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2. Punto tagliato.[[170]]—Cut-work, already described.
3. Punto di Venezia.
4. Punto in aria.[[171]]—Worked on a parchment pattern, the flowers connected by brides: in modern parlance, Guipure.
5. Punto tagliato a fogliami.[[172]]—The richest and most complicated of all points, executed like the former, only with this difference, that all the outlines are in relief, formed by means of cottons placed inside to raise them. Sometimes they are in double and triple relief; an infinity of beautiful stitches are introduced into the flowers, which are surrounded by a pearl of geometric regularity, the pearls sometimes in scallops or "campané," as the French term it.[[173]] This is our Rose (raised) Venice point, the Gros Point de Venise, the Punto a relievo, so highly prized and so extensively used for albs, collerettes, berthes, and costly decoration. We give an example (Fig. 23) from a collar, preserved in the Musée de Cluny, once the property of a Venetian nobleman, worn only on state occasions.
Two elaborate specimens were in the possession of Mr. Webb; one is a long narrow piece fringed at both ends, which may have served as a maniple (Fig. 26); the other, a "pale"[[174]] for the communion, he has given to the Victoria and Albert Museum.
These two last are made of silk of the natural cream colour. Both silk and thread unbleached appear to have been greatly in favour. At Paris much lace of this colour has been disposed of by its owners since the revolutions in Italy.[[175]]
Other varieties of so-called rose point are punto neve (point de neige), with its ground of starred threads resembling snowflakes, and the coral point, a small irregular pattern supposed to have been copied from coral.
6. Punto a gropo, or gropari.[[176]]—Groppo, or gruppo, signifies a knot, or tie, and in this lace the threads are knotted together, like the fringes of the Genoese macramè.[[177]] After this manner is made the trimming to the linen scarfs or cloths which the Roman peasants wear folded square over the head, and hanging down the back. (Fig. 22.)
Fig. 22.