The development of this branch since 1865 has been very marked. As will be seen from the description of the lancework pieces carried out at the Crystal Palace, the subjects dealt with have been of extraordinary variety. Up to the beginning of the nineteenth century pyrotechnists had failed to realise the possibilities of lancework. This was undoubtedly due in a great measure to the fewness of colours available. Ruggieri appears to have used lancework to outline architectural designs, evidently a survival of the temples or theatres of earlier years. In his time, and even as late as the middle of the nineteenth century, any subject of a pictorial nature was depicted by the use of scenery or transparencies. Lancework was, as Ruggieri describes it, merely “decorations in coloured fire.” The lances of his day were considerably thicker than those at present in use, which are about the diameter of a lead pencil. They were also spaced further apart and were in some cases “bounced,” as are fixed cases of the present day. The modern method of constructing a lancework set piece is as follows: An outline drawing of the subject is made in which all unnecessary lines are eliminated. This is ruled in square of such size that in the proportion one square to a foot the completed piece will be of the size required. Frames are then laid out on the drawing-floor: these are of light battens forming foot squares, and of a convenient size for handling, generally ten feet by five feet. [Illustration: Lattice Poles.] [Illustration: Chromatrope (The outer fire forms the Guilloché of Ruggieri.)] [Illustration: Lattice Diamond (The Feux Croisés of Ruggieri.)] The drawing is then transferred to the floor with the assistance of the squared lines, and the design followed by nailing on light wood strips or thin rattan cane. The lines thus indicated are then “pegged,” that is, pegs or small wire nails pointed at either end, are driven in at intervals of about four inches. The lances, whose construction has already been described in Chapter IV, have their ends glued and are pushed on to the pegs so that they stand vertically from the framework. The frames are then led up with quickmatch, secured by pins driven into the priming. The match is then pierced with a small awl above the priming, and secured and protected by a strip of paper pasted over it and round the case of the lance. The piece is then ready for hoisting into position and firing. Formerly, and sometimes now on the Continent, the match was secured by a wire passing through the case near the top, which was twisted over the match.