: Alia Clarissima et illustrissima signora Viena Vendramina 
 Nani. Finissant par la date 1591 et la signature Cesare Vecellio. Puis 
 commencent les broderies. B. M. 
 
 1843 — Vecellio, C. — Corona delle nobile et Virtuose donne, Libro primo nel quale 
 si dimostra in varij dissegni tutte le sorti de Mostre di punti Tagliati, punti 
 in aria, punti Fiamenghi, punti a reti cello, a d'ogni altra sorte, cosi per 
 Freggi, per Merli et Bosette, cue con l'aco si usano hoggidi per tutta l'- 
 Europa. Con le dechiarationi a le mostre a lavori fatti da Lugutia Rom- 
 ana. Au-dessous du gravure : In Venetia Appresso Alessandro de Veccbi 
 MDCXXV. Si Vendone in Venetia al Ponte de Baretteri, alia Libreria 
 delle tre Roie. Meme dedicace, meme cartouche avec le buste de Marie d'- 
 Aragon que dans la premiere partie du numero ci-dessus, memes cotes des 
 pages. La seconde partie a le meme titre, la meme marque d'imprimerie, 
 le meme privilege, la meme dedicace que ci-dessus. Puis commencent les 
 broderies. La troisieme partie a le meme titre, la meme marque d'im- 
 primerie, le meme privilege, la meme dedicace que ci-dessus. Puis com- 
 mencent les broderies. La quatrieme partie a le meme titre, la meme mar- 
 que d'imprimerie, le meme privilege, la meme dedicace que ci-dessus. Puis 
 commencent les broderies. Ce volume comprend 116 feuillets. Les trois 
 premieres parties en ayant 28 chacune, et la quatrieme 32. In Emmanuel 
 Bocher's opinion this is the same book as that of the same title and date 
 listed under Lucretia Romana : here described in greater detail, especially 
 with reference to the different parts. Vente Destailleurs, 1895. Biblio- 
 theque imperiale de Vienne. 
 
 1844 — Vecellio, Cesare — Corona delle Nobili et Virtuose Donne, libro primo. Nel 
 quale si dimostra in varii Dissegni tutte le sorti di Mostre di punti tag- 
 liati, punti in Aria, punti Fiamenghi, etc., cosi per Freggi, per Merli, e Ro- 
 sette, che con 1 ' Aco si usano hoggidi per tutta 1 'Europa. In Venetia, Ap- 
 presso Alessandro de' Vecchi, 1625. Oblong 8vo, woodcut on title, portrait 
 of Lucretia Romana, and 24 woodcut pages of designs for lace and needle- 
 work, half calf. Ellis (London) Cat. No. 177, 1918. See note above, and 
 No.1110 by Lucretia Romana. 
 
 1845 — Vecellio, Cesare — Corona delli nobili et virtuse donne. 1630, reprinted 
 1879. 
 
 1846 — Vecellio, Cesare — Costumes anciens et modernes. Habiti antichi e mor- 
 derni, etc. Paris, Fernin Didot f reres et fils, 1859-1860. 
 
 1847— Vecelli, C— Die Krone der kunstfertigen Frauen. 1691. Berlin, 1891. In 
 British Museum. 
 
 1848 — Venetian Patterns — 12 leaves of woodcut designs, each with headings from 
 a 16th century Lace pattern book. Sm. 4to. n.d. S. K. M. 
 
 1849— Venetian Point Lace. Delineator, V. 64, pp. 116-117, July, 1904. 
 
386 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 1850 — Venetian, 16th Cent. — FiLr Passementerie Arbeiten und verwandte Tech- 
 
 niken. Nach dem Original-musterbuche im Besitze der Bibliothek des 
 
 k.k. Oesterr. Museums . . . Obi. 8vo, Wien, 1879. S. K. M. 
 1851 — Venetianer Spitzen (Punto tirati) aus dem 16. Jabrbundert. Blaetter 
 
 fur Kunst gewerbe, 1879, Vienna. 
 1852 — Vera perfezione del disegno, La, etc. Sm. obi. 4to. Venice, P. Senese, 
 
 1591. 23 tracings of tbe patterns. See Clerget. S. K. M. 
 1853 — Vereeniging "De Nederlandsche Kantwerkschool" te's Gravenbage. 
 
 Verslag over 1902, tot September, 1903. Amsterdam, van Ipenbuur & van 
 
 Seldam, n.d. 
 1854 — Verein zur Hebung der Spitzenindustrie in Osterreich. Kunst und Kunst- 
 
 handiverk, 1904. 
 1855 — Vere, O'Brien, Mrs. Robert — Limerick Lace. Irish Homestead, August, 
 
 1897. 
 1856 — Verbaegen, Pierre — L'industrie dentelliere en Belgique. La Reforme 
 
 sociale, May 16, 1902. Paris. 
 1857 — Verbaegen, Pierre — Les Industries a domicile en Belgique, T. IV, La Den- 
 
 telle et la Broderie sur tulle, 2 vol. Brussels, Office de Public, et Societe 
 
 beige de librairie, 1902. B. M. 
 1858 — Verbaegen, Pierre — Royaume de Belgique, Ministere de l'industrie et du 
 
 Travail, Office du Travail. Les Industres a Domicile en Belgique, Bruxelles 
 
 1902. Vol. IV & V, La Dentelle et la Broderie sur Tulle, Tomes 1 et 2. 
 
 Published by J. Lebeque & Cie., Brussels, rue de la Madeleine 46, 1902; or 
 
 Oscar Schepens & Co., Rue Treurenberg, 16, Brussels. 
 1859 — Verkauf inlandischer Spitzen. Kunst und Kunsthandwerk, 1903, Vienna. 
 1860 — Verneuil, M. P. — Un concours de napperons a l'Union centrale des Arts 
 
 decoratifs. Art et decoration, 1903, Paris. 
 1861 — Verneuil, P. — L'lDcole de Dentelles de Vienne. Art et decoration, 1903, 
 
 V. 14, pp. 265-272. 
 1862 — Verwaetermeulen, Ant. — Bloemwerk-Valencijnsch Kantwerk te Teper. La 
 
 revue Bishorf. Termes, August, 1902. Bruges, Annee 1901, No. 10 et 18. 
 1863 — V. — H — Les Dentelles. Histoire. Fabrication, etc. Journal des Dames et 
 
 des Demoiselles, 1859-1860 Brussels. 
 1864 — Vienne Exhibition, 1873 — Bapport de la Delegation ouvriere francaise. 
 
 Rapport du Delegue Lyonnaise sur la Passementerie a la barres. 8vo, 
 
 Paris, 1874. S. K. M. 
 1865 — Vigouroux, Louis — Rapport fait au nom de la Commission du Commerce 
 
 et de l'industrie cbargee d'examiner la proposition de loi de M. Fernand 
 
 Engerand, relative a l'apprentissage de la dentelle a la main. Chambre 
 
 des Deputes, June 12, 1903, Paris. 
 1866 — Vigouroux, Louis — La Dentelle a la Main. Revue Bleue, Feb. 11, 1905, 
 
 Paris. 
 1867 — Villedon de Courson, Ctesse de — La Dentelle. Mois litteraire et pitto- 
 
 resque, February, 1904, Paris. 
 1868 — -Vinciolo, Federic — Les excellents eschantillons, patrons et modelles du 
 
 Seigneur Federic de Vinciolo Venitien, pour apprendre a, faire toutes 
 
 sortes d'ouvrages de Lingerie, de Poinct couppe, grands et petits passe- 
 
BIBLIOGRAPHY 387 
 
 ments a jour, et dentelles exquises. Dediez a la Eoyne. A Paris. Chez 
 la Veufve Jean le Clerc, rue Sainct Jean de Latran, a la Salamandre Ro- 
 yalle. Avec Privilege du Roy, 1623. In 4to, 56 ft". The old frontispiece 
 and same. Page Aij. Avertissernent au lecture. Au verso, 4 vers dans 
 le bas de la page. Dedication to the Queen, Anne of Austria. The God- 
 dess Pallas invented "les ouvrages de lingerie, le poinct couppe, les grands 
 and petits passements a jour, toutes sortes de dentelles, tant pour se de- 
 sennuyer que se parer, par 1 'artifice de ses ingenieuses mains. Aracine 
 s'y adonna, and bien qu'inferieure se voulant comparer a elle & en venir a 
 l'experience, mais sa presomption fut chastiee." Many illustrious ladies 
 have delighted in this "honneste exercise." Fastrade and Constance, 
 wives of the Emperor Charlemagne and of King Robert, "s'employerent 
 de cette manufacture, and de leurs ouvrages ornerent les eglises & les 
 autels." This royal "mestier" has reached perfection through the works 
 of Vinciolo. I reprint and again increase his work, which I dedicate to 
 your Majesty,to whom I presume they will be agreeable; the subject of 
 which it treats is "une invention de deesse & une occupation de Royne — 
 vous estant autant Royne des vertus que vous Testes de deux royaumes." 
 Signed, "La Veufve de feu lean le Clere." Page Aiiij. Same Sonnet aux 
 Dames et Damoiselles. Au verso extrait du Privilege. Puis commencent 
 les broderies. Page Oiiij, Alphabet. Privilege for six years, dated Paris, 
 last day of March, 1623. 55 ff., 58plates, 24 ouvrages de point couppe and 
 8 of "Passements au fuzeau" and alphabet. Cat. d'Estrees. Bibliotheque 
 Nationale, Bib. Imp. Grav. Brussels Bib. Royal. 
 
 1869 — Vinciolo, F. — New Modelbuch darinen allerly Gcettung schoner Modeln der 
 newen auss geschitnen arbeit auff Kragen Hempter, Jakelet und Der- 
 gleichen zu newen, so zuvor in Teutschlandt nicht geschen. Saint Gall, 
 1593. In-4°. Traduction du 3° livre de Vinciolo. 
 
 1870 — Vinciolo, F. — New Modelbuch Von allerhand sonderbarn schonen Modeln 
 von der jetzt gebreuchliche' durch geschnittener Arbeit. Durch H. Vin- 
 ciolo ein Venediger angeordnet. Yetzt aber alien Frawen, Jungfrawen, 
 Naherin vnd dergleichen Kunstgeflissenen Personen zu sondern verstand 
 auffs new mit vermehrung vnd besserung viler schonen vnd lustiger Mod- 
 eln in Truck gefertiget vnd an tag gebracht. Mit Rom : Keyserlicher 
 Mayestat Freyheit. Getruckt zu Strassburg bey B. Jobins Erben. An. 
 1596. 4°. Titlepage, 2 pp. text (a poem signed J. D. E.), cuts. V. & A. M. 
 
 1871 — Vinciolo, F. — Les secondes oewres et svbtiles inventions de lingerie du 
 seigneur Federic de Vinciolo Venitien, dediees a Madame, sceur uniqve du 
 Roy. Ou sont representees plusieurs figures de reseau, nombre de carrez 
 tous differents le tout de poinct conte auec autres nouuelles sortes de bor- 
 dures non encore veues. A Paris, Par lean Le Clers rue Sainct Jean de 
 Latran, a la Salemendre, 1594. Auec Privilege du Roy. Ce titre est 
 au milieu d'un encadrement en haut duquel on voit dans un ecusson en lo- 
 sange, surmonte d'une couronne royale, les armes de France et de Navarre 
 avec une cordeliere de veuve. Des deux cotes de cet ecusson une femme 
 tenant un metier sur ses genoux. Au-dessous sur les cotes verticaux de 
 1 'encadrement, a droite et a gauche, un enfant dans des rinceaux. En bas 
 
3S8 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 deux autres enf ants couches et au milieu un cartouche, dans lequel on lit : 
 Auec Privilege du Eoi. Aij, avertissements au lecteur. Au verso le por- 
 trait de Catherine de Bourbon, de trois quart a gauche, une fraise autour 
 du cou, deux colliers sur la poitrine. Medaillon ovale, sur la bordure 
 duquel on lit: Catherine de Bovrbon, sceur unicque du Boy. Aiij, ded- 
 icace. Verso un sonnet. Page non cotee, sonnet aux Dames et Damoi- 
 selles. Verso, Extrait du Privilege date de : Mante le 13 iour de juillet 
 1593. M. d'Adda dans sa bibliographie mentionne une edition de 1595 et 
 une de 1598. 
 
 1872 — Vinciolo, F. — Les secondes ceurues et subtiles inuentions . . . le tout de 
 
 poinct conte auec autres sortes de Carrez de nouuelle inuention non en- 
 
 , cores veus A Paris, Par lean le Clerc, rue Sainct lean de Latran, a la 
 
 Salamandre. 1599. Portion of Titlepage and some cuts are in the V. & A. 
 
 M. 
 
 1873 — Vinciolo,F. — Les secondes ceuvres, et subtiles inventions de Lingei'ie du 
 Seigneur Federic de Vinciolo Venitien ; nouvellement augumente de plu- 
 sieurs carrez de point de rebort. Dediee a Madame, sceur unique du roy. 
 Ou sont representees plusieurs figures de Beseau, nombres de Carrez et 
 Bordures tous differents, le tout de poinct conte, avec autres sortes de 
 Carrez de nouvelles inventions non encore vues. A Paris. Par Jean le 
 Clerc, rue sainct Jean de Latran, a la Salemandre, 1613. Avec privilege 
 du Boy. A scarce and valuable volume, the fullest edition of the second 
 part of Vinciolo 's work. 4to, 68 ff., 61 plates. It contains a Sonnet 
 aux Dames & Damoyselles. The author's address to the reader, and a 
 Dedication to "Madame, sceur unique du roy" (Catherine de Bourbon, 
 sister of Henry IV, married, 1599, to the Due de Bar), signed by Le Clerc. 
 On the second plates are her arms, a lozenge, France and Navarre with 
 crown and cordeliere, and the same lozenge, also surmounts the decorated 
 frontispiece, supported on either side by a genius (?) working at a frame 
 and point coupe drapery. 7 Scripture subjects : The Salutation, St. 
 Sacrement, Passion, Crucifixion, Adoration of the Kings, etc. ; the number 
 of the stitches given to each. 2 Stomachers, and various patterns of "car- 
 rez" and borders. 2 of "Point de rebort." Le nombre des points est 
 partout indique. M. Brunet, Manuel du Libraire. ' ' Edition la plus com- 
 plete de la deuxieme partie des dessins de Vinciolo. Elle contient outre 
 les f euillets preliminairies, 61 planches en grande partie diff erentes des pre- 
 cedentes et l'on y a ajoute le disc ours du lacis en vers. Nous en avons vu 
 un exemplaire date de 1612 et un de 1603." Vente Pirovano, Borne, 1901. 
 Vente Pichon, 1869. Vente Yemenitz, 1867. Bibliotheque publique de 
 Bouen. 
 
 1874 — Vinciolo, F. — 1st Edition, 1st Part. Les singuliers et nouveaux pourtraicts 
 et ouvrages de Lingerie Servans de patrons a, faire toutes sortes de poincts, 
 couppe, Lacis & autres. Dedie ala Boyne. Nouvellement inventez, au 
 promt & cotentement, des nobles Dames & Damoiselles & autres gen tils es- 
 prits, amateurs d'un tel art. Par le Seigneur Federick de Vinciolo 
 Venitien. A Paris. Par lean le Clerc le ieune, rue Chartiere, au Chef 
 Sainct Denis. 1587. Avec privilege du Boy. 
 
BIBLIOGRAPHY 389 
 
 1875 — 2nd Part. See 1874. Les singuliers et nouveaux pourtraicts et ouvrages 
 de Lingerie ou est represents les sept pianettes, & plusieurs autres figures 
 & portraitz servans de patrons a faire de plusieurs cortes de Lacis. Nou- 
 vellement inventez, au proffit & cotentment des nobles Dames & Damoi- 
 selles & autres gentils esprits, amateurs d'un tel art. Par le Seigneur 
 Federic de Vinciolo Venitien. A Paris. Par lean le Clere le ieune, rue 
 Chartiere, au Chef Sainct Denis. 1587. Avec privilege du Roi. (At the 
 end.) Privilege for nine years to "lean le Clerc le ieune, 'tailleur d'his- 
 toires,' a Paris," signed 27 June, 1587. "De l'Imprimerie de David la 
 Clerc Rue Frementel a l'Estoille d'Or." 4to. The first part consists of 
 40 ff., 36 of patterns and 4 preliminary pages. P. 1. The title-page with 
 decorated border, in which are two ladies at work. (See Title-page of this 
 work.) P. 2. Dedication of "Le Seigneur Federic de Vinciolo aux Bene- 
 volles Lecteurs." P. 3. Dedication "A la Royne," Louise de Vaude- 
 mont, by Le Clerc. Signed last day of May, 1587. P. 4. A Sonnet. Then 
 the 36 patterns set off in white on a black ground, viz., 20 "Ouvrages de 
 point Couppe," The first plate with the double AA, according to the fashion 
 introduced by Francis I. of using Greek monograms, standing for Queen 
 Louise. On the second page are two escutcheons, one of France, the other 
 with the letter H for Henry III. Then follow eight "Passemens de point 
 Couppe," which are succeeded by eight more "Ouvrages de point 
 Couppe." Part 2, 24 ff. Same decorated frontispiece and 22 plates of 
 subjects in squares for stitches like the German patterns of the present 
 day. These consist of the Seven Planets, Sol, Luna, Mars, Mercury, Jupi- 
 ter, Venus and Saturn. Four in squares of various designs ; two of Amo- 
 rini shooting stags and birds ; Neptune and the winds ; an arabesque with 
 impresa of a column with circle and double triangle ; five borders and 
 squares, and two "bordures a carreaux," diamond-shaped meshes. The 
 last page contains the Extract from the Privilege. This is the original 
 edition of Vinciolo, of which we know but one copy existing — that in the 
 Library at Rouen. Bury-Palliser. It was followed the same year by two 
 other editions, with alterations. Cette edition, comme encadrement du 
 titre, comme disposition des feuillets, comme cotes des pages, comme mil- 
 lesime est identi quern ent pareille a celle que nous venons de decrire (2 
 edit.) Elle ne differe que par Penonce des deux titres, celui de la premiere 
 partie et celui de la seconde dont les redactions ne sont pas les memes. 
 Nous donnons ici ces deux titres, par lesquels on reconnaitra faeilement 
 1 'edition presente. Quoique portant le meme millesime cet exemplaire est 
 bien celui d'une seconde edition parue la meme annee 1587. On lit en effet 
 dans l'enonce du titre de la premiere partie . . . Nouuellement inventez 
 . . . &. E. Bocher. Vente Techner. We have received notice of there be- 
 ing a copy of the original edition at Turin, in the Library of the Uni- 
 versity. Biblio. Rouen. Both parts in one vol. 
 
 1876 — Vinciolo, F. — 2nd Edition — 1st Part. Les singuliers et nouveaux pour- 
 traicts pour les ouvrages de Lingerie. Nouvellement augmentez de plusi- 
 eurs differens pourtraits servans de patrons a faire toutes sortes poincts 
 couppe, Lacis, et autres reseau de poinct conte. Dedie a la Royne. Le 
 
390 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 tout invente, au proffit & contentement des nobles Dames & Damoiselles & 
 autres gentils esprits, amateurs d'un tel art. Par le Seigneur Federic de 
 Vinciolo Venitian. A Paris. Par lean le Clerc le ieune, rue Chartiere, au 
 Chef Sainct Denis, pres le college de Coqueret. Avee privilege du Roy. 
 1587. 
 
 1877 — 2nd Part. See 1876. — Les singuliers et nouveaux pourtraicts pour les 
 ouvrages de Lingerie ou avons augmete plusieurs nouveaux & dif- 
 ferens portraitz de reseau, tout point conte, plusieurs nouvelles bor- 
 dures et autres sortes differentes. Nouvellement inventez au promt & 
 cotentement des nobles Dames & Damoiselles & autres gentils esprits ama- 
 teurs d'un tel art. Par le Seigneur Federiek de Vinciolo Venitian. A 
 Paris. Par lean le Clere le ieune, Rue Chartiere, au Cbef Sainct Denis, 
 pres le college de Coqueret. Avec privilege du Roy. 1587. 1st Part, 40 ff. 
 The same frontispiece, dedications, date, and sonnet, as the first, the same 
 number of patterns, only the eight styled in the first "Passemens" are 
 here all called, like the others, "Ouvrages" de point couppe. 2nd Part, 32 
 ff. This part has 30 patterns, comprising the 24 of the first edition, and six 
 additional ones, consisting of squares and two hunting subjects. Sur la 
 derniere page au recto, l'extrait du Privilege, finissant par les mots: es 
 lettres patentes, donnees a Paris, ce vingt septieme iour de juin 1587, de 
 l'lmprimerie de Dauid. Le Clerc Rue Frementel a l'estoile d'or. Vente 
 Pirovano, Rome, 1901. Bibliotheque Nationale. 
 
 1878 — Vinciolo, F. — 3rd Edition, Parts 1 and 2, No. 1 — Les singuliers et nou- 
 veaux Pourtraicts, du Seigneur Federic de Vinciolo Venitien, pour toutes 
 sortes d 'ouvrages de Lingerie. Dedie a la Royne. Derechef et pour la troi- 
 sieme fois augmentez Outre le reseau premier et le point couppe et lacis, 
 de plusieurs beaux et differens portrais de reseau de point cote avec le 
 . nombre des mailles, choze non encor venue ni inventee. A Paris. Par 
 lean le Clerc le ieune, rue Chartiere, au Chef Sainct Denis, pres le college 
 de Coqueret. Avec privilege du Roy. 1587. This must be the first im- 
 pression of the third edition. Brussels, Biblio. Royal. 
 
 1879— Vinciolo, F.— 3rd Edition, No. 2, 1st Part— Les Singuliers / / Et Nov- 
 veaux Pour / / Traicts, du Seigneur Federic / / de Vinciolo Venitien, 
 pour toutes // fortes d'ouurages de Lingerie // Dedie a la Royne // 
 Derechef et Pour la / / Troisiesme fois Augmentez / / outre le refeau 
 premier / / le point couppe lacis, / / deplufieurs beaux differens portrais 
 de refeau / / de point cote, avec le nombre des mailles, ehofe / / non 
 encor' vene ny inuentee. A PARIS // Par lean le Clerc le Ieune, au 
 mont Saint / / Hilaire, au Chef Sainct Denis / / pres le Clos Bruneau 
 / / Avec privilege du Roy. 1588. Ire partie. Meme encadrement pour 
 le titre que dans 1 'edition de 1587. Au verso de cette page le portrait 
 grave sur bois de Henri III. Dans un medallion ovale, entoure d'un trait 
 et d'un filet, ce portrait est de face, la tete de trois quart a gauche, coiffe 
 d'un bonnet orne d'une plume sur le devant et d'un gros bouton en pier- 
 rerie. Au cou le cordon du Saint-Esprit. On lit sur la bordure du me- 
 dallion : Henri III. D. G. Franc, et Polon. Rex. Ce portrait se detache au 
 milieu d'une couronne formee de deux branches de laurier, liees en bas 
 
BIBLIOGRAPHY 391 
 
 par un ruban. Au-dessous, au bas de la page un quatrain entoure sur 
 trois cotes par une petite frise gravee sur bois. Aij, avertissement au lec- 
 teur. Au verso de cette page, le portrait de la reine Louise de Lorraine. 
 Elle est de face, la tete de trois quart a droite, une fraise autour du cou, 
 manches a creves, deux rangs de perles sur la poitrine. Dans la bordure 
 du medaillon on lit : Lodoica Lotbaringa Fr. Ee. Le tout se detache au 
 milieu d'une couronne formee de deux branobes de laurier, liees en bas 
 par un ruban. Au-dessous, au bas de la page un quatrain entoure sur 
 trois cotes, d'une petite frise gravee sur bois. Aiij, dedicace a la Reine. 
 Eien au verso. Aiiij, sonnet aux Dames et Damoiselles. Verso. Extrait 
 du Privilege finissant par les mots: De l'imprimerie de Dauid Le Clerc, 
 rue S. Iacques au petit Bee deuant le college de Marmouttier. Quelque 
 sexemplaires de cette meme edition de 1588 portent a la fin du privilege 
 cette adresse qui differe de celle ci-dessus, De l'imprimerie de David Le 
 Clerc, rue S. Jacques aux trois Mores, 1587. Eien au verso. Puis com- 
 mencent les broderies imprimees seulement au recto des pages. Vente 
 Destailleurs, 1895. Metro. Mus. 
 
 1880 — 2nd Part. See 1879 — Les singuliers et nouveaux pourtraicts, du Seigneur 
 Federic de Vinciolo Venitien, pour toutes sortes d'ouvrages de Lingerie. 
 Dedie a la Royne. Derechef et pour la troisiesme fois augmentez, outre 
 le reseau premier & le point couppe & lacis, de plusieurs beaux et diff erens 
 portrais de reseau de point cote, avec le nombre des mailles, chose non en- 
 cor veue, ny inventee. A Paris. Par lean le Clerc le ieune, au mont 
 Saint Hilaire, au Cbef Sainct Denis, pres le Clos Bruneau. Avec privi- 
 lege du Eoy. 1588. Au verso broderie. Puis commencent les pages de 
 broderies au recto et au verso sauf quelques-unes qui au verso sont sim- 
 plement quadrillees. Nous indiquerons cette particularity L, Lij, Liij, 
 Liiij. — M, Mij, Miij, Miiij. — N, Nij, Niij, Niiij. — 0, Oij, Oiij, Oiiij. — P, 
 le verso de cette page est quadrille. A partir de cette cote tous les versos 
 sont quadrilles jusqu'a la fin mais sans dessins. Pij, Piij, Piiij. — Q, Qij, 
 Qiij, Qiiij. — R, Rij, Riij, Riiij. — S, Sij, Siij, Siiij. — T, Tij, Tiij. Page sui- 
 vante non cotee. Au recto un ecusson dans lequel on voit a gaucbe trois 
 fleurs de lys, puis un aigle, et un saint Michel a cheval. L 'ecusson est sur- 
 monte de la couronne Eoyale et le tout est entoure de deux colliers, celui 
 de saint Michel, et celui du Saint-Esprit. Vente Destailleurs, 1895. This 
 must be subsequent to the Brussels impression, as Jean le Clerc has 
 changed his address. In the third edition, dorso of pp. 1 and 2, we have 
 the addition of portraits of Louise de Vaudemont and Henry III., with a 
 complimentary stanza of four lines under each. In his Advertisement au 
 lecteur, Vinciolo says that having promised, since the first impression of 
 his book, to give a "nouvelle bande d'ouvrages," and not to disappoint cer- 
 tain ladies who have complained that he has not made "du reseau assez 
 beau a leur fantaisie," I have wished for the third time to place before 
 their eyes many new and different patterns of "reseau de point conte que 
 j'ay cousus et attachez a la fin de mes premieres figures," beneath which 
 I have put the number and quantity of the stitches. Same dedication and 
 sonnet as before. Privilege for nine years dated Paris, 25 May, 1587. "De 
 
392 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 l'Imprimerie de David le Clerc, rue S. Jacques, au petit Bee, devant le 
 College de Marmouttier. " 1st Part, 40 ff., 36 plates, 27 of point couppe, 
 two stomachers, and seven "Passemens" de point couppe; the same let- 
 tered "Ouvrages" as in the preceding impression. 2nd Part, 36 ff., 50 
 plates. The thirty already published in the second edition, after 'which 
 follow the twenty additional of "reseau de point conte" announced in the 
 Preface, consisting of "6 Quarres, 2 Coins de Mouchoir, 2 Bordures, 6 
 animals: Lion, Pelican, Unicorn, Stag, Peacock, and Griffon"; and the 
 Four Seasons. "Deesse des fleurs, representant le Printemps," etc. These 
 last twenty have the number of stitches given. On the last page is an es- 
 cutcheon with the arms of France and Poland. Bib. Ste. Genevieve (with 
 1 part). Bib. Nat. Grav. (with 1 part). 
 
 1881 — Vinciolo, F. — 3rd Edition, No. 3, Parts 1 and 2. — A later impression still. 
 Same title, date, portraits, dedication, and sonnet, only the Privilege is 
 dated "ce douzieme jour de Novembre 1587. De l'Imprimerie de David 
 le Clerc, Eue S. Jaques, aux trois Mores." 34 ff., 30 plates, 1st part; 50 
 plates in 2nd. See 1879. Bib. de 1 'Arsenal. 
 
 1882— Vinciolo, F.— 4th Edition, Parts 1 and 2.— Les Singuliers / / Et Nov- 
 veaux Pourtraicts, Du Seigneur Federic / / de Vinciolo Venitien, pour 
 toutes / / fortes d-ouurages de Lingerie / / DEDIE A LA EOYNE / / 
 DEEECHEF ET POUB LA / / Quatrieme Fois Augmentez / / outre 
 le refeau premier le point couppe lacis / / de piufieurs beaux differens 
 portrais / / de refeau de point conte, avec le nombre des mailles, chose 
 non encor / / vene ni inuentee / / A THUEIN / / Paris. Par Elea- 
 zaro Thomyfi / / 1589. Metro. Mus. In-4° en deux parties. Meme en- 
 cadrement du titre que dans 1 'edition de 1587. Aij, le portrait de Henri 
 III et son entourage, le meme que celui decrit dans l'edition de 1588. Au 
 verso, avertissement au lecteur. Aiij, le portrait de la Eeine et son en- 
 tourage, le meme que celui decrit dans l'edition de 1588. Au verso, dedi- 
 cace a, la Eeine finissant par les mots : Ce 12 juillet 1589. Vostre tres 
 humble et tres obeyssant seruiteur et subiect Eleazaro Thomisi. Aiiij, 
 sonnet aux dames et damoiselles. La premiere partie de 44 feuillets, con- 
 tient 33 planches non compris le f rontispice et les portraits de Henri III 
 et de sa femme. La seconde de 42 feuillets et de 36 planches. E. Bocher. 
 Described in Cat. Cicognara with the date 1658. The 1st part 44 ff. and 
 39 plates ; the 2nd with 36 plates. The copies of Vinciolo in the Bodleian 
 bear the dates of 1588, 1603, and 1612. Baron Pichon has a copy of an im- 
 pression of 1612. One at Bordeaux, in the Bib. de la Ville, is dated 1588. 
 In a book sale at Antwerp, March, 1864, there was sold the following : — Lot 
 528. Livre de Patrons de Lingerie dedie a la Royne, nouvellement in- 
 vente par le seign' Frederic de Vinciolo, Venitien. Paris, Jean le Clerc, 
 1598. — Les singuliers et nouveaux pourtraicts pour toutes sortes d'ou- 
 vrages de Lingerie. Paris, Ibid., 1598. — Les secondes ozuvres et subfiles 
 ' inventions de Lingerie. Paris, Ibid., 1598. — Nouveaux pourtraicts de 
 Point coupe et Dantelles en petite moyenne et grande forme. A. Mont- 
 beliard, Jacques Foillet, 1598. 4 torn. 1 vol. in-4. v. anc. fig. sur bois. It 
 went for 440 francs to a Mr. Eoss. We do not know the editions of 1598. 
 
BIBLIOGRAPHY 393 
 
 As M. Leber observes, tbe various editions of Vinciolo, publisbed by Le 
 Clerc and bis widow, from 1587 to 1623, and perbaps later, are only im- 
 pressions more or less varied of tbe two distinct books, tbe one of point 
 coupe, tbe otber of lacis. Tbe work of Vinciolo has been reprinted in sev- 
 eral countries. In England it bas been translated and publisbed by Wolfe. 
 At Liege, by Jean de Glen. Mr. Douce says that it was reprinted "at 
 Strasburg, 1596, and at Basle, 1599, with a second part, which is rare, and 
 sometimes contains a portrait by Gaultier of Catherine de Bourbon." In 
 the Bib. Nat. a volume headed Vinciolo (Federigo) Peintre Yenetien et 
 ses imitateurs contains, with "La pratique," etc., of Mignerak a German 
 copy of the "nouveaux pourtraits," the work printed by Ludwig Kiinigs, 
 at Basle, 1599 and a German work headed "Broderies sur filet," 50 plates 
 engraved upon copper. Bury-Palliser. Catalogue Cicognara, Brussels, 
 Bib. Boy. 
 
 1884 — Vinciolo, Fde. — Les singuliers et novveavx povtraicts . . . pour toutes 
 sortes d'ouurages de Lingerie . . . Derechef et povr la qvatrieme fois 
 avgmentez, etc. Sm. 4to. Lyons (L. Odet), 1592. S. K. M. 
 
 1885 — Vinciolo, F. — 3rd Edition, No. 4, Parts 1 and 2. — Les singuliers et nou- 
 veaux pourtraicts, du Seigneur Frederic de Vinciolo, Venitien, pour toutes 
 sortes d'ouvrages de Lingerie. Dedie a la Boyne Douairiere de France. 
 De Bechef et pour la troisiesme fois augmentez, outre le reseau premier & 
 le point couppe & lacis, de plusieurs beaux & differens portrais de reseau 
 de point c5te, avec le nombre des mailles, chose non encore veue' ny inven- 
 ted. A Paris. Par lean le Clerc, rue Saint Jean de Latran, a. la Sale- 
 mandre. Avec privilege du Boy. 1595. This impression is dedicated to 
 Louise de Vaudemont, now "Reine Douairiere," Henry III. having died in 
 1589. British Museum — Grenville Lib. 
 
 1886 — Vinciolo, F. — Les singvliers et noweaux porrtraicts du seigneur federic 
 de Vinciolo, Venitien pour toutes sortes d'ouurages de Lingerie. Imprime 
 a Basle par Lory Roy, 1599. In-8° oblong. Ce titre est dans un encadre- 
 ment rectangulaire, forme par de petits carres et des bandes de guipure. 
 Puis les broderies, copiees des ouvrages francais du Vinciolo. Elles sont 
 tirees en largeur au lieu d'etre en hauteur. En somme, 52 feuillets dont 
 un titre et 52 planches de broderies. Vente Yemeni tz. Catalogue du Bor- 
 luut. B. M. 
 
 1887 — Vinciolo, Federic. — Les Singuliers Et Nouueaux Pourtraicts Dw Seignevr 
 Federic de Vinciolo Venitien, pour toutes sortes d'ouurages de Lingerie. 
 Dedie A La Royne Douariere De France Derechef Et Pour La Troisiesme 
 Fois Augmentez outre le reseau premier & le point couppe & lacis, de plu- 
 sieurs beaux & differens portrais de reseau de point cote, auee le nombre 
 des mailles, chose non encor' veue ny inuentee. A Paris Par lean le Clerc, 
 rue Saint lean de Latran, a la Salemandre. Avec priuelege du Roy. 1601. 
 [Extraict du Priuilege. De Vim primer ie de Dauid le Clerc, Rue Fre- 
 mentel au petit Corbeil.] 4°. Title, Coat of Arms, 3 pp. text, 64 cuts. 
 B. K. M. 
 
394 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 1888 — Vinciolo, F. — Les singuliers et nouveaux pourtraicts du seigneur Federic 
 de Vinciolo, Venitien pour toutes sortes d'ouvrages de lingerie, dediee a 
 la Reine douairiere de France, de rechef et pour la troisieme fois augmen- 
 tez Outre le reseau premier et le point coupe et lacis, de plusieurs beaux et 
 differents portraits de reseaux, de point compte avec le nombre de mail- 
 les, chose non encore veue, ni inventee. A Paris pour Jean le Clerc, rue 
 St. Jean de Latran, a la Salamandre Royalle, aveTc Priuilege du Roi, 1603. 
 In-4° en deux parties. Meme encadrement jDour le titre que dans 1 'edition 
 de 1587. Au verse le portrait de Henry III. Aij, l'avertissement au lec- 
 teur, au verso le portrait de la Reine. Aiij, dedicace a la Reine. La Pre- 
 miere partie comprend 40 feuillets. La Deuxieme partie comprend 32 
 feuillets. 
 
 1889 — Vinciolo, F. — Les singvliers et novveaux Pourtraicts du Seigneur Federic 
 Vinciolo Venitien pour toutes sortes de Lingerie, Dedie a, la Royne, 
 De rechef et pour la cinquieme fois augmentez oultre le reseau premier et 
 le point couppe & lacis de plusieurs et beaux et differents pourtraits de 
 reseau de point compte avec le nombre des mailles, choses non encore veue 
 ni inuentee. A Lyon par Leonard Odet, MDCIII (1603). 2 parties en 1 
 volume in-4°. Part 1. — Title, Portrait, 5 pp., and 42 leaves of cuts. Part 
 II. — Title, 1. p. text, 68 cuts. E. F. Strange. Meme encadrement 
 du titre que dans 1 'edition de 1587. Cette feuille est cotee A. Rien 
 au verso. A2, portrait de Henri IV, renrplacant celui de Henri III. II 
 est de trois quart a, gauche, col blanc, cuirasse avec echarpe blanche, dans 
 un medallion ovale. Sur la bordure du medallion: Henri IIII, par la 
 grace de Dieu, Roy de France et de Navarre. Ce medaillon est au milieu 
 d'une couronne, formee de deux branches de laurier liees en bas en sautoir. 
 Verso, une planche de broderie prise dans un autre ouvrage que les Vin- 
 ciolo anterieurs et d'un tout autre caractere. Ce sont trois bandes hori- 
 zontales de point compte. Dans celle du milieu, on voit un aigle et deux 
 chiens. — L, L2, L3, au verso une broderie guipure qui semble prise dans 
 un autre ouvrage que dans les Vinciolo anterieurs. L4, alphabet, rien au 
 verso. Belin, 1911. B. K. M. 
 
 1889a-Vinciolo, F. — Les sinvliers et novveaux Pourtraicts du seigneur Fed- 
 eric Vinciolo Venitien pour toutes sortes d'ouurages de Lingerie, dedie a 
 la Royne, de rechef et pour la cinquieme fois augmentez outre le reseau 
 premier et le point couppe et lacis de plusieurs beaux et differents pour- 
 traits de reseau de point compte avec le nombre de mailles, choses non en- 
 core veue ni inuentee. A Lyon, par Leonard Odet, MDOII (1603). M2, 
 sonnet aux dames et damoiselles. F4. Au verso de cette page, une tablette 
 noire sur laquelle se detach ent en blanc les lettres d'un alphabet majus- 
 cule. Elle est entouree de deux branches de laurier en sautoir. Depuis 
 la cote M3, toutes les pages ont des broderies au recto et au verso. Celles 
 des versos sont prises dans differents recueils, et entre autres dans La 
 vera perfettione del disegno de J. Ostaus. En tout 80 feuillets et 115 plan- 
 ches de broderies. Vente Yemenitz, Vente des Barreaux-Bernard, 1879. 
 Vente Seillieres, 1890. Vente Coste, Vente Destailleurs, 1895. [Another 
 edition, with the plates in different order.] See 1889. Vente Benedetto 
 Maglione, 1894. B. K. M. 
 
BIBLIOGRAPHY 395 
 
 1890 — Vinciolo, F. — Les singvliers et nouveaux povrtraicts du seignevr Federic 
 de Vinciolo Venitien pour toutes sortes d'ouurages de Lingerie. Dedie 
 a la Royne douairiere de France de rechef et pour la troisieme fois avg- 
 mentez outre le reseau premier et le point couppe et lacis, de plusieurs 
 beaux et differents portraits de reseau, de point conte auec le nombre de 
 mailles, cbose non encore veue, ny inuente. A Paris pour lean Le Clerc, 
 rue S. Jean de Latran a la Salemendre Eoyalle. Auec privilege du 
 Roy, 1606. Ce titre est sur une page cotee A. Au verso de cette page le 
 portrait de Henri III. Ici la couronne forme de deux branches de lau- 
 riers qu'on voit dans les editions de 1588 et 1589 est remplacee par une 
 couronne formee de fruits et de fleurs entrelacees. Les 4 vers qui sont en 
 bas, sont d'une ecriture plus grosse que dans Pedition de 1588 et ne sont 
 pas comme dans cette edition entoures de frises gravees sur bois. Page 
 suivante cotee Aij, meme avertissement au lecteur. Seulement, en baut la 
 frise sur bois de Pedition de 1588 est remplacee ici par un petit ecusson 
 aux amies de France, surmonte d'une couronne Royale, et deux anges 
 ailes, s'appuyant de cbaque cote sur cet ecusson. A droite et a gauche le 
 motif se termine par une come d'abondance. Verso, le portrait de la 
 Reine. Aiij, dedicace a la Reine, verso. Aiiij, sonnet aux dames et damoi- 
 selles, verso. Puis commencent les broderies imprimees seulement au 
 recto des pages. 36 planches dans cette premiere partie. Bib. Nationale. 
 
 1891— Vinciolo, 3rd Edition, No. 5, Parts 1 and 2— The same title as that of 1595 
 — differing only in date. Privilege for six years, "donne a Mantes, le 3 
 Juillet 1593." At the foot, "De PImprimerie de David le Clerc au Petit 
 Corbeil 1606." The 1st part has 32 ff. and 36 plates; 32 "Ouvrages de 
 poinct couppe," and 4 stomachers. The 2nd part 46 plates, same as those 
 of 1588, only four less. On the last page the escutcheon of France and 
 Navarre. 
 
 1892 — Vinciolo, F. — Les singuliers et nouveaux Pourtraicts du seigneur Federic 
 de Vinciolo, Venitien pour toutes sortes d'ouurages de lingerie . . . de 
 rechef et pour la troisieme fois augmentez outre le reseau premier et le 
 point couppe et lacis, de plusieurs beaux et differens pourtraits de reseau, 
 de point compte . . . Paris, Pour lean Le Clerc, 1612. 2 parties en 1 
 volume in-4°. Vente de M. le baron Pichon, Paris, Potier, 1869. Cat. of 
 "Weyhe, N. Y. No. 20, 1918. 
 
 1893 — Vinciolo Seig. Frederic. — Les singuliers et nouveaux pourtraicts pour 
 toutes sortes d 'ouvrages de lingerie. A Thurin par Eleazaro Thomysi. 
 1658. Seconde edition avec la date de Thurin. Elle est la reproduction 
 exacte de celle de 1589, aussi de Thurin. Quant aux planches elles sont les 
 memes sauf quelques differences insignifiantes. In-8° oblong, divise en 
 deux parties. La premiere est de 44 feuillets oontenant 39 planches non 
 compris le Frontispice, et les portraits de Henri III et de sa femme. La 
 seconde de 42 feuillets et de 36 planches. Nous croyons avec M. Alvin dit 
 le marquis d'Adda que ces dates et le nom de Pimprimeur sont faux, et 
 nous ajouterons qu'il est peu probable qu'un editeur puisse de son vivant 
 reediter un ouvrage a 69 ans de distance. Catalogue Cicognara. 
 
396 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 1894 — Vinciolo, Federico — I singolari e nuovi disegni per lavori di biancheria, 
 
 Under direction of Elisa Eieci. Bergamo, 1909. 
 1895 — Viti de Marco, Marchesa Etta de — Pescocostanzo and its Lace-Makers 
 
 The Monthly Review, March 1904, London. 
 
 1896 — Voshage, Adele — Das Spitzenkloppeln, 2d edition. Leipzig, Eng. Twiet- 
 meyer (1894). 
 
 1897 — V. T., Alcide — Dentelle du Havre (Response). Inter medlar e des Chen 
 cheurs et Curieux, 1896, Paris. 
 
 1898 — Vosterman, Gruillaume — Ce est ung tractat de la noble art de l'eguille as- 
 cauoir ounraiges despaine et toz traictz moult profitable po lingeries et 
 ouuriers de culetes, a ussy pour tyseurs de damas, Teincturiers et Bro- 
 deurs contenat cent et trente huyct Figures perfectement mises. Ainsi q | 
 non point les subtilz engins. Mais les jeunes filles et enfans en peuuent 
 en brief acquerre grand 'science et estre parfaictz en brief temps. Imprime 
 a Anvers par moy Guillaume Vosterman. Sans date. Un rectangle cir- 
 conscrit lui-meme par une composition ou l'on voit en haut un chapiteau, 
 posant sur deux montants en forme de colonnes surmontes chacun d'une 
 petite figure de femme brodant a 1 'aiguille. Au milieu du chapiteau un 
 homme travaillant a un petit metier qu 'il tient des deux mains appuye sur 
 son genou. En bas de la composition et au-dessous du rectangle dans le- 
 quel est inscrit le titre, deux femmes travaillant, 1 'une a droite a un metier 
 de basse lisse, l'autre a gauche a un petit metier pose sur une table de- 
 vant elle. Elle est assise sur une chaise de trois quart a droite. Dans 
 les ronds qui sont au milieu des colonnes, on voit a gauche un ecusson avec 
 les couronnes des trois Rois, a droite un autre ecusson ou figure un oiseau. 
 Au verso de cette page une gravure sur bois. Dans un interieur, un hom- 
 me son bonnet sur la tete, son epee au cote, est assis sur un banc de bois 
 a large dossier. De face la tete legerement penchee de trois quart a 
 gauche, il a une main posee sur l'epaule et la poitrine d'une jeune femme 
 assise a, gauche a, ses pieds. Celle-ci tient d'une main, une paire de ci- 
 seaux, de l'autre une broderie, qu'elle appuie sur ses genoux croises. A 
 gauche une vaste corbeille, et au fond une baie ouverte divisee en deux 
 par une colonne. Au-dessous de cet alphabet on lit: She prent tot Ant- 
 werpen in die Camerstrate in den gulden cen horanbp. imp. Willem Vos- 
 terman. Ce livre est une copie du Pierre Quentel de 1527. Voir ci-des- 
 sous. C'est egalement le meme livre sous un titre different que celui decrit 
 ci-dessus. Alphabet quadrille. Alphabet sur fond blanc. Bib. Nat. 
 
 1899 — Vostermans, Villm — A new Traatys as cocernynge the excellency of the 
 nedle Worcke, spanisshe stitche and we avynge in the frame very neces- 
 sary to all Theym, wiche desyre The perfect Knowledge of seamstry, quil- 
 tinge and brodry worke coteinynge an. CXXX. VIIJ figures or tables so 
 playnli made et lettout in portrature. The whiche is difficyll natolp for 
 craftz mebut also gentleweme ioge damosels That therin may obtayne 
 greate conynge delyte and pleasure, These boekes be to sell at Andwarp 
 in the golden Unycorne at Villm Vorstermans. Ce titre est cote a. II est 
 inscrit dans une composition absolument pareille a celle qui entoure le titre 
 du volume intitule. "Ce est un tractat de la noble art de l'equille." Le 
 
BIBLIOGRAPHY 397 
 
 verso est egalenient la reproduction du verso de cesusdit livre. Che prent 
 tot Antwerpen in die Camerstrate in den gulden cen horanbp. imp. Willem 
 Vosterman. 8vo, 24 ft'., 46 plates. Title in Gothic letters, with figures. 
 P. 1, dorso : Woodcut of a woman at work and a man sitting by her side. 
 Patterns mediaeval, small black squares, arabesques, etc. Vorsterman 
 worked from 1514 to 1542. Silvestre, Marques Typographiques des im- 
 primeurs en France, depuis, 1470. Bibliotheque de 1 'Arsenal. 
 
 W 
 
 1900— Waite, M.— Knitting Cards for Standards III and IV, Leeds 1891. B. M. 
 
 1901— Walford, L. B.— Lace Camisole. Century. V. 61, pp. 178-186, Dec, 1900. 
 
 1902 — Walter, M. L. — Lessons in Buttonhole Making and Fancy Stitching. Ladies 
 Home Journal. V. 20, p. 51, February, 1903. 
 
 1903 — Waree, A. — Les Dentelles vraies. Exposition internationale de Chicago, 
 1893. 
 
 1904 — Waring, J. B. — Masterpieces of Industrial Art at the International Ex- 
 hibition, 1862 (Belgian lace, vol. II., plate 109.) 3 vols. fol. Lond., 1863. 
 S. K. M. 
 
 1905 — Warleigh, H. F. R. A. — Full Directions for Knitting Edgings. 72 pages. 
 London, 1894. B. M. 
 
 1906 — Washable Crocheted Pendants. Harpers Bazaar. V. 44, p. 729, Decem- 
 ber, 1910. 
 
 Wasmuth Reproductions. See Nos. 269, 602, 811. 
 
 1907 — Watreman — Fardle Facions, 1555 
 
 1908 — Webb, R., of Nottingham — A Note on Nottingham Lace. The Artist, 
 April, 1901, London. 
 
 1909 — Weigel — Wol-andstanclige und Niitzen-bringende Frauen. zimmer Ergoet- 
 ziing. Par. a. Bur. Nurnberg. Weigel. s.d. In-folio oblong. 50 planches de 
 broderies en taille douce, dont la majeure partie sont grandes et repliees. 
 Vente Yemenitz, 1867. 
 
 1910 — Weigel, J. Chr. — Zierlich webende Minerva, oder neu erfundenes Kunst- 
 und Bild-Buch der Weber- und Zeichner- Arbeit, worinnen treue Anwei- 
 sung geschieht, wie man kunslich wirken und schone Arbeit verfertigen 
 soil, von der vierschafftigen en, bis auf zwey und dreissig-schafftige. 
 Nurnberg (Johann Christoph Weigel). No date. 40 plates in sheets. 
 S. K. M. 
 
 1911 — Weigel, Johann Christoph — Zierlich webende Minerva oder neu-erfun- 
 denes Kunst und Bild Buch, der Weber und ziechner arbeit Worinnen 
 treue anweisung geschieht wie man Kunstlich wircken und schone arbeit 
 verfertigen soil von der vier schafftigen an bis auf zwey und dreissig: 
 schafflige, ingleichen, doppel. Colnische fuss zeppiche, gesteint oder ges- 
 chacht auch gebrochene und bin und wieder arbeit von allerhand schonen 
 zugen und bildern nach lauterauserlesenen und wol probirten stricken zu 
 machen, Welchem noch bey gefiiger. Ein aus fuhrlich und deutlicher 
 Bericht von Klein und gross gezogener arbeit so wol niederlandisch als 
 auf schlecht nicht weniger allerhand schone mit galanten blum, werck oder 
 andern Figuren prangende Teppiche nach den patronen oder Formen auf 
 
398 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 Teppiche und darnast zu verfertigen der gleichen nock nie ansliclit gekom- 
 inen lieraus gegeben von Einem, Liebhaber dieser Wissenschaft't der sei- 
 nem Rechsten zu diener beflissen. Niirberg Verlegts Johann Cbristopli 
 Weigel Kunst handler. 5 pages indiquant la rnaniere de faire les points. 
 Cet exemplaire parait incomplet. 
 
 1912— Weitz— Spitzen Motive. Plauen, C. Stoll. 
 
 1913 — Weldon's Practical Carrickinacross Lace — Book 200, Vol. 17, 39 designs. 
 (Collection of Kursbeedt Manufacturing Co., N. Y.) 
 
 1914 — Werder, L. Otto — Types modernes pour Dentelles — Broderies, Serie 1-2. 
 Plauen, C. Stoll, 1898. 
 
 1915— Werder— Dentelles nouvelles, 2 serien a 20 Tafeln. Plauen, C. Stoll. 1898. 
 
 1916— Werder, at Saint Gall — Dentelle. L'Art decor atif, December, 1899, Paris. 
 
 1917 — Werner, M. — Teil eines Faechers. Irische Spitze. Kunst gewerbeblatt, 
 August, 1890, Leipzig. 
 
 1918 — Wertman, A. 0. L. — Relief Crochet. Woman's Home Companion. V. 31, 
 p. 41, February, 1904. 
 
 1919 — Westlake, N. H. J. — Souvenir of the exhibition of Christian art at Mech- 
 lin, Sept., 1864. (Plates 5 and 6. Needlework.) 4to. London and Ox- 
 ford, 1866. S. K. M. 
 
 1920 — Whishaw, Bernard — Illustrated Descriptive Account of the Museum of 
 Andalucian Pottery and Lace, antique and modern. London, Smith, El- 
 der & Co., 1913. 
 
 1921 — Whishaw, Bernard & Ellen — Puntas and Passementerie. Connoisseur. 
 V. 24, pp. 82-88. 
 
 1922 — Whishaw, B. and Ellen M. — Punto de Aguja and Point d'Espagne. Con- 
 noisseur. V. 26, pp. 51-55, January, 1910 and following. 
 
 1923 — Whitby, J. E. — A Beautiful Specimen of Lace. (Grande piece a person- 
 nages de la collection Montefiore au Musee du Cinquantenaire a Bruxel- 
 les). The Ladies Field, June, 1904, London. 
 
 1924 — Wiener Spitzenausstellung, 1906, Die — Herausgegeben von k.k. Osterr. 
 Museum fur Kunst und Industrie in Wien. 60 plates, folio. Leipzig, 
 1906. Einleitung von M. Dreger "Uberlick iiber die Entwicklungsges- 
 chichte der Spitze. ' ' 
 
 1925 — Wilkinson, M. E. — Art Needlework and Design. Point Lace. London, 
 Scott, Greenwood & Son, 1907. 
 
 1926— Wilkinson, M.— Table Laces. Harper's Bazaar. V. 37, pp. 1209-1211, 
 December, 1903. 
 
 1927 — Wilson, L. B. — Buttonhole Stitch as Applied to Venetian Ladder Work. 
 Ladies Home Journal. V. 24, p. 43, February, 1907. 
 
 1928 — Wilson, L. B. — Five Good Doily Designs. Ladies Home Journal. V. 20, 
 p. 31, August, 1903. 
 
 1929 — Wilson, L. B. — Good Eyelet Embroidery. Ladies Home Journal. V. 26, 
 p. 37, April, 1909. 
 
 1930— Wilson, L. B.— Italian Cut-work. Harper's Bazaar. V. 38, pp. 90-92, 
 January, 1904. 
 
 1931 — Wilson, L. B. — New Australian Crochet. Ladies Home Journal. V. 28, 
 p. 53, October, 1911. 
 
BIBLIOGRAPHY 399 
 
 1932 — Wilson, L. B. — New Designs in Filet Crochet. Ladies Home Journal. V 
 
 28, p. 24, August, 1911. 
 1933 — Wilson, L. B. — New Irish. Princess Lace. Ladies Home Journal. V. 26, 
 
 p. 51, January, 1909. 
 1934 — Wilson, L. B. — Roman Cut-work. Ladies Home Journal. V. 24, p. 55, 
 
 January, 1907. 
 1935 — Wilson, L. B. — Venetian Crochet. Ladies Home Journal. V. 29, p. 41, 
 
 February, 1912. 
 1936 — Wilton, Countess of — The Art of Needlework from the earliest ages. 
 
 8vo. London. 1844. S. K. M. 
 1937 — W T inser, Margaret — Elementary Course in Lace-making. 1913. 
 1938— W T intin, J.— Lace Trade Calculator. London, 1897, etc. 8vo. B. M. 
 1939 — Wolf, J. — Translation of Vinciolo by J. Wolf. New and singular pat- 
 
 ternes and workes of Linnen. Serving for patternes to make all sortes of 
 
 Lace edging and Cut-workes. Newly invented for the profite and content- 
 ment of Ladies, Gentlewomen, and others that are desirous of this Arte. 
 
 London : Imprinted by J. Wolfe and Edward White, 1591. Owned in 1919 
 
 by Mr. W. A. W T hite, N. Y. 
 ^1940 — Wonderful Laces, Mrs. Leland Stanford's. Ladies Home Journal. V. 
 
 22, pp. 24-25, July, 1905. 
 1941 — Woodward, M. E. — A Text Book on Cluny and Torchon Laces. For sale 
 
 by Sara Hadley. 
 1942 — Woodward, P. — Handbook to the law of copyright in registered Designs, 
 
 with special application to class 9, lace. 92 pages. Nottingham, 1891. 
 
 B. M. 
 1943 — Wright, Agnes F. — Lace in Interior Decorations. House and Garden. 
 
 V. 32, pp. 50-51, 68, November, 1917. 
 1944 — Wyatt, Sir M. D. — Industrial Arts of the Nineteenth Century, at the 
 
 Great Exhibition, 1851. (Lace and Embroidery.) 2 vols. fol. London, 
 
 1851-53. S. K. M. 
 
 1945 — Yoni-Beaugourdon — Carton pour dentelle. L'Art decoratif, March, 1902, 
 
 Paris. 
 1946 — Yorke, Harry W., at Nottingham — Pro jets de rideaux de dentelles. Art 
 
 applique, 1 re annee, Paris. 
 1947 — Youghal Lace. International Studio. V. 20, pp. 212-215, September, 1903. 
 1948 — Youmans, E. A. — Making of Lace. Popidar Science Monthly. V. 8, p 1 . 
 
 521. 
 
 1949 — Ziegler d'Ulm, Marx — Weber Kunst und bild Buch. (Livre de point coupe 
 et dessins de broderie par Marx Ziegler d'Ulm). Augsbourg. Koppmeyer, 
 1677. In-4° oblong. Planches gravees sur bois. Vente Yemenitz, 1867. 
 
 1949a-Zoppino, Niccolo — Convivo de le belle donne. With 22 leaves of designs. 
 Venice, 1531. 
 
400 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 1950 — Zoppino, Nicolo — Convivio delle belle donne, dove con li nuovi raceami . . . 
 Pinisce il convivio delle . . . Nuovamente stampato in Vinegia, per Nicolo 
 d 'Aristotle, detto Zopino del mesede d'Agosto MDXXXII. In-4°. Sur le 
 titre, marque d'imprimerie du Zoppino. (Saint-Nicholas.) Epitre de Zop- 
 pino. Alle gentille donne . . . Fin de 1 'epitre, au verso. Ici commencent les 
 broderies. 24 feuillets. Exemplaire cbez le peintre, Chevalier Bertini a 
 Milan. Oxford, Bib. Bodleian. 
 
 1951 — Zoppino, Nicolo — Esemplario di lavori: dove le tenere fanciulle & altre 
 donne nobile potranno facilnient imparare id modo & ordine di lavorare, 
 cusire, racamare, & finalmente far tutte quelle gentillezze & lodevoli opere, 
 le quali po fare una donna virtuosa con laco in mano, con li suoi compasse 
 & misure. Vinezia, per Nicolo D ' Aristotile detto Zoppino MDXXIX. 8vo. 
 46 plates. The Cav re Merli quotes another edition, date 1530, in the pos- 
 session of the Avvocate Francesco Pianesani, and another he believes of 
 1529. Paris, Bib. de 1 'Arsenal. 11,952. 
 
 1952 — Zoppino, Nicolo — Esemplario di lavori; doue le tenere fanciulle & altre 
 done nobile potranno facilmete imparare il modo et ordine di lauorare, cu- 
 sire, raccamare, et finalmente far tutte quelle gentilezze et lodeuili opere, 
 le quali po fare una donna virtuosa co laco in mano, con li suoi compasse 
 et misure. A la fin, au verso du dernier feuillet : Finisce il libro intitu- 
 lato, Esemplaro de lauori. Stampato in Vinegia per Nicolo d 'Aristotile, 
 detto Zopino, MDXXIX (1529), del mese di Agosto. Petit in-4°. Ce 
 volume est compose d'un titre imprime en rouge et noir dans un frontis- 
 pice grave sur bois, d'un feuillet contenant une epitre de Nicolo Zoppino, 
 all. virtuosi et gentillissimi lettori . . . et de 26 feuillets contenant les 
 modeles de broderie imprimes au recto et au verso. Vente Libri. Biblio- 
 theque Boldeienne d 'Oxford. 
 
 1953 — Zoppino, N. — Essemplario di lauoi doue le tenere fanciulle & altre donne 
 nobile potranno f acilmente imparare il modo & ordine di lauorare e cusire : 
 raccammare: finalmente far tutte quelle gentilezze et lodeuili opere: le- 
 quali po fare una donna uirtuosa con laco in mano : con li suoi compassi & 
 misure. [At the end] Finnisse el libro intitulato Exemplario di lauori. 
 Stampato in Vinegia per Nicolo a" Aristotile detto Zoppino. MDXXX. 4°. 
 Cut. 51 leaves. 
 
 1954 — Zoppino, Nicolo — Esemplario di lauori doue le teners fanciulle. 1530. 
 Ongania Beproduction, 1878. 
 
 1955 — Zoppino, Nicolo — Gli vniversali di tutti e bei dissegni, Baccami et moderni 
 lauori quali un bello inteletto humano un pellegrino ingegno si de huomo 
 come di Donne (pro). Con l'aco in mano, in questa nostra etade lo deuol- 
 mente, Nuovamente stampato etmuti in luce, MDXXXII (1532). Ce titre 
 est dans un entourage forme de petits bois rectangulaires. En haut aux 
 angles une tete de femme. Celle de droite de profil a, gauche, celle de 
 gauche de profil a droite. En bas deux terms formant cariatides. Page 
 suivante au recto, dedicace: Alle virtuosi giovanni et gentillissime fanci- 
 ulle di Baccami et lauori Moderni studiosissime Nicolas Zoppino. s. d. 
 64 ff. avec planches de broderies et dentelles gravees sur bois. Au verso 
 de la derniere page, un petit bois representant un eveque assis, sa crosse a 
 
BIBLIOGRAPHY 401 
 
 la main. Une femme a gauche a genoux lui offre une corbeille de fruits. 
 Au-dessons : Pinisce gli universali di Tutti e bei dissegni. Eaccami et 
 moderni lauorni stampati per Nicolo d'Artistotile detto Zoppino. Del mese 
 di Agosto. Vente Piot, 1891. 
 
 1956 — Zoppino, Nicolo. — Gli vniversali de i belli Eecami antichi, e moderni, ne 
 iquali un pellegrino ingegno si di huomo come di donna, potra in quest 
 nostra eta con l'ago uertuosamente esercitarsi. Non ancbora da alcuni 
 altri dati in luce, MDXXXVII (1537). A la fin: Finisce gli vniversali de i 
 belli Eecami antichi e moderni stampati per Nicolo d'Aristotile detto Zop- 
 pino del Mese di Marzo, MDXXXVII (1537). In-4°. II se compose de 20 
 or 25 ff. non chiffres et contient 37 grandes figures sur bois de dentelles, 
 travaux a 1 'aiguille et autres compositions avec figures d'hommes, de fem- 
 mes et d'animaux. Le titre est encadre par une large bordure historiee et 
 sur le sur le verso se trouve une epitre du Zoppino : A gli veruosi Gioua- 
 nini et gentilissime Fanciulle. Vente Pirovano, Eome, 1901. Milan, Cava- 
 liere Bertini. 
 
 1957 — Zoppino, N. — Gli universali de i belli Eecami antichi, et moderni; etc. 
 (49 pp. of lace designs and titles.) Venice, 1537. (Facsimile reprint. On- 
 gania, Venice, 1876). S. K. M. Metro. Mus. 
 
 1958 — Zoppino, N. — Gli Universali de i belli Eecami antichi e moderni ne i quali 
 un pellegrino ingegno, si di huomo come di donna, potra in questra nostra 
 eta con l'ago uertuosamente esercitar si non anchora da alcuni altri dati 
 in luce. 49 designs for lace work. 1537, facsimile reprint Venice, 1877. 
 Folio. 
 
 Zoppino. — See Aristotile, Nicolo d\ 
 
INDEX OF BOBBIN LACE GROUNDS 
 AND FILLINGS 
 
 PAGE 
 
 Abruzzian Leseatelle — Line C, Col. 16 131 
 
 Abruzzian Mezza Cambruccia — Line A, Col. 16 90 
 
 Abruzzian or Pescolane Cross Pattern — Line B, Col. 16 110 
 
 Abruzzian Piscitelli — Line D, Col. 16 150 
 
 Abruzzian "Point and Flat"— Line H, Col. 16 237 
 
 Alost, Square-mesbed Valenciennes of Bruges, Ypres and (braided 4 or 4% 
 
 times) — Line D, Col. 7 140 
 
 Alost, Square-meshed Valenciennes of Ypres and (braided 5 or 5y<> times) — 
 
 Line E, Col. 7 161 
 
 Antwerp ; Potten Kant ; Flemish — Line F, Col. 4 180 
 
 Armelle, Thin Cluny Petals, Leaves, Armeletta, Grains, Seeds, "Wheat Ears, 
 
 Paddles— Line C, Col. 15 130 
 
 Armeletta, Thin Cluny Petals, Leaves, Armelle, Grains, Seeds, Wheat Ears, 
 
 Paddles— Line C, Col. 15 130 
 
 Araignees Carrees en Tulle Double, Les — Line H, Col. 2 220 
 
 Araignees Rondes, Les; Round Spiders in Twice-twisted Hole Ground — 
 
 Line G, Col. 2 199 
 
 Arras ; Tulle Ground ; Lille ; Filoche ; Fond Clair ; Fond Simple ; Brabant ; 
 
 Trolly Net; Tondern; Marche; Point de Hollande; Dutsche Slag — 
 
 Line F, Col. 3 179 
 
 Arras : see also Reseau Simple — Line G, Col. 6 204 
 
 B 
 
 Bailleul, Bound-meshed Valenciennes of Harlebeke, Bruges, Courtrai, 
 
 (braided 4 times) (often twice, Dentelle episcopate) — Line G, Col. 11. 209 
 
 Bar, Hexagonal Devonshire Filling — Line B, Col. 9 102 
 
 Bars and Cutworks, "Bohemian Edged" Devonshire— Line D, Col. 10 143 
 
 Bars and Cutworks, Devonshire Winkie Pin — Line C, Col. 10 124 
 
 Binche, Virgin Ground, Pin Check, Pink Check, Ornamental Ground, Cinq 
 
 Trous, Point Carre-^Line A, Col. 2 71 
 
 Binche Mode— Line E, Col. 10 164 
 
 Binche Spiders, Bound, Open-eyed Brabant, Oeil de Perdrix, Reseau Rosace, 
 
 Point de Flandre— Line G, Col. 4 201 
 
 "Bohemian Edged" Devonshire Bars and Cutworks— Line D, Col. 10 143 
 
 Bohemian Ground — Line G, Col. 5 203 
 
 403 
 
404 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 PAGE 
 Brabant, Arras, Tulle Ground, Lille, Filoche, Fond Clair, Fond Simple, Trol- 
 ly Net, Tondern, Marche, Point de Hollande, Dutsche Slag — Line F, 
 
 Col. 3 179 
 
 Brabant, Bincbe Spiders, Bound, Open-eyed, Oeil de Perdrix, Beseau Bo- 
 
 sace, Point de Flandre — Line G, Col. 4 201 
 
 Brick, Devonshire, Mignonnette — Line C, Col. 8 „ 122 
 
 Brides, Fond de— Line H, Col. 3 221 
 
 Bruges, Bound-meshed Valenciennes of Harlebeke, Bailleul, Courtrai 
 
 (braided 4 times) (often twice, Dentelle episcopale) — Line G, Col. 11. 209 
 Bruges, Square-meshed Valenciennes of Alost, Ypres and (braided 4 or 4^ 
 
 times)— Line D, Col. 7 140 
 
 Bruges ( ?), Tulle (2 twists)— Line E, Col. 3 157 
 
 Brussels; Droschel; Vrai Beseau (fait sans epingles) ; Drochel — Line B, 
 
 Col. 3 96 
 
 Brussels; Droschel; Vrai Beseau; Point d'Angleterre Net; Drochel — Line 
 
 C, Col. 3 117 
 
 Buckingham: see also Reseau Simple — Line G, Col. 6 204 
 
 Buratto ; Filet— Line E, Col. 5 159 
 
 Byzantine, Medici, Florentine Knots — Line H, Col. 13 234 
 
 Chantilly; Star Mesh; Double Ground, Point de Paris; Point de Six; Eter- 
 nelle ; Point Double ; Trenne ; Fond Chant; Grammont; Engelsche 
 
 Grond— Line A, Col. 5 75 
 
 Cinq Trous; Binche; Virgin Ground; Pin Check; Pink Check; Ornamental 
 
 Ground ; Point Carre — Line A, Col. 2 71 
 
 Cluny, Thin Petals, Leaves, Armelle, Armeletta, Grains, Seeds, Wheat 
 
 Ears, Paddles— Line C, Col. 15 130 
 
 Courtrai, Bound-meshed Valenciennes of Bailleul, Harlebeke, Bruges, 
 
 (braided 4 times) (often twice, Dentelle episcopale) — Line G, Col. 11. 209 
 Courtrai, Square-meshed Valenciennes of Menin and (braided 3 or 3% 
 
 times)— Line C, Col. 7 121 
 
 Cross Pattern, Abruzzian or Pescolane — Line B, Col. 16 110 
 
 Cushion, Devonshire — Line B, Col. 8 101 
 
 Cutwork Net, Devonshire— Line G, Col. 8 206 
 
 Outworks, "Bohemian Edged" Devonshire Bars and — Line D, Col. 10 143 
 
 Outworks, Devonshire Winkie Pin Bars and — Line C, Col. 10 124 
 
 Outworks, Triangular, Fan-shaped Points d'Esprits or — Line A, Col. 15.. . 89 
 
 D 
 
 Demi-Marguerites — Line F, Col. 15 194 
 
 Demi-Point; Net Stitch, Lattice Ground, Toile Ouverte, Point Beseau — Line 
 
 A, Col. 1 70 
 
 Dentelle episcopale; Bound-meshed Valenciennes of Harlebeke, Bruges, 
 Bailleul, Courtrai (braided 4 times) (often twice, Dentelle episcopale) 
 —Line G, Col. 11 209 
 
 Devonshire Bars and Outworks, "Bohemian Edged" — Line D, Col. 10. ... 143 
 
INDEX OF BOBBIN LACE GROUNDS AND FILLINGS 405 
 
 PAGE 
 
 Devonshire Brick ; Mignonnette — Line C, Col. 8 122 
 
 Devonshire Cushion — Line B, Col. 8 101 
 
 Devonshire Cutwork Net— Line G, Col. 8 206 
 
 Devonshire Diamond Filling — Line A, Col. 10 82 
 
 Devonshire Double Ground Pin — Line C, Col. 9 123 
 
 Devonshire Four Pearl Filling — Line A, Col. 9 80 
 
 Devonshire Hexagonal Bar Filling — Line B, Col. 9 102 
 
 Devonshire Honeycomb Filling — Line E, Col. 9 163 
 
 Devonshire Mignonnette ; Devonshire Brick — Line C, Col. 8 122 
 
 Devonshire Pin Filling — Line A, Col. 8 79 
 
 Devonshire Point d 'Esprit Net— Line H, Col. 8 227 
 
 Devonshire Second Swing Filling — Line E, Col. 8 162 
 
 Devonshire Swing Filling; Spot Stitch— Line F, Col. 8 184 
 
 Devonshire Taunton — Line D, Col. 8 141 
 
 Devonshire Toad-in-the-Hole— Line F, Col. 10 187 
 
 Devonshire Wall Filling— Line G, Col. 10 208 
 
 Devonshire Winkie Pin Bars and Cutworks — Line C, Col. 10 124 
 
 Devonshire Wire Ground— Line G, Col. 9 207 
 
 Diamond Filling, Devonshire — Line A, Col. 10 82 
 
 Dice Holes; Slanting Hole— Line B, Col. 12 105 
 
 Dieppe Ground; Twice- twisted Hole Ground; Hole Stitch with Twice- 
 twisted Thread; Locherschlag mit Zweimal gedrehten Faden — Line 
 
 H, Col. 1 219 
 
 Dieppe, Petits Pois de— Line E, Col. 2 156 
 
 Dieppe, Tulle de — Line E, Col. 1 155 
 
 Dieppe Three-Thread Valenciennes — Line F, Col. 17 196 
 
 Double Ground ; Star Mesh ; Chantilly ; Point de Paris ; Point de Six ; Eter- 
 nelle; Point Double; Trenne; Fond Chant; Grammont; Engelsche 
 
 Grond— Line A, Col. 5 75 
 
 Double Ground Pin, Devonshire — Line C, Col. 9 123 
 
 Double Picots— Line D, Col. 15 149 
 
 Droschel; Brussels; Vrai Reseau (fait sans epingles) ; Drochel — Line B, 
 
 Col. 3 96 
 
 Droschel; Brussels; Vrai Reseau; Point d'Angleterre Net; Drochel — Line C, 
 
 Col. 3 117 
 
 Droschel de Bruxelles ; Drochel — Line D, Col. 3 136 
 
 Du Puy Point de Paris Variation or Lock Stitch; Torchon Mode — Line H, 
 
 Col. 6 225 
 
 Du Puy, Tulle— Line B, Col. 1 94 
 
 Dutsche Slag; Arras; Tulle Ground; Lille; Filoche; Fond Clair; Fond Sim- 
 ple ; Brabant ; Trolly Net ; Tondern ; Marche ; Point de Hollande — Line 
 F, Col. 3 179 
 
 E 
 
 Einfacher Gittergrund; Plain Lattice Ground; Filet — Line D, Col. 5 138 
 
 Einfacher Locherschlag; Plain Hole Ground; Torchon; Reseau Stitch — 
 
 Line C, Col. 1 114 
 
406 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 PAGE 
 
 Eisgrond, Malines, Mechlin, Fond de Glace, Ijsgrond — Line A, Col. 3 73 
 
 Engelsche Grond; Ckantilly; Star Mesh; Double Ground; Point de Paris; 
 Point de Six; Eternelle; Point Double; Trenne; Fond Chant; Gram- 
 niont — Line A, Col. 5 75 
 
 Episcopate, Dentelle ; Round-meshed Valenciennes of Bailleul, Harlebeke, 
 Bruges, Courtrai (braided 4 times) (often twice,"Dentelle episcopale) 
 —Line G, Col. 11 209 
 
 Eternelle ; Chantilly ; Star Mesh ; Double Ground ; Point de Paris ; Point de 
 Six ; Point Double ; Trenne ; Fond Chant ; Grammont ; Engelsche 
 Grond — Line A, Col. 5 75 
 
 Eyeless Spiders ; Fond de Neige — Line H, Col. 4 222 
 
 Fancy Zeccatello, A— Line F, Col. 12 190 
 
 Fan-shaped, Triangular Points d'Esprits or Cutworks — Line A, Col. 15.... 89 
 Fat Maltese Petals, Leaves, Seeds, Grains, Wheat Ears, Paddles — Line B, 
 
 Col. 15 109 
 
 Filet, An Italian— with Toile Dots— Line D, Col. 14 148 
 
 Filet ; Buratto— Line E, Col. 5 159 
 
 Filet; Plain Lattice Ground; Einfacher Gittergrund — Line D, Col. 5 138 
 
 Filet; Un Fond Hollandais— Line F, Col. 5 181 
 
 Filoche ; Brabant ; Arras ; Tulle Ground ; Lille ; Fond Clair ; Fond Simple ; 
 Trolly Net; Tondern; Marche; Point de Hollande; Dutsche Slag — 
 
 Line F, Col. 3 179 
 
 Fish with Two Horizontal Bars— Line G, Col. 16 214 
 
 Five or Six Sided Milanese Mesh— Line H, Col. 11 231 
 
 Flemish ; Potten Kant ; Antwerp— Line F, Col 4 180 
 
 Flemish ; Trolle Kant ; Fond Armure, Spinnekop — Line D, Col. 2 135 
 
 Flemish Filling, A; Lille Mode, A— Line D, Col. 4 137 
 
 Flemish Filling— Line H, Col. 9 229 
 
 Florentine, Byzantine, Medici Knots — Line H, Col. 13 234 
 
 Fond Armure ; Flemish ; Trolle Kant, Spinnekop — Line D, Col. 2 135 
 
 Fond Chant ; Chantilly ; Star Mesh ; Double Ground ; Point de Paris ; Point 
 de Six ; Eternelle ; Point Double ; Trenne; Grammont; Engelsche 
 
 Grond— Line A, Col. 5 75 
 
 Fond Chant (Palliser) ; Point de Paris; Fond Clair— Line C, Col. 11 125 
 
 Fond Clair; Point de Paris; Fond Chant (Palliser)— Line C, Col. 11 125 
 
 Fond Clair; Arras; Tulle Ground; Lille; Filoche; Fond Simple; Brabant; 
 Trolly Net; Tondern; Marche; Point de Hollande; Dutsche Slag — 
 
 Line F, Col. 3 179 
 
 Fond de Brides— Line H, Col. 3 221 
 
 Fond de Glace; Malines; Mechlin; Ijsgrond, Eisgrond — Line A, Col. 3 73 
 
 Fond de la Vierge ; Virgin Ground ; Ornamental Ground ; Point Carre — Line 
 
 B, Col. 2 95 
 
 Fond de Milan ; Old Buckingham— Line C, Col. 5 119 
 
 Fond de Neige ; Eyeless Spiders— Line H, Col. 4 222 
 
 Fond de Neige ; Punto di Neve— Line A, Col. 18 93 
 
INDEX OF BOBBIN LACE GROUNDS AND FILLINGS 407 
 
 PAGE 
 
 Fond Hollandais, Un; Filet— Line F, Col. 5 181 
 
 Fond Simple ; Arras ; Tulle Ground ; Lille ; Filoche; Fond Clair; Brabant; 
 Trolly Net; Tondern; Marehe; Point de Hollande; Dutsche Slag — 
 
 Line F, Col. 3 179 
 
 Four Pearl Filling, Devonshire — Line A, Col. 9 80 
 
 Gand, Square-meshed Valenciennes of Menin, Ghent or (braided 2 or 2% 
 
 times)— Line B, Col. 7 100 
 
 Gekreuzter Gittergrund; Lattice Ground (3 twists) — Line B, Col. 5 98 
 
 Gelosia; Bose Ground; Scandinavian Ground; Point du Mariage; Tulle 
 
 Double— Line C, Col. 4 118 
 
 Genoese Grilled Six Leaved Marguerite — Line C, Col. 18 133 
 
 Genoese, or Beticello Mode — Line H, Col. 5 224 
 
 Genre Valenciennes ; Tulle de Vienne — Line G, Col. 1 198 
 
 German or Bussian Torchon — Line D, Col. 12 145 
 
 Ghent, Square-meshed Valenciennes of Menin, Gand or (braided 2 or 2y 2 
 
 times)— Line B, Col. 7 100 
 
 Einfacher Gittergrund ; Plain Lattice Ground ; Filet — Line D, Col 5 138 
 
 Gekreuzter Gittergrund; Lattice Ground (3 twists) — Line B, Col. 5 98 
 
 Grains, Fat Maltese Petals, Leaves, Seeds, Wheat Ears, Paddles — Line B, 
 
 Col. 15 109 
 
 Grains, Thin Cluny Petals, Leaves, Arm elle, Armeletta, Seeds, Wheat Ears, 
 
 Paddles— Line C, Col. 15 130 
 
 Grammont; Chantilly; Star Mesh; Double Ground; Point de Paris; Point 
 
 de Six; Eternelle; Point Double; Trenne; Fond Chant; Engelsche 
 
 Grond— Line A, Col. 5 75 
 
 H 
 
 Harlebeke, Bound-meshed Valenciennes of Bruges, Bailleul, Courtrai, 
 
 (braided 4 times) (often twice, Dentelle episcopale) — Line G, Col. 11. 209 
 
 Hexagonal Bar Filling, Devonshire — Line B, Col. 9 102 
 
 Hollandais, Un Fond, Filet— Line F, Col. 5 181 
 
 Hole Ground, Plain, Torchon; Beseau Stitch; Einfacher Locherschlag — 
 
 Line C, Col. 1 114 
 
 Hole Ground, Twice-twisted, Dieppe Ground, Hole Stitch with Twice-twisted 
 
 Thread, Locherschlag mit zweimal gedrehten Faden — Line H, Col. 1. . . 219 
 
 Hole Ground, Twisted, Tulle Double, Maglia di Spagna — Line D, Col. 1 134 
 
 Holes, Dice ; Slanting Hole— Line B, Col. 12 105 
 
 Hole, Slanting ; Dice Holes— Line B, Col. 12 105 
 
 Hole Stitch with Twice- twisted Thread; Dieppe Ground; Twice-twisted 
 Hole Ground ; Locherschlag mit zweimal gedrehten Faden — Line H, 
 
 Col. 1 219 
 
 Honeycomb Filling, Devonshire — Line E, Col. 9 163 
 
 Honfleur, Square-meshed Valenciennes of (braided 1 or iy 2 times) — Line 
 
 A, Col. 7 77 
 
408 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 PAGE 
 
 Ijsgrond, Malines, Mechlin, Fond de Glace, Eisgrond — Line A, Col. 3 73 
 
 Irish Ground— Line G, Col. 13 211 
 
 Italian Filet with Toile Dots, An— Line D, Col. 14 148 
 
 Italian Ground, A Spotted— Line B, Col. 14 107 
 
 Italian Open-eyed, Cable-like Spiders — Line F, Col. 14. -. 193 
 
 Italian Six Legged Spiders with Eibbons — Line H, Col. 14 235 
 
 Italian Spider with Eye, An— Line C, Col. 14 129 
 
 Italian Spiders with Four Twisted Horizontal Bars — Line E, Col. 14 171 
 
 Italian Spiders with Two Horizontal Bars — Line G, Col. 14 212 
 
 Lattice Ground ; Demi-Point ; Net Stitch ; Toile Ouverte ; Point Eeseau — 
 
 Line A, Col. 1 70 
 
 Lattice Ground; Gekreuzter Gittergrund (3 twists) — Line B, Col. 5 98 
 
 Lattice Ground, Plain ; Einf acher Gittergrund ; Filet — Line D, Col. 5 138 
 
 Leaves, Fat Maltese Petals, Seeds, Grains, Wheat Ears, Paddles — Line B, 
 
 Col. 15 109 
 
 Leaves, Thin Cluny Petals, Armelle, Armeletta, Grains, Seeds, Wheat Ears, 
 
 Paddles— Line C, Col. 15 130 
 
 Lescatelle, Abruzzian — Line C, Col. 16 131 
 
 Lille; Arras; Tulle Ground; Filoche; Fond Clair; Fond Simple; Brabant; 
 
 Trolly Net; Tondern; Marche; Point de Hollande; Dutsche Slag — 
 
 Line F, Col. 3 179 
 
 Lille : see also Reseau Simple — Line G, Col. 6 204 
 
 Lille Jour, A— Line F, Col. 9 185 
 
 Lille Mode, A ; Flemish Filling, A.— Line D, Col. 4 137 
 
 Locherschlag— Line F, Col. 6 182 
 
 Locherschlag mit zweimal gedrehten Faden; Dieppe Ground; Twice-twisted 
 
 Hole Ground; Hole Stitch with Twice-twisted Thread— Line H, Col. 1. 219 
 Lock Stitch or Du Puy Point de Paris Variation; Torchon Mode — Line H, 
 
 Col. 6 225 
 
 M 
 
 Maglia di Spagna ; Eedina — Line F, Col. 1 177 
 
 Maglia di Spagna ; Twisted Hole Ground ; Tulle Double — Line D, Col. 1 134 
 
 Malines; Mechlin; Ijsgrond; Fond de Glace, Eisgrond — Line A, Col. 3 73 
 
 Maltese, Fat Petals, Leaves, Seeds, Grains, Wheat Ears, Paddles — Line B, 
 
 Col. 15 109 
 
 Marche; Arras; Tulle Ground; Lille; Filoche; Fond Clair; Fond Simple; 
 Brabant; Trolly Net; Tondern, Point de Hollande; Dutsche Slag- 
 Line F. Col. 3 179 
 
 Marche : see also Reseau Simple — Line G, Col. 6 204 
 
 Marguerites a Centre de Toile — Line E, Col. 18 176 
 
 Marguerites a Six Petales (one sided joint) — Line E, Col. 15 173 
 
INDEX OF BOBBIN LACE GROUNDS AND FILLINGS 409 
 
 PAGE 
 
 Marguerites Centres a Huit — Line G, Col. 15 213 
 
 Marguerites, Demi Line F, Col. 15 194 
 
 Marguerites, Genoese Grilled Six Leaved — Line C, Col. 18 133 
 
 Mechlin; Malines; Ijsgrond; Fond de Glace, Eisgrond — Line A, Col. 3 73 
 
 Medici, Florentine, Byzantine Knots — Line H, Col. 13 234 
 
 Menin, Square-meshed Valenciennes of Courtrai and (braided 3 or 3y 2 
 
 times)— Line C, Col. 7 121 
 
 Menin, Square-meshed Valenciennes of Ghent or Gand and (braided 2 or 
 
 2y 2 times)— Line B, Col. 7 100 
 
 Mezza Cambruccia, Abruzzian — Line A, Col. 16 90 
 
 Mignonnette ; Devonshire Brick — Line C, Col. 8 122 
 
 Milanese Mesh, Five or Six-Sided— Line H, Col. 11 231 
 
 Mille Pattes, Les— Line F, Col. 2 178 
 
 Moulinet— Line B, Col. 18 112 
 
 N 
 
 Net Stitch ; Demi-Point ; Lattice Ground Toile Ouverte ; Point Reseau — Line 
 
 A, Col. 1 70 
 
 O 
 
 Oeil de Perdrix, Round, Open-eyed, Brabant, Binche Spiders, Reseau Ro- 
 sace ; Point de Flandre — Line G, Col. 4 201 
 
 Old Buckingham ; Fond de Milan— Line C, Col. 5 119 
 
 Open-eyed, Round, Brabant, Binche Spiders; Oeil de Perdrix; Reseau 
 
 Rosace ; Point de Flandre— Line G, Col. 4 201 
 
 Ornamental Ground; Binche; Virgin Ground; Pin Check; Pink Check; 
 
 Cinq Trous ; Point Carre — Line A, Col. 2 71 
 
 Ornamental Ground; Virgin Ground; Fond de la Vierge; Point Carre — 
 
 Line B, Col. 2 95 
 
 Ornamental Ground with Striped Effect in Diagonal Squares, Ziergrund mit 
 
 Streifen-Musterung in Karo-Einteilung — Line D, Col. 6 139 
 
 Ornamental Ground with Zigzag Diagonal Stripes ; Ziergrund mit Striefen- 
 
 Musterung in Zacken-Einteilung — Line E, Col. 6 160 
 
 Paddles, Fat Maltese Petals, Leaves, Seeds, Grains, Wheat Ears — Line B, 
 
 Col. 15 109 
 
 Paddles, Thin Cluny Petals, Leaves, Armelle, Armeletta, Grains, Seeds, 
 
 Wheat Ears— Line C, Col. 15 130 
 
 Pescolane or Abruzzian Cross Pattern — Line B, Col. 16 110 
 
 Petals, Fat Maltese Leaves, Seeds, Grains, Wheat Ears, Paddles — Line B, 
 
 Col. 15 109 
 
 Petals, Thin Cluny Leaves, Armelle, Armeletta, Grains, Seeds, Wheat Ears, 
 
 Paddles— Line C, Col. 15 130 
 
410 A LACE GUIDE FOB MAKERS AND COLLECTORS 
 
 PAGE 
 
 Petits Pois de Dieppe— Line E, Col. 2 156 
 
 Picots, Double— Line D, Col. 15 149 
 
 Picots, Point de Tresse with Knotted— Line E, Col. 13 169 
 
 Picots, Point de Tresse with Plain — in Side Joints — Line C, Col. 13 128 
 
 Picots, Point de Tresse with Plain, Side— (Line D, Col. 13 147 
 
 Picots, Point de Tresse with Plain — inLower Joints — Line B, Col. 13 106 
 
 Picots, Valenciennes — Line F, Col. 13 v . 192 
 
 Pin Check ; Binche ; Virgin Ground ; Pink Check ; Ornamental Ground, Cinq 
 
 Trous ; Point Carre— Line A, Col. 2 71 
 
 Pin Filling, Devonshire — Line A, Col. 8 79 
 
 Pink Check; Binche; Virgin Ground; Pin Check; Ornamental Ground; Cinq 
 
 Trous ; Point Carre— Line A, Col. 2 71 
 
 Piscitelli, Abruzzian — Line D, Col. 16 150 
 
 Plain Hole Ground; Torchon; Reseau Stitcb ; Einfacher Locherschlag — Line 
 
 C, Col. 1 114 
 
 Plain Lattice Ground ; Filet ; Einfacher Gittergrund — Line D, Col. 5 138 
 
 Plain Side Picots, Point de Tresse with — Line D, Col. 13 147 
 
 Plain Torchon Spiders — Line E, Col. 4 158 
 
 "Point a la Vierge" nach Slavischer Art; Slavonian Style Virgin Point — 
 
 Line C, Col. 6 120 
 
 "Point and Flat," Abruzzian— Line H, Col. 16 238 
 
 Point Carre, Binche; Virgin Ground; Pin Check; Pink Check, Ornamental 
 
 Ground ; Cinq Trous— Line A, Col. 2 71 
 
 Point Carre; Virgin Ground; Ornamental Ground; Fond de la Vierge — 
 
 Line B, Col. 2 95 
 
 Point dAngleterre Net; Brussels; Droschel; Vrai Reseau; Drochel — Line 
 
 C, Col. 3 117 
 
 Point d 'Esprit Net, Devonshire— Line H, Col. 8 227 
 
 Point de Flandre, Round, Open-eyed Brabant, Binche Spiders, Oeil de Per- 
 
 drix, Reseau Rosace — Line G, Col. 4 201 
 
 Point de Hollande ; Arras ; Tulle Ground ; Lille ; Filoche ; Fond Clair, Fond 
 
 Simple; Brabant; Trolly Net; Tondern; Marche; Dutsche Slag — 
 
 Line F, Col. 3 179 
 
 Point de Paris; Chantilly; Star Mesh; Double Ground; Point de Six; Eter- 
 
 nelle ; Point Double ; Trenne ; Fond Chant ; Grammont ; Engelsche 
 
 Grond— Line A, Col. 5 75 
 
 Point de Paris; Fond Clair; Fond Chant (Palliser)— Line C, Col. 11 125 
 
 Point de Paris Variation, Du Puy or Lock Stitch; Torchon Mode — Line H, 
 
 Col. 6 225 
 
 Point de Paris Variation with Tressed Sides — Line E, Col. 11 166 
 
 Point de Paris Variation, Redina or Tulle Double — Line D, Col. 11 144 
 
 Point de Six ; Chantilly ; Star Mesh ; Double Ground ; Point de Paris ; Eter- 
 
 nelle ; Point Double ; Trenne ; Fond Chant ; Grammont ; Engelsche 
 
 Grond — Line A, Col. 5 75 
 
 Point de Tresse with Knotted Picots— Line E, Col. 13 169 
 
 Point de Tresse with Plain Side Picots — Line D, Col. 13 147 
 
 Point de Tresse with Plain Picots in Lower Joints — Line B, Col. 13 166 
 
INDEX OF BOBBIN LACE GROUNDS AND FILLINGS 411 
 
 PAGE 
 
 Point de Tresse with Plain Picots in Side Joints — Line C, Col. 13 128 
 
 Point Double, Chantilly, Star Mesh, Double Ground, Point de Paris, Point de 
 
 Six, Eternelle, Trenne, Fond Chant, Grammont, Engelsche Grond— 
 
 Line A, Col. 5 75 
 
 Point du Mariage; Rose Ground; Scandinavian Ground; Gelosia; Tulle 
 
 Double— Line C, Col. 4 118 
 
 Point du Mariage fait a, la Torchon au Demi-Point — Line A, Col. 6 78 
 
 Point Jeunet ou Genet; Scotch Broom Stitch; Ziergrund mit Schragstreifen- 
 
 Musterung— Line C, Col. 2 115 
 
 Point Reseau; Net Stitch; Demi-Point; Lattice Ground; Toile Ouverte — 
 
 Line A, Col. 1 70 
 
 Points d'Esprits, Triangular, Fan-Shaped Cutworks or — Line A, Col. 15. . . 89 
 
 Potten Kant; Flemish ; Antwerp — Line F, Col. 4 180 
 
 Punto di Neve ; Fond de Neige— Line A, Col. 18 93 
 
 R 
 
 Eedina ; Maglia di Spagna — Line F, Col. 1 177 
 
 Redina or Tulle Double Point de Paris Variation — Line D, Col. 11 144 
 
 Reseau Rosace; Round, Open-eyed Brabant, Binche Spiders; Oeil de 
 
 Perdrix ; Point de Flandre— Line G, Col. 4 201 
 
 Reseau Simple, Analogue a Celui de Lille, d 'Arras, de Marche, de Tondern, 
 
 de Buckingham — Line G, Col. 6 204 
 
 Reseau Stitch ; Plain Hole Ground ; Torchon ; Einf acher Locherschlag — Line 
 
 C, Col. 1 114 
 
 Reseau, Vrai (fait sans epingles) ; Brussels; Droschel; Drochel — Line B, 
 
 Col. 3 96 
 
 Reseau, Vrai; Brussels; Droschel; Point d' Angle terre Net; Drochel — Line 
 
 C, Col. 3 117 
 
 Reticello or Genoese Mode — Line H, Col 5 224 
 
 Rose Ground; Scandinavian Ground; Point du Mariage; Gelosia; Tulle 
 
 Double— Line C, Col. 4 118 
 
 Round-meshed Valenciennes (singly twisted joint, centuple braid) (Bruges 
 
 has triple braid) — Line G, Col. 7 205 
 
 Round-meshed Valenciennes of Harlebeke, Bruges, Courtrai, Bailleul 
 
 (braided 4 times) (often twice, Dentelle episcopale) — Line G, Col. 11. 209 
 Round, Open-eyed, Brabant, Binche Spiders; Oeil de Perdrix; Reseau Ro- 
 sace ; Point de Flandre — Line G, Col. 4 201 
 
 Round Spiders in Twice-twisted Hole Ground; Les Araignees Rondes — Line 
 
 G, Col. 2 199 
 
 Round Valenciennes (doubly twisted joint, triple braid) — Line H, Col. 7. . . . 226 
 Russian or German Torchon — Line D, Col. 12 145 
 
 Scandinavian Ground; Rose Ground; Point du Mariage; Gelosia; Tulle 
 
 Double— Line C, Col. 4 118 
 
 Scotch Broom Stitch ; Point Jeunet ou Genet ; Ziergrund mit Schragstreif en 
 
 — Musterung— Line C, Col. 2 115 
 
412 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 PAGE 
 
 Second Swing Filling, Devonshire — Line E, Col. 8 162 
 
 Seeds, Fat Maltese Petals, Leaves, Grains, Wheat Ears, Paddles, — Line B, 
 
 Col. 15 109 
 
 Seeds, Thin Cluny Petals, Leaves, Armelle, Armeletta, Grains, Wheat Ears, 
 
 Paddles— Line C, Col. 15 130 
 
 Six or Five Sided Milanese Mesh— Line H, Col. 11 ; 231 
 
 Slanting Hole ; Dice Holes— Line B, Col. 12 105 
 
 Slavonian Style Virgin Point, "Point a la Vierge" nach Slavischer Art — 
 
 Line C, Col. 6 120 
 
 Spagna, Maglia di, Twisted Hole Ground ; Tulle Double — Line D, Col. 1. . . . 134 
 
 Spider, An Italian, with Eye— Line C, Col. 14 129 
 
 Spiders, Eyeless ; Fond de Neige — Line H. Col. 4 222 
 
 Spiders in Twice-twisted Hole Ground, Bound; Les Araignees Bondes — 
 
 Line G, Col. 2 199 
 
 Spiders, Italian, Open-eyed, Cable-like — Line F, Col. 14 193 
 
 Spiders, Italian Six-Legged, with Bibbons — Line H, Col. 14 235 
 
 Spiders, Italian, with 4 twisted Horizontal Bars — Line E, Col. 14 171 
 
 Spiders, Italian, with 2 horizontal Bars — Line G, Col. 14 212 
 
 Spiders, Plain Torchon — Line E, Col. 4 158 
 
 Spiders, Bound, Open-eyed, Brabant, Binche; Oeil de Perdrix; Beseau Bo- 
 
 sace ; Point de Flandre — Line G, Col. 4 201 
 
 Spinnekop; Flemish; Trolle Kant; Fond Armure — Line D, Col. 2 135 
 
 Spot Stitch ; Devonshire Swing Filling— Line F, Col. 8 184 
 
 Spotted Italian Ground, A — Line B, Col. 14 107 
 
 Square-meshed Valenciennes of Alost and Ypres (braided 5 or 5y 2 times) — 
 
 Line E, Col. 7 161 
 
 Square-meshed Valenciennes of Bruges, Ypres and Alost (braided 4 or 4% 
 
 times)— Line D, Col. 7 140 
 
 Square-meshed Valenciennes of Courtrai and Menin (braided 3 or 3 1 /) times) 
 
 —Line C, Col. 7 121 
 
 Square-meshed Valenciennes of Honfleur (braided 1 or l!/> times) — Line A, 
 
 Col. 7 77 
 
 Square-meshed Valenciennes of Menin, Ghent or Gaud (braided 2 or 2y 2 
 
 times)— Line B, Col. 7 100 
 
 Star Mesh ; Chantilly ; Double Ground ; Point de Paris ; Point de Six ; Eter- 
 
 nelle ; Point Double ; Trenne ; Fond Chant ; Grammont ; Engelsche 
 
 Grond— Line A, Col. 5 75 
 
 "Sunspots"— Line H, Col. 12 232 
 
 Swing Filling, Devonshire, Spot Stitch — Line F, Col. 8 184 
 
 Swing Filling, Devonshire Second — Line E, Col. 8 162 
 
 Taunton, Devonshire — Line D, Col. 8 141 
 
 Thin, Cluny Petals, Leaves, Armelle, Armeletta, Grains, Seeds, Wheat Ears, 
 
 Paddles— Line C, Col. 15 130 
 
 Toad-in-the-Hole, Devonshire— Line F, Col. 10 187 
 
INDEX OF BOBBIN LACE GROUNDS AND FILLINGS 413 
 
 PAGE 
 Toile Ouverte, Net Stitch; Demi-Point; Lattice Ground; Point Eeseau — 
 
 Line A, Col. 1. . . . . 70 
 
 Tondern; Arras; Tulle Ground; Filoche; Fond Clair; Fond Simple; Bra- 
 bant; Trolly Net; Marclie; Point de Hollande; Dutsche Slag, Lille — 
 
 Line F, Col. 3 179 
 
 Tondern : see also Reseau Simple — Line G, Col. 6 204 
 
 Torchon— Line E. Col. 12 167 
 
 Torchon Mode, Lock Stitch or Du Puy Point de Paris Variation — Line H, 
 
 Col. 6 225 
 
 Torchon ; Plain Hole Ground ; Eeseau Stitch ; Einf acher Locherschlag — Line 
 
 C, Col. 1 114 
 
 Torchon, Eussian or German — Line D, Col. 12 145 
 
 Torchon Spiders, Plain — Line E, Col. 4 158 
 
 Trenne; Chantilly; Star Mesh; Double Ground; Point de Paris; Point de 
 Six; Eternelle; Point Double; Fond Chant; Grammont; Engelsche 
 
 Grond— Line A, Col. 5 75 
 
 Trentino— Line A, Col. 14 87 
 
 Tresse, Point de, with Knotted Picots— Line E, Col. 13 169 
 
 Tresse, Point de, with Plain Picots in Lower Joints — Line B, Col. 13 106 
 
 Tresse, Point de, with Plain Picots in Side Joints — Line C, Col. 13 128 
 
 Tresse, Point de, with Plain, Side Picots— Line D, Col. 13 147 
 
 Tresses with Open Hooked Joints — Line H, Col. 17 239 
 
 Triangular, Fan-Shaped Points d'Esprits or Cutworks — Line A, Col. 15. . . . 89 
 
 Trolle Kant ; Flemish ; Fond Armure ; Spinnekop — Line D, Col. 2 135 
 
 Trolly Net ; Arras ; Tulle Ground ; Lille ; Filoche ; Fond Clair ; Fond Simple ; 
 Brabant; Tondern; Marche; Point de Hollande; Dutsche Slag — Line 
 
 F, Col. 3 179 
 
 Trude 
 Trude 
 Trude 
 Trude 
 
 "A" Ground 
 "B" Ground 
 "C" Ground 
 "D" Ground 
 
 Trude "E" Ground 
 
 Trude 
 Trude 
 Trude 
 Trude 
 
 "F' 
 "G' 
 "H' 
 
 Ground 
 Ground 
 Ground 
 
 I" Ground 
 Trude "J" Ground 
 Trude "K" Ground 
 Trude "L" Ground 
 Trude "N" Ground 
 Trude "0" Ground 
 Trude "P" Ground 
 Trude "Q" Ground 
 Trude "E" Ground 
 Trude "S" Ground 
 Trude "T" Ground 
 
 original) (American) — Line A, Col. 4 74 
 
 original) (American) — Line B, Col. 4 97 
 
 original) (American) — Line D, Col. 9 142 
 
 original) (American) — Line A, Col. 11 83 
 
 original) (American) — Line B, Col. 11 104 
 
 original) (American) — Line F, Col. 11 189 
 
 original) (American) — Line A, Col. 12 84 
 
 original) (American) — Line C, Col. 12 126 
 
 original) (American) — Line A, Col. 13 85 
 
 original) (American) — Line H, Col. 15 237 
 
 original) (American) — Line E, Col. 16 174 
 
 original) (American) — Line F, Col. 16 195 
 
 original) (American) — Line A, Col. 17 91 
 
 original) (American) — Line B, Col. 17 Ill 
 
 original) (American) — Line C, Col. 17 132 
 
 original) (American) — Line D, Col. 17 151 
 
 original) (American) — Line G, Col. 17 215 
 
 original) (American) — Line D, Col. 18 153 
 
 original) (American) — Line G, Col. 18 217 
 
 Tulle (Bruges?) (2 twists)— Line E, Col. 3 157 
 
414 A LACE GUIDE FOR MAKERS AND COLLECTORS 
 
 PAGE 
 
 Tulle (5 twists)— Line G, Col. 3 200 
 
 Tulle de Dieppe— Line E, Col. 1 155 
 
 Tulle de Vienne; Genre Valenciennes — Line G, Col. 1 198 
 
 Tulle Double Done on the Square— Line F, Col. 18 197 
 
 Tulle Double or Eedina Point de Paris Variation — Line D, Col. 11 144 
 
 Tulle Double; Rose Ground; Scandinavian Ground; Point du Mariage; 
 
 Gelosia— Line C, Col. 4 118 
 
 Tulle Double; Twisted Hole Ground; Maglia di Spagna — Line D, Col. 1. . . . 134 
 
 Tulle Du Puy— Line B, Col. 1 94 
 
 Tulle Ground; Arras; Lille; Filocbe; Fond Clair; Fond Simple; Brabant; 
 Trolly Net; Tondern; Marcbe; Point de Hollande; Diitsche Slag — 
 
 Line F, Col. 3 179 
 
 Twice-twisted Hole Ground ; Dieppe Ground ; Hole Stitch with Twice-twist- 
 ed Thread ; Locherschlag mit zweimal gedrehten Faden — Line H, Col. 
 
 1 219 
 
 Twice-twisted Virgin Point — mit zweimal gedrehtem Schlusschlag — Line B, 
 
 Col. 6 99 
 
 Twisted Hole Ground ; Tulle Double ; Maglia di Spagna— Line D, Col. 1. . . . 134 
 
 Valenciennes, Dieppe Three-thread — Line F, Col. 17 196 
 
 Valenciennes, Genre ; Tulle de Vienne — Line G, Col. 1 198 
 
 Valenciennes Mixte— Line F, Col. 7 183 
 
 Valenciennes Picots— Line F, Col. 13 192 
 
 Valenciennes, Round (doubly twisted joint, triple braid) — Line H, Col. 7.. . 226 
 Valenciennes, Round-meshed (singly twisted joint, centuple braid) (Bruges 
 
 has triple braid)— Line G, Col. 7 205 
 
 Valenciennes, Round-meshed of Harlebeke, Bruges, Courtrai, Bailleul (braid- 
 ed 4 times) (often twice, Dentelle episcopale) — Line G, Col. 11 209 
 
 Valenciennes, Square-meshed of Alost and Ypres (braided 5 or 5y 2 times) — 
 
 Line E, Col. 7 161 
 
 Valenciennes, Square-meshed of Bruges, Ypres and Alost (braided 4 or 4!/2 
 
 times)— Line D, Col. 7 140 
 
 Valenciennes, Square-meshed of Courtrai and Menin (braided 3 or 3% times) 
 
 —Line C, Col. 7 121 
 
 Valenciennes, Square-meshed of Honfleur (braided 1 or l l /o times) — Line A, 
 
 Col. 7 77 
 
 Valenciennes, Square-meshed of Menin, Ghent or Gand (braided 2 or 2y 2 
 
 times)— Line B, Col. 7 100 
 
 Vienne, Tulle de ; Genre Valenciennes — Line G, Col. 1 198 
 
 Virgin Ground; Ornamental Ground; Fond de la Vierge ; Point Carre — Line 
 
 B, Col. 2 95 
 
 Virgin Ground ; Pin Check ; Pink Check ; Ornamental Ground ; Binche ; Cinq 
 
 Trous ; Point Carre — Line A, Col. 2 71 
 
 Virgin Point, Slavonian Style; "Point a la Vierge" nach Slavischer Art — 
 
 Line C, Col. 6 120 
 
INDEX OF BOBBIN LACE GROUNDS AND FILLINGS 415 
 
 PAGE 
 Virgin Point, Twice-twisted — mit zweimal gedrehtern Schlusschlag — Line B, 
 
 Col. 6 99 
 
 Vrai Reseau (fait sans epingles) ; Brussels; Droschel; Drochel — Line B, 
 
 Col. 3 96 
 
 Vrai Reseau; Brussels; Droschel; Point d'Angleterre Net; Drocliel — Line C, 
 
 Col. 3 117 
 
 W 
 
 Wall Filling, Devonshire— Line G, Col. 10 208 
 
 Wheat Ears, Fat Maltese Petals, Leaves, Seeds, Grains, Paddles — Line B, 
 
 Col. 15 109 
 
 Wheat Ears, Thin Cluny Petals, Leaves, Armelle, Armeletta, Grains, Seeds, 
 
 Paddles— Line C, Col. 15 130 
 
 Winkie Pin Bars and Cutworks, Devonshire — Line C, Col. 10 124 
 
 Wire Ground, Devonshire — Line G, Col. 9 207 
 
 Ypres, Square-meshed Valenciennes of Alost and (braided 5 or 5% times) 
 
 —Line E, Col. 7 161 
 
 Ypres, Square-meshed Valenciennes of Bruges, Alost and (braided 4 or 4!/2 
 
 times)— Line D, Col. 7 140 
 
 Zeccatello— Line G, Col. 12 210 
 
 Zeccatello, A Fancy— Line F, Col. 12 190 
 
 Ziergrund mit Schragstreifen — Musterung, Scotch Broom Stitch; Point Jeu- 
 
 net ou Genet — Line C, Col. 2 115 
 
 Ziergrund mit Streifen — Musterung in Karo — Einteilung; Ornamental 
 
 Ground with Striped Effect in Diagonal Squares — Line D, Col. 6. . . . 139 
 Ziergrund mit Streifen — Musterung in Zacken — Einteilung; Ornamental 
 
 Ground with Zigzag Diagonal Stripes — Line E, Col. 6 160 
 
 Line B, Col. 10 103 
 
 Line E, Col. 17 175 
 
 Line H, Col. 10 230 
 
 Line H, Col. 18. (first) 241 
 
 Line H, Col. 18. (second) 242 
 
I 
 
 ilHlBP 
 
^cw 3 tBWBCjiw*fcgi>a feM»^» » -«^,j. 
 
 - .-■ 
 
Col. 7. 
 
 I 'ol. 8. 
 
 EXECUTED BY THE AUTHOR 
 
 ORIGINAL IN THE METROPOLITAN MUSEUM OF ART. 
 
 NEW YORK CITY 
 
 Net Stitch, LuHe.OWA Dam-Point, l'..i|. Onverlo, Point IKeeM. 
 
 Virgin Ground, PinW, P»* cl »* O™"""'"" 1 Orouno, »""*«■ Cm « T 
 Malinoe, Mechlin ijfcrond, Pond dc Qlnee. 
 
 Trudp "A" fl 1 (orieiua!) ( American). 
 
 Sl.,t -Meah DonbleOJv? 1 -''« l '"™' p '-* si <- Eternelle, Pt. Double, Trenne, Clnuitilly, Fd. Chant, Orammont. En|jel„he Qrou.l 
 Point du Mnriogj'fo'l > " Tmtal "" n «"i' P °''"- 
 Suuen-nieahed ValeM*"' °' Honfleiir (braided 1 or V- 
 Devonshire Pin Filling. 
 DovoHBliire Four par! Filling. 
 
 Col. -I. 
 t'ol. 5. 
 Col. G 
 
 Tulle liu Puy. „. .... . 
 
 Virgin Ground Oruueontal Ground, Pond dc la Vicrgc, Point Onrrc 
 Urnm-ls, Droichel Vtai R&omi Unit aana cpinglca). 
 Trude "B" Gronad (original) (American). 
 Lattice Ground, 0*i.«' Giltcrgrund (3 timtn). 
 Tmoc-tmated Vintia Point-nut r.vioial gedrchtcm Schlus8chl«g, 
 
 Sunore-meahed vStion™ of Sic Ghent or Good braided ■-• 
 
 Devonshire Cm a 
 
 I levonshiro Hexagonl Bar Filling. 
 
 AN INDEXED, COMPARATIVE SAMPLER OF 145 
 MADE TO THE SCALE Of NO. 70 D.M.C. LINEN THREAD AND 
 
 MADE IN NEW YOR 
 
 
 mm 
 
 Col. l. 
 Col. J. 
 Col. 3. 
 
 Plain Hole Ground, Torchon. R.Wuu Siit-h. Kiufncher I hn.-Mug 
 
 Scotch Broom Stitti Point Jeonel oh Genet, Ziergrund mit Sehrngstrcfen-Mnstemng. 
 
 Broads, Drosehd, Vrflln^n, Point dVAxgleUrre^t. _ 
 
 Rase Ground, Scandinavian Ground, Point du Manage, GHos,.-,. Tulle Double. 
 
 Old Buckingham, Few! de Milan. 
 
 Slavonian Style Virgin Point, "Point a la V.erge" nnch Sliivwh 
 
 Squarc-mcshed ValtftiennM of Courtrai rind Me 
 
 Devonshire Briek, Jlignonnette. 
 
 Devonshire Double Ground Pin. 
 
 Col. I. Twisted Hole Groin* Tulle Double, Mnglia 
 
 « ..I. 2. Flemish, Trolle Kant Fond Armure. 
 
 Col. :t. Droschcl de Hnixella. 
 
 Col, 1. A FI.-iul.s1i Pilling. sJLuTc Mode. 
 
 Col, 5. Plain Lattice GrouS, Pilot, Einfncher Gillcrgruud. 
 
 Col C. OraamontalOroundSrilh Striped Effect in Diagonal Squares, Ziergrund nut Streifen-Mus 
 
 Col, T. Square-meshed Vnlefieiiniw of Bruges, Ypres and Alost (braided 4 or 4% times). 
 
 Col. 8. Devonshire Taunton. 
 
 Col, D. Tnide "C" Ground [original) (American). 
 
 Col I Tulle do Dieppe. 
 Col. 2. Pctits Pos dc Dieppe- 
 Col. 3. Tnillc (Brogesl) (2twisls| 
 Col, 4 Plain Torchon Spiders. 
 
 Col, 5. 
 Col. 6. 
 
 Col. 1. 
 
 Burotto. Filet 
 
 Ornamental Gronnd with Zigzag Diagonal Su n ..,, V.^iv I m>i s-ir-n 
 
 Sqoare-meshed Valenciennes of Alost and Ypres ' hraide<l 5 or oVa 
 Devonsliire Second Swing Pilling. 
 Devonshire Honeycomb Filling. 
 
 I'd!. 1. Itedina. 
 
 i „l 2. Let Mills Pattra. 
 
 CoL 3, Tulle Gd, Lille, Piloehe. Fd. Clair, Fd, Simpl. Ural 
 
 Col. 4. Potten Kaot, Flemish, Antwerp, 
 
 CoL 5. Dn Fond Hollandais, Filet. 
 
 Col. *i, I/iicherschlag. 
 
 CoL 7. ValencicnneaMixte. 
 
 Col. 6. Devonshire Swing Filling, Spot Stitch. 
 
 CoL 9. A Lille Jour. 
 
BOBBIN LACE GROUNDS AND FILLINGS 
 
 JOINED BY PILLOW-WROUGHT BANDS OF CLOTH-STITCH 
 
 |C, 1912-1717 
 
 (Si. 10, Devonshire Diamond Filling. 
 
 Col. 11. Trodc"D"Gr .1 (original) (American) 
 
 Col. 12. Trade "O" Ground (original) (Ai 
 , '"'- 13, Trade "I" Ground (original) (Ai 
 Col, ]■!. Trentiuo. 
 
 "' 15. ^riongulur, Fan-shaped Points d'Esprita 
 
 "'■ "' (bruzzian Mc/wi Cambruccin. 
 1 "' '' ^ude"N" Ground (original) (American) 
 Col. 18. K,,,i de Neigc, Punto di Neve. 
 
 Col. 11. ^ttde "E" Ground (original) (Am 
 
 CoJ. 12. Ik.,: ETolcs, Slanting Hole. 
 
 Col. 13. i,; IlI ,],. Tressc with Plain Picots in Lower Joints. 
 
 Col. It ^Spotted Italian Ground. 
 
 Col. 15. Fit, Maltese Petals, Leaves, Seeds, Grains, Wheat E 
 
 jol, m, Airtuaion or Pcscolane Cross Pattern. 
 
 Ol- 1". Bude "0" Ground (original) (American). 
 
 Col. IB. jLdinrt. 
 
 Mum 
 Pi 
 
 ml 
 
 ? ? f 
 W ? f 
 
 ¥ ? V 
 
 Art- 
 
 i If 1*11- 
 
 m* ml 
 
 
 Col in. 
 
 Col. li. 
 
 Col. 12. 
 
 Col 13. 
 
 Col. 14. 
 
 Col, 15. 
 
 Col. 10. 
 
 mm 
 
 DovonVre Wiulrie Pin Burs and Outworks. 
 
 Point <!■ Paris, ' I Man-, Pond Chant (Palliser), 
 
 Trade iH" Ground [original) (American) 
 
 Point ilt Trcssc willi Plain Picots in Side Joints. 
 
 An ItoLw, Spider with Eye. 
 
 Tliiii Cltiny Petals, Leaves, Armelle, Armeletta, Grains, Seeds, Win'. 
 
 AlruTMiii Lescntclle. 
 
 Trude "1"' Ground (original) (Amerioan] 
 
 (pnocsc Grilled Six-leaved Marguerites. 
 
 m&& gamm w&m- 
 
 mmkMA M 
 
 ppp 
 
 sss 
 
 4 5 ■£ i Si? * \h 
 
 
 £tf>#NP*f 
 
 vonshire Bars ami Outworks. 
 Point de Paris Variation. 
 
 'Bohemian Edged 
 
 Tulle Double or He 
 
 Torchon, Russian o 
 
 Point de Trcsse with Plain, Side Picots. 
 
 An Italian Filet with Toile Dots. 
 
 Double Picots. 
 
 Alnizziun Piseitelli. 
 
 Trade "Q" Ground (original) (American) 
 
 T.-uili. "S" Ground (original) (American).