Another interesting record of this Queen is to be found in a manuscript of the expenses of "Madame Marguérite," sister of the King (Francis I.). "For 60 yards fine Florence lace for her collars."[M] This lace was probably fine punto in aria worked in points, as in Plate 30, but it may, of course, also have been bobbin-made lace similar to the edging in Plate 29. [M] Manuscript in "Bibliothèque Nationale." MS. FF2, 10,394. The earliest example of tela tirata here is a piece representing St. Francis of Assisi and events of his life, Plate 19. Under the saint's feet is an inscription imperfectly rendered by the pious worker. St. Michael is above, and still higher is the Madonna and many emblems or perhaps fancies of the worker. This lace may have been worked in Assisi itself in the thirteenth or fourteenth century. Another early specimen has a man in armour with a helmet of thirteenth-century shape. _See_ Plate 20. Another piece, Plate 21, which is very fine and was no doubt worked for a wedding, represents a bride and bridegroom standing dressed in sixteenth-century costume and surrounded by attendants. Below is a hawking party with dogs. The infant's swaddling band, Plate 22, is interesting, as these bands are no longer ornamented. The specimen of tela tirata No. 1, in Plate 25, is of singular make, the whole piece to be worked being prepared by drawing threads at regular intervals. These same threads are then darned in with a needle to form the pattern. In this specimen a small piece has been unpicked to show the way the threads were drawn before beginning the work. This method has, I believe, not hitherto been noticed, as the plan of cutting threads and leaving the pattern in the linen is more usual; but, of course, no cut threads at all remaining in the work rendered it more even and durable, and so justified the extra trouble. No. 2 of Plate 25, is a piece of tela tirata with punto reale similar, though coarser in make, to the work on the Assisi alb. Three specimens of sixteenth-century linen work, Plate 28, are reduced in size; one is on a huckaback with a fine macramé fringe. The drawn work of this piece is beautifully done. The cloth in the centre is worked in punto riccio and has a border of punto avorio and a curious fringe. The third is cut and worked in punto riccio and reticello, and has a border of bobbin-made lace. In Plate 29 we have two examples of reticello, the linen almost entirely cut away and hidden by the different stitches. The punto a stuora is still used for the centres, as we have seen in the earlier laces, and the punto a festone appears for the first time. In the second example we have a curious combination of three laces--an upper border worked almost exactly like the very early lace of Plate 7; then comes an insertion of reticello, and finally a border of Venetian bobbin-lace (merletto a fuselli). This is early fifteenth-century work.