Another work, preserved in the British Museum, was published at Strasbourg, 1596, seemingly from designs of the same Vinciolo. These consist of about six-and-thirty plates, with patterns in white on a black ground, consisting of a few birds and figures, but chiefly of stars and wreaths pricked out in every possible variety; and at the end of the book a dozen richly wrought patterns, without any edging, were seemingly designed for what we should now call “insertion” work or lace.
There is another, by the same author, printed at Basil in 1599, which varies but slightly from the foregoing.
This Frederick de Vinciolo is doubtless the same person who was summoned to France, by Catherine de Medicis, to instruct the ladies of the court in the art of netting the lace of which the then fashionable ruffs were made.
In another volume we have—
“Corona delle Nobili et virtuose Donne, nel quale si dimostra in varij Dissegni tutte le sorti di Mostre di punti tagliati, punti in Aria, punti Fiamenghi, punti à Reticelle, e d’ogni altre sorte, cosi per Freggi, per Merli, e Rosette, che con l’Aco si usano hoggidì per tutta l’Europa.
“E molte delle quali Mostre possono servire ancora per opere a Mazzette.
“Con le dichiarationi a le Mostre a Lavori fatti da Lugretia Romana.
“In Venetia appresso Alessandro di Vecchi, 1620.”
The plates here are very similar to those in the above-mentioned works. Some are accompanied by short explanations, saying where they are most used and to whom they are best suited, as—
“Hopera Bellissima, che per il più le Signore Duchese, et altre Signore si servono per li suoi lavori.”