4 ft. 3 in. × 5½ in. _Venetian, 16th century_] [Illustration: PLATE XXXVII. ORNAMENT FOR THE NECK OF AN ALB OF PUNTO IN ARIA The Madonna, in a robe sprinkled with stars and crowned, is seated on clouds, her foot resting on the head of a cherub. The three persons of the Trinity are above. Cherubs and conventional flowers are introduced into the background: the robes are worked apart from the figures in a lacis stitch called mezza mandolina. Small glass beads are added to the eyes. 18 in. × 6½ in. _16th century_] [Illustration: PLATE XXXVIII. BORDER AND EDGING No. 1. Border of needle-point lace, called punto in relievo or rose-point. Birds and serpents occur in the design and each portion of the pattern is outlined by a thick cordonnet worked in buttonhole stitch, punto à festone. This thick cordonnet is also used to denote the scales of the serpent and to accentuate the features of the birds, the narrow braid at the top of the lace is bobbin-made, the edging is of very fine needle-point called punto avorio. 11 in. × 3½ in. _Italian, 16th century_ No. 2. Edging of flat needle-point lace à brides. The pattern is a somewhat confused rendering of a continuous scrolling stem type; the brides irregularly introduced have pronounced picots; and this feature has given rise to the title of coraline lace, on account of its suggestion of coral forms. _Venetian, about 1660_] [Illustration: PLATE XXXIX. A LADY'S CAMISIA OR SHIRT The back and front are in one piece with a square opening for the head: this is worked all round with a fine insertion and vandyked edge of punto in aria: the sleeves have oblique insertions of reticello work. In the cuffs bobbin-made lace has replaced the original work _Italian, 16th century_] [Illustration: PLATE XL. BED-COVER OF CUT LINEN LACE (TELA TAGLIATA A FOLIAMI AND PUNTO A FESTONE) The pattern is of bold flowing scrolls, cut in linen, edged by buttonhole stitch, and joined by brides: a few modes are introduced into the blossom forms, the edging is of bobbin-made lace (merletto a fuselli). 7 ft. 6 in. × 4 ft. 8 in. _Venetian, 17th century_] [Illustration: PLATE XLI. RABAT OF FLAT NEEDLE-POINT LACE À BRIDES The pattern is of well-balanced scrolls and conventional flowers enriched with a few simple modes and joined by brides variously picotées 11½ in. × 7½ in. _Venetian, about 1640_] [Illustration: PLATE XLII. PART OF A DRESS TRIMMING OF VERY FINE NEEDLE-POINT, CALLED ROSE-POINT (PUNTO TAGLIATO A FOLIAMI) The pattern wrought chiefly in close toilé consists of scrolls and conventional flowers joined by very few brides. Intermixed with the toilé are variations of simple modes. 31 in. × 10 in. _Venetian, about 1640_] [Illustration: PLATE XLIII. PARTS OF A COLLAR OF NEEDLE-POINT, CALLED ROSE-POINT, OR POINT DE VENISE (PUNTO TAGLIATO A FOLIAMI) Pattern of continuous scrolls and conventional flowers frequently enriched on their raised cordonnets with picots and joined by brides picotées