In this little book I make no attempt to present a history of lace, or a detailed analysis of its processes. I have wished merely to set down in simple form a few of my observations in the lace districts of Belgium, as the war has left her. To follow them one does not need even an elementary knowledge of the important lace forms, tho that is easily acquired. For there are but two large groups; the needle-lace group, and the bobbin-lace group, between which we learn quickly to distinguish. We can not prove the time of their respective origins; as we know them, they seem to have existed side by side, as they do in the Belgium of to-day. Sometimes one was more popular, sometimes the other. To place a piece of lace, we have first but to ask the question, “Was it made with a needle, and by looping and twisting and weaving a single thread; or was it made by braiding and twisting and weaving several threads, by means of bobbins and a round or a square cushion?” In general, there is but one technique for all needle laces, tho there is no limit to the variety of stitches the needle worker may employ. I have seen a scarf, made during the war for Queen Elizabeth, in which there were many hundred different points. One comes soon to recognize the important needle laces; the exquisite French Alençons and Argentins of earlier days, with their meshes made with a buttonhole loop, and their flowers stiffened with horsehair; the various Venetian points,—Venise, Burano, and Rose point; and the extremely popular Brussels point, with its gauze mesh and raised flowers. It is characteristic of these needle laces, that the flowers are thrown into relief, sometimes high, sometimes scarcely perceptible. Bobbin laces may be made with a dozen or with one hundred times as many threads, according to the design and width of the lace. They fall into two sub-groups, the first including laces made with uncut threads, in a single piece; the second, those made detail by detail, in which the threads are cut as each is finished, the completed lace piece being made by joining these separate parts. This second method was not introduced until the latter half of the 17th century. In the first group, made with uncut threads, are the early Clunys and the common Torchons, Old Flanders, the beautiful Valenciennes, Point de Paris, Point de Lille, Malines and Binche, with their delicate round, or square or hexagonal meshes, from which the pattern blossoms. Their flowers are flat, never lifted in relief, tho a heavy outlining thread often sets them off brilliantly from the surrounding field. The second bobbin group, in which the final lace piece is composed of united details, includes black and white Chantilly, Blonde, popular with Spanish peoples, Brussels Duchesse and Bruges Duchesse, most frequently displayed in our American shops, and the finer Rosaline, which was in great demand when the war broke out. This group of bobbin laces admits a kind of relief.