Concerning the manufactures of the once opulent cities of Nuremburg and Augsburg we have no record. In the first-mentioned was published, in 1601, the model book, engraved on copper, of Sibmacher.[721] On the frontispiece is depicted a garden of the sixteenth century. From the branches of a tree hangs a label, informing the world "that she who loves the art of needlework, and desires to make herself skilful, can here have it in perfection, and she will acquire praise, honour, and reward." At the foot of the tree is seated a modest young lady yclept Industria; on the right a second, feather-fan in hand, called Ignavia--Idleness; on the left a respectable matron named Sofia--Wisdom. By way of a preface the three hold a dialogue, reviewing, in most flattering terms, the work. A museum was founded in 1865 at Nuremburg for works and objects connected with the lace manufacture and its history. It contains some interesting specimens of Nuremburg lace, the work of a certain Jungfrau Pickleman, in the year 1600, presented by the widow Pfarrer Michel, of Poppenreuth.[722] The lace is much of the Venetian character. One specimen has the figures of a knight and a lady, resembling the designs of Vecellio. The museum also possesses other curious examples of lace, together with a collection of books relative to the lace fabric. (Plate LXVIII.) "In the chapel of St. Egidius at Nuremburg," writes one {267}of our correspondents, "we were led to make inquiries concerning sundry ponderous-looking chairs, bearing some resemblance to confessionals, but wanting the side compartments for the penitents. We learned that they belonged to the several guilds (Innung), who had undertaken to collect money for the erection of a new church after the destruction of the old by fire. For this end the last members sworn in of every trade sat in their respective chairs at the church doors on every Sunday and holiday. The offerings were thrown into dishes placed on a raised stand on the right of the chair, or into the hollow in front. The devices of each trade were painted or embossed on circular plates, said to be of silver, on the back of each chair. One Handwerksstuhl in particular attracted our attention; it was that of the passmenterie-makers (in German, Portenmacher or Posamentier Handwerk), which, until the handicrafts became more divided, included the lace-makers. An elegant scroll-pattern in _rilievo_ surrounds the plate, surmounted by a cherub's head, and various designs, resembling those of the pattern-books, are embossed in a most finished style upon the plate, together with an inscription dated 1718." Misson, who visited Nuremberg in 1698, describes the dress of a newly-married pair as rich in the extreme--that of the bridegroom as black, "fort chargé de dentelles"; the bride as tricked out in the richest "dentelle antique," her petticoat trimmed with "des tresses d'or et de dentelle noire."