Again, the pattern was made without any linen at all; threads, radiating at equal distances from one common centre, served as a framework to others which were united to them in squares, triangles, rosettes, and other geometric forms, worked over with button-hole stitch (_point noué_), forming in some parts open-work, in others a heavy compact embroidery. In this class may be placed the old conventual cut-work of Italy, generally termed Greek lace, and that of extraordinary fineness and beauty which is assigned to Venice. Distinct from all these geometric combinations was the lacis[61] of the sixteenth century, done on a network ground (_réseau_), identical with the _opus araneum_ or spider-work of continental writers, the "darned netting" or modern _filet brodé à reprises_ of the French embroiderers. The ground consisted of a network of square meshes, on which was worked the pattern, sometimes cut out of linen and appliqué,[62] but more usually darned with stitches like tapestry. This darning-work was easy of execution, and the stitches being regulated by counting the meshes,[63] effective geometric patterns could be produced. Altar-cloths, baptismal napkins, as well as bed coverlets and table-cloths, were decorated with these squares of net embroidery. In the Victoria and Albert Museum there are several {21}gracefully-designed borders to silk table-covers in this work, made both of white and coloured threads, and of silk of various shades. The ground, as we learn from a poem on lacis, affixed to the pattern-book of "Milour Mignerak,"[64] was made by beginning a single stitch, and increasing a stitch on each side until the required size was obtained. If a strip or long border was to be made, the netting was continued to its prescribed length, and then finished off by reducing a stitch on each side till it was decreased to one, as garden nets are made at the present day. This plain netted ground was called _réseau_, _rézel_, _rézeuil_,[65] and was much used for bed-curtains, vallances, etc. In the inventory of Mary Stuart, made at Fotheringay,[66] we find, "Le lict d'ouvrage à rezel"; and again, under the care of Jane Kennethee, the "Furniture of a bedd of network and Holland intermixed, not yet finished." When the _réseau_ was decorated with a pattern, it was termed _lacis_, or darned netting, the Italian _punto ricamato a maglia quadra_, and, combined with _point-coupé_, was much used for bed-furniture. It appears to have been much employed for church-work,[67] for the sacred emblems. The Lamb and the Pelican are frequently represented.[68] {22}In the inventory of Sir John Foskewe (modern Fortescue), Knight, time of Henry VIII., we find in the hall, "A hanging of green saye, bordered with darning."