ing more
affinity with grace, refinement and coquetry, than with aesthetic
culture or noble thought.

This tendency in lace work may be the reason that the masculine mind
does not, in general, appreciate these lovely textures, but rather
despises them (even when the designs are beautiful and ingenious), as
being flimsy and deficient in honest intention; whereas women have
always greatly prized them for their delicacy and refinement, and
their great value, on account of the time, trouble, and eyesight
expended upon them. Their knowledge of stitches also enables them to
appreciate their variety, and the taste shown in their selection and
arrangement for carrying out each design.

Lace stitches are almost innumerable.[371] Upwards of a hundred are
named, and their variations are endless. But a volume would not
suffice us for entering into the details of the craft; many of its
stitches have been imported into embroideries in gold, silk, and
crewels; and such adaptations are always allowable, provided the
effect is good.

We have every reason to believe that the claims of Venice as the first
and original school of lace-making have been satisfactorily
proved.[372] Genoa, Florence, Milan, especially the last,[373]
followed suit. Germany, France,[374] and Spain soon started their
schools; but Lady Layard believes that Spain received all her
inspiration and the greater part of her laces from Venice, which
likewise sent teachers to France and to Brussels--or rather, we may
say, had many first-class workwomen decoyed from her manufactories to
assist in starting rival industries in other countries.[375]

The first pattern-books were printed in Venice in the sixteenth
century; and these "Corone di belle e virtuose donne," as they are
sometimes entitled,[376] were imitated in France and Germany.

Venice was proud of her industry, and of the noble ladies who fostered
it. It is recorded in the "Virtu in Giocco of Giovanna Palazzi" that
Giovanna Dandolo, or "la Dandola," (wife of the Doge Malapiero,) was
the first patroness of Venice laces. She also fostered the art of
printing in Venice, and is spoken of as a "principessa di gran'
spirito, ne di private fortune," and her memory is cherished in
connection with these proofs of her patriotism. We hear also that
Morosin or Marosin, wife of the Doge Marin Grimani, patronized
Venetian lace-making. Her forewoman, or _maestra_, was a certain
Cattina Gardin, and through her the art was s