In Plate 11 a portion of an early lacis or modano border is represented. Conventional peacocks and numerous smaller birds are added to the central design of I.H.S. in Gothic letters--quaint little angels are at the ends of some of the rays. The inscription has so far found no interpreter. The altar-cloth in Plate 12 may possibly have been made for Richard II.; his two wives were both French, and this piece has the stag, which was the royal device. No. 1 of Plate 13 is an interesting border of Sicilian lacis, the design Eastern, introducing the gammadion, the netting is all made obliquely. Two stitches are used for the pattern, the punto a rammendo and also the punto scritto. A vandyked border of punto avorio is added. In Plate 14 the squares of lacis or modano are alternated with linen worked with reticello. The design in each square is different. The effect of the gold thread added to the pattern worked in punto a tela, or linen-stitch, in Plate 15, is very good, and there is much variety in the execution of this piece. No. 1 of Plate 16 is lacis of possibly German work with a design of vine-leaves and grapes worked in punto a tela. No. 2 is a vandyked border of English lacis with a pattern of large and small blossoms--the larger ones resemble Tudor roses. Both these pieces have the punto riccio introduced. Plate 17 is a specimen of lacis called buratto in Italy, as the netting is twisted and not knotted. The pattern is punto a rammendo, worked with very coarse thread, but the result is satisfactory. This piece must be early sixteenth-century work. The two examples of buratto work in the following plate, Plate 18, are much more finely worked with punto a rammendo. The narrow border is probably the earliest. Alençon has certainly more romantic associations than any other lace-producing town. For the making of lace at Alençon did not begin only with the establishment of that industry in 1660, of which I shall speak later. More than a century before that date Marguérite d'Angoulême, Duchess of Alençon, and afterwards Queen of Navarre, while living at her castle of Alençon, worked and caused to be worked, beautiful ornaments for albs and other articles for use at the altar of St. Leonard's, her parish church. Some of these are preserved in the Alençon Museum; a specimen of early lacis is especially interesting, worked in squares with radiating threads, and the centres worked with punto a stuora as in Plate 17. The specimen of lacis, with gold thread introduced similar to that in Plate 15, may very likely be the very piece alluded to by Clément Marot in his odes to Queen Marguérite. She died in 1549. "Elle adonnait son courage A faire maint bel ouvrage Dessus la toile et encore a Joindre la soie et or." "Vous d'un pareil exercice Mariez par artifice Dessus la toile a maint tract L'or et la soie en pourtract."