Brooklyn Museum Quarterly . ^avassores book of designpubHshed in Venice The main motive in the designof two borders of a hnen cover is a fountain supported byconfronted unicorns, while other spaces are filled with pea-cocks, acorns and oak leaves. A similar design is repeated inthe minor border with fringe below. It is a perfectly bal-anced arrangement and shows design at a high point of evolu-tion. It was probably taken from the Vinciolo pattern bookpublished in This specimen was presented to theMuseum by Mrs. Charles Hathaway. The border of an-other Renaissance cover shows a hi
Brooklyn Museum Quarterly . ^avassores book of designpubHshed in Venice The main motive in the designof two borders of a hnen cover is a fountain supported byconfronted unicorns, while other spaces are filled with pea-cocks, acorns and oak leaves. A similar design is repeated inthe minor border with fringe below. It is a perfectly bal-anced arrangement and shows design at a high point of evolu-tion. It was probably taken from the Vinciolo pattern bookpublished in This specimen was presented to theMuseum by Mrs. Charles Hathaway. The border of an-other Renaissance cover shows a highly developed pattern infilet of a flowing rhythmical scroll with lions heads andfoliated extremities. The effect is fantastic but supremelyornamental. The piece is edged with Vandyked bobbin design of another panel is repeated in two separatesections both of which are sin-rounded by ornate circularborders. In one is a figure resembling St. George and theDragon, in the other the Paschal I^amb. The piece rep- 183. Middle section of Altar frontal. Needlepoint (punto in aria). Eagle is centralfigure. Sprays of jasmine above and below tulip forms, supported by tigerlilies in scroll. resents a form seen often in Portuguese fabrics. In allthere were about twenty specimens in the filet room. Representing the sixteenth, seventeenth and eighteenthcenturies in the other galleries were covers and spreadsof large dimensions of drawn linen embroidered in color,and white embroidered linen and muslin as well as the muchtreasured early cut-work. Many of the latter pieces werecombined with squares and bands of filet. The early Venetian needlepoint and bobbin lace ex-pressed the taste of the sumptuous period when they adornednot only the altars and church vestments but also the at-tire of the high born and wealthy. There was a numberof beautiful examples in the exhibition. One of puntoin aria owned by the Pratt Institute was an altarfrontal about eight feet long and eighteen inches wid
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Keywords: ., bookcentury1900, bookdecade1910, bookidbrooklynmuseumqu46broouof
