n as "Pillow Guipure" are somewhat open to question, the
authorities at South Kensington Museum agreeing to differ, and labelling
most of the specimens "Italian or Flemish." The finer pieces of this
type of lace may safely be described as "Flemish," as the flax-thread
grown and made in Flanders was much finer than that grown in the
Southern Countries.

Much of the Genoa lace was worked in what we term "mixed lace," the
design being woven on the pillow, and the ground and fillings worked in
with the needle either in a network or by brides and picots. A much
inferior kind is made with a woven braid or tape, the turns of the
pattern being made in twisted or puckered braid, much after the style of
the handmade Point lace made in England some thirty years ago. This lace
was known as "Mezzo Punto," though the French were discourteous enough
to term it "Point de Canaille," as undoubtedly it was an imitation of
the finer laces made in a loose, poor style.

The lace of Milan is unquestionably the most beautiful of the Pillow
laces of Italy. While resembling the plaited lace of Genoa, there is
more individuality about it. Much of this fine lace was worked for
church vestments and altar cloths. Various heraldic devices are
frequently introduced, surrounded with elegant scroll designs, the whole
being filled up with woven reseau, the lines of which are by no means
regular, but are made to fill in the interstices.

Yet another Italian lace is known as

_Punto a Groppo, or Macrame_.

No doubt this was the earliest form of woven lace, and, indeed, it may
claim an origin as early as the first garments worn by mankind. In the
earliest remains of antiquity a _fringe_ often decorates the edges of
garments, curtains, and floor-covering, and seems to be a natural and
fitting finish to what would otherwise be a hard, straight line. In
the various Assyrian and Egyptian monuments this is noted again and
again.

[Illustration: GENOESE LACE.

Sixteenth or Seventeenth Century.

(_S.K.M. Collection._)]

Some of the sixteenth-century pieces which we possess show simply an
elaboration of the knotted fringe, while much of the later work is
exceptionally fine. The work is so well known, owing to its revival
during the last thirty years in a coarse form, that it needs little
description. Its use, even at its best period, was confined to household
use, for which purpose it seems particularly adapted.

[Illustration: MILANESE LACE.

(_Au