The teachers’ course covers two years. In order to insure careful individual training the directors prefer to have no more than eight or ten earnest students in each year’s class; they prefer, too, that these shall not have been lace-makers before entering, and that they be between sixteen and thirty years of age. There are, then, two class-rooms, light and airy, and equipped with blackboards and charts, and the all-important large demonstration cushion with its gigantesque bobbins attached to heavy colored wool threads to aid the eye and brain. Each young woman records the steps of her progress in a series of copy-books so beautiful in their penmanship and their drawing as to recall at once the manuscripts of long ago. What, then, is the instruction which they receive? Since there had never been a system of teaching lace-making in Belgium, the directors of the Normal School were obliged to develop one, and as it exists to-day, logical, comprehensive, far-seeing, it belongs exclusively to the School of Bruges. By the defective method employed before, a pupil was taught to make one kind of lace, then another, and another, but tho she might become proficient in the execution of thirty kinds, she might still be incapable of executing a new thirty-first variety if it were presented to her, because she had not been taught the underlying principles. [Illustration: ROSALINE, WHICH CLOSELY RESEMBLES BRUGES] [Illustration: DETAILS FOR BRUGES LACE Made with bobbins on round cushion] The Bruges directors found, after a long and careful analysis of the processes employed in all known laces, that they depend on but between twenty and thirty major operations, and that, in the final analysis, for the bobbin laces, these reduce themselves always to the simple question, “Does the thread pass from left to right, or does it pass from right to left?” [Illustration: DOILY SET IN POINT DE PARIS IN THE “ANIMALS OF THE ALLIES” DESIGN, EXECUTED AT TURNHOUT] They chose specific colors, red, purple, green and others, to represent specific movements of the threads, thus establishing a symbolic color system of design which enables the pupil to read a blackboard drawing as he would a written page. And they realized that before the processes are portrayed by lines on the blackboard, they should be executed with the gigantesque bobbins and the colored wool cords.