LIST OF PLATES. I. LEMISH LACE. 17th Century. No. 588 in the South Kensington Museum. 2. Pattern by which the same can be worked in braid and stitches. 3. FLEMISH LACE. 17th Century. No. 596 in the South Kensington Museum. 4. Pattern by which the same can be worked with braid, brides, and stitches. 5. PIECE OF LACE IN THE "BOCK COLLECTION." No. 1586 in the South Kensington Museum. 6. Pattern for working the same with braid, brides, and stitches. 7. FLEMISH LACE. 17th Century. No. 586 in the South Kensington Museum. 8. Pattern for working the same with braid and brides. 9. ITALIAN LACE. 17th Century. No. 583 in the South Kensington Museum. 10. Pattern for working a copy of the same with braid, brides, cord, and stitches. II. ITALIAN ROSE POINT. Part of Ecclesiastical Vest ment in the South Kensington Museum. 12. Pattern for working the same with needle and thread only. 66 13. NARROW LACE IN THE BOCK COLLECTION." South Kensington Museum. 14. Pattern for copying the same with braid, wide and narrow, and brides. 15. Original design for working lace d'oyley with braid, brides, and stitches. 16. ITALIAN LACE. 17th Century. No. 582 in the South Kensington Museum. This is a curious kind of lace, in which pieces of tape are introduced. 17. PORTUGUESE LACE. 17th Century. No. 584 in the South Kensington Museum. In this piece of lace two distinct patterns are to be seen. OLD POINT LACE. HE object of the present work is to assist in remedying a great defect of most modern amateur lace, viz., a mistaken style of pattern. The aim of making lace by hand is to revive the ancient art, of which such beautiful specimens have survived the decay of centuries. So far as the materials employed, and the delicacy and variety of stitches, the same degree of perfection has been already attained by many of our modern workers as by their ancient predecessors. But in spite of the care and industry bestowed, and the great |