No. 1 has a geometric effect worked on the drawn foundation: this style is called sfilatura in Italy; the knotted fringe is of macramé. 4 ft. × 2 ft. No. 2 has a design of birds and scrolls in punto riccio, a border worked in punto avorio, and a curious hand-made fringe. 6 ft. 6 in. × 2 ft. No. 3 is ornamented with reticello and punto riccio and has a bobbin-made edging and fringe. 3 ft. 6 in. × 2 ft.] [Illustration: PLATE XXIX. TWO BORDERS No. 1. Border of reticello or needle-point cut-work: the geometrical rosettes are repeated with very slight internal alteration. 9½ in. No. 2 is a curious piece consisting of two borders and an edging; the upper border is a mixture of punto a festone, punto di treccia and punto a stuora work. The vandyke edge is of bobbin-work (merletti a fuselli). 2 ft. 8 in. _Italian, 15th century_] [Illustration: PLATE XXX. TWO BORDERS Of needle-point on linen, called reticello or cut-work. The pointed edgings of both pieces are bobbin-made lace, sometimes called plaited lace Together 9 ft. 2 in. × 4 in. _Italian, 16th century_] [Illustration: PLATE XXXI. TWO EXAMPLES Of dentated or vandyke edgings of needle-point called punto in aria, because it is made independently of any foundation. Together 4 ft. 8 in. _Italian, about 1550_] [Illustration: PLATE XXXII. CHALICE COVER OF RETICELLO AND PUNTO IN ARIA In the centre is the figure of St. Peter with the Bible in his right hand and the Keys in his left. Two winged cherubs hold portions of a long chain pattern which encircles the details of conventional foliage and flowers. A lattice of reticello work supports the punto in aria devices. The linen can be seen at the sides, which have an edge of punto in aria. 13½ in. × 7½ in. _17th century_] [Illustration: PLATE XXXIII. A RETICELLO PATTERN WORKED IN VERY FINE PUNTO IN ARIA AND PUNTO AVORIO A pointed edge is also finely worked in punto avorio. 5 ft. 8 in. _Italian, 17th century_] [Illustration: PLATE XXXIV. SCALLOPED BORDER OF A CORPORAL OF FLAT NEEDLE-POINT LACE, CALLED PUNTO IN ARIA In which the repeating conventional semi-floral forms are connected by small brides. 6 ft. _German, early 17th century_] [Illustration: PLATE XXXV. A CLOTH WITH INSERTION AND BORDER OF PUNTO IN ARIA The border has a figure in each vandyke, either a lady with two birds or a siren; the insertion has strange winged and tailed animals supporting vases of flowers: all the figures, birds and animals have tiny black beads for eyes. 6 ft. 4 in. × 3 ft. _Italian, 16th century_] [Illustration: PLATE XXXVI. NEEDLE-POINT BORDER OF FLAT NEEDLE-POINT LACE, CALLED PUNTO IN ARIA The design of open scrolling and continuous floral stems is arranged to form points alternately of carnations and hyacinths and includes stags, hounds, peacocks and other animals: the Visconti crest--a crowned serpent--is introduced, and the stems sometimes twist into true lovers' knots. This piece was probably made for a wedding.