Darning with flosses upon both white and black bobbinet, or silk net, was a very common form of the art, and veils of white with seed or all-over designs darned in white silk floss, may be called the "personal needlework" of the period, and some of the shawls were superb stretches of design and stitching. This art, although so beautiful in effect, demanded very little of the skill necessary to the preceding methods of embroidery. The lace was simply stretched or basted over paper or white cloth, upon which the design was heavily traced in ink; the spaces which were to be solidly filled were sometimes covered with a shading of red chalk, and when this was done, it was a matter of simple running over and under the meshes of the net, in directions indicated by the shape of the leaf or flower. The work could be heavier or lighter, according to the design and size or weight of the flosses used. I have seen a wedding veil worked upon a beautiful white silk net, carrying a sprinkling of orange flowers, darned with white silk flosses, and a heavy wreath around the border. Certainly no veil of priceless point lace could be so etherially beautiful as was this relic of the past, and certainly no commercial product, however costly, could carry in its transparent folds the sentiment of such a bridal veil, wrought in love by the bride who was to wear it. I have seen one beautiful shawl, where the entire design was done in shining silver-white flosses, upon a ground of black net, with the effect of a disappearance of the background, the wreaths and groups of flowers seeming to float around the figure of the wearer. In one or two instances, also, I have seen shawls in varicolored flosses producing a silvery mass of ornamentation which was most effective, but they were experiments which evidently did not commend themselves to North American taste. The same method of darning was used upon what was then called, "bobbinet footing," narrow lengths of bobbinet lace which were extensively used as ruffles for caps and trimming and garniture of capes and various articles of personal wear. Cap bodies were also worked in this method; in fact, the decorative treatment of caps must have been a trying question. The dignity of the married woman depended somewhat upon the size of the cap she wore, and it was as necessary to convention that the crow-black locks of the matron of twenty-five should be hidden, as that the scant locks of sixty should be decently shrouded. Insertings of darned footing, alternating with bands of muslin, were largely used in the construction of gowns, and, in short, this style of needlework, while not as universal or absorbing as French embroidery, continued longer in vogue and perhaps amused or solaced some who had little skill or time for the more exacting methods of embroidery. CHAPTER V -- BERLIN WOOLWORK