The Abbé brought out from dusty drawers the school’s stock of designs, elegant groupings of bouquets and foliage, with occasional striking geometrical details introduced, all joined by a fine hexagonal mesh, which resembled at first that of Malines, and later, more closely, the Point d’ Alençon mesh. The fact that this lace is often used for scarfs and gowns, and that the customary flounce is of generous width, has encouraged the development of elaborate patterns. Some of the sketches were divided by heavy pencil lines into the separate narrow strips on which the lace-maker actually works. To achieve the wide flounce, these strips are attached one to another by special workers who employ a joining stitch that defies detection. The individual pattern strips include both mesh and flowers and follow irregular lines, curving, it may be, to include a full-petaled rose. When one examines the fineness of the clear hexagonal mesh that forms the base of Chantilly, it seems all the more remarkable that the division lines are not visible. This Chantilly mesh has differed during various periods and besides there are always almost as many varieties as there are workers, for one weaves more closely or more firmly than another. I came soon to realize how great a difference in effect results from a practically invisible variation in the thickness of the thread, or in the manner of twisting or looping it or in the placing of the pins. One of the distinguishing characteristics of Chantilly is the relief produced by a heavier thread that outlines the pattern and forms the twigs and veins of the leaves. In securing a brilliant relief, the French have always succeeded better than the Belgians. These Grammont pupils were also making Blonde, a favorite lace with the Spanish people, and introduced into Belgium from France at the same time as Chantilly. Its processes are very similar, tho it is easily differentiated from its sister by the heavy glossy petals of its flowers and their conspicuous open-work centers in the Point de Paris stitch. The name Blonde is derived from the écru silk which was first employed in its making; now it is made of white or of black silk, and chiefly in the form of scarfs or mantillas. The girls were making their war-time Blonde of cotton, the good Peat cotton of Nottingham, brought in by the C. R. B. for the Lace Committee. It is practically only in the Grammont and Turnhout regions that Blonde is still made. The instructress showed me the little bundles of poor, crooked brass pins that were all that remained after four years of the occupation, explaining what harm poor pins can work in a fine mesh like that of Chantilly. Then she asked if I could not tell them when they might expect new ones. Alas, these disheartening months of the winter of 1918–1919 when one hope after another has been deferred; so many things to be done at once, and all depending on the re-establishment of a system of transportation utterly destroyed.