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Fig. 3.—THREE VANDYKE OR DENTATED BORDERS OF ITALIAN LACE OF THE LATE 16th CENTURY. Style usually called “Reticella” on account of the patterns being based on repeated squares or reticulations. The two first borders are of needlepoint work; the lower border is of such pillow lace as was known in Italy as “merletti a piombini.” Fig. 7.—BORDER OF FLAT NEEDLEPOINT LACE OF FULLER TEXTURE THAN THAT OF FIG. 3, AND FROM A FREER STYLE OF DESIGN IN WHICH CONVENTIONALIZED FLORAL FORMS HELD TOGETHER BY SMALL BARS OR TYES ARE USED. Style called “Punto in Aria,” chiefly on account of its independence of squares or reticulations. Italian. Early 17th century. Fig. 5.—CORNER OF A NAPKIN OR HANDKERCHIEF BORDERED WITH “RETICELLA” NEEDLEPOINT LACE IN THE DESIGN OF WHICH ACORNS AND CARNATIONS ARE MINGLED WITH GEOMETRIC RADIATIONS. Probably of English early 17th century.

Fig. 4.—CATHERINE DE MEDICI, WEARING A LINEN UPTURNED COLLAR OF CUT WORK AND NEEDLEPOINT LACE. Louvre. About 1540. Fig. 6.—AMELIE ELISABETH, COMTESSE DE HAINAULT, WEARING A RUFF OF NEEDLEPOINT RETICELLA LACE. By Morcelse. The Hague. About 1600. (Figs. 4 and 6 by permission of Messrs Braun, Clement & Co., Dornach (Alsace), and Paris.)