all-powerful influence of the great Italians manifested itself, partly by the general spread of knowledge which noised abroad the fame of achievements in Italy to which the civilized world was then paying homage, and again by the migration of Italian artists to adjacent countries, which, in the majority of cases, received them with acclamation. In one way this had a beneficial effect upon the productions of the northern countries, for it incited a spirit of emulation laudable in the extreme, but it was also the cause of a decline in native resourcefulness and originality due to an unduly thorough assimilation of Italian methods and aims. The result of this was a strange co-mingling of Italian and native ideas and technique producing an eclecticism which robbed art somewhat of the virility apparent in the creations of the fourteenth and fifteenth centuries. Still, side by side with this we have a growing tendency to tenderness and sympathetic treatment quite in keeping with the lofty aims of the sixteenth century, which compensates to some extent for the loss of robustness and impetuous energy. In such a condition did Pilon find art in France, when, leaving his father, also a sculptor, with whom he had hitherto collaborated, he came to Paris about 1550, and here we find him, in conjunction with Pierre Bontemps and Ambrose Perret, at work upon the tomb of François I, which had been designed by Philibert Delorme. After the designs of the latter Pilon was employed from 1 560 to 1565 upon the well-known tomb at Saint-Denis of Henri II and Catherine de Médicis, which must be counted amongst his most important achievements. For the King and Queen he executed about this time the fine group of Les Trois Grâces in the Louvre, which represents, perhaps, the culminating point of his genius, and is manifestly superior both in elegance of contour and in technical qualities to Les Trois Parques ascribed to him which has found a permanent resting place in the Hôtel de Cluny. In Les Trois Grâces he presents to us the culmination of the

French Renaissance in sculpture; the A Marble rhythm and balance of the composition is Statue by aided by the superb technique displayed in Germain the modelling of the well-chosen figures, Pilon and a further beauty is added by the grace with which they support the urn. But quite equal to any single figure is the fine example of Pilon's art which we illustrate this month by permission of Mr. E. Lowengard, its present owner. It represents as an emblematical figure of Charity a tall and dignified woman holding a child to her breast with the right hand, whilst the left, with protecting care, sustains another, which is clinging to her mantle; a third stands at her feet with a look of trustful assurance upon its upturned face. The head of Charity is crowned with laurel. The drapery is entirely characteristic of Pilon at his best; while not unduly severe, it does not err in being too florid, a failing of Pilon on many occasions. Moreover, it fully illustrates the French master's profound knowledge of anatomy, a study in which he easily outstripped most of his contemporaries. It is open to question whether such an important and characteristic example of Pilon's work has been seen in London before, and its presence at the moment furnishes an admirable opportunity of studying the style of this master.

The

and modern design. Among the specimens Burlington illustrated are:

Magazine, Plate I: (1) A curious example of a rare Number type of lace made in Russia, consisting of a IV scarf with arms worked upon either end. This lace was made in the early part of the nineteenth century (when needle-point was first introduced into Moscow) at a private lace school. The design, which is upon net, and very unlike the characteristic Russian vermiculate patterns with their oriental character and occasional colouring, consists of a chain of jours enclosing coarse, simple, and prominent fillings similar to those of provincial pillow-laces of England and France, and a semé of small sprigs. Although the workmanship is even throughout, the drawing is so naïve as to suggest that the lace-worker was unused to that type of lace. There is a border of similar jours alternating with small leaves and sprays.

(2) Gros point de Venise.-In the central strip of this lace very few brides have been introduced, and only so far as is necessary for strength, and those used are plain. The bride work forms no essential part of the design, the parts of the pattern being chiefly held together by being worked in contact with one another. In the joined border, which is of later date, the work, and especially the raised scallops, is of a superior evenness and regularity. Short brides, both plain and picotées, connect the design, which is closer and more florid, and remarkable for the compact, firm character which careful and precise workmanship has given to the piece, as it were scolpito in rilievo.

(3) Point de Venise.-Two long strips (3 inches wide) of excellent and open scroll and floral design. The brides which connect the design are decorated with small stars and whirls. Upon some of the raised borders are set small scallops, or picots. Seventeenth century.

(4) Alençon lappet, a design of interlacing ribbons, filled in with light modes, enclosing a small ornament. Eighteenth century. Period, Louis XV.

(5) Modern Irish Needle-point lace, à brides picotées, specially made and designed for Mrs. Alfred Morrison [very much reduced]. Nineteenth century.

Plate II: (1) Brussels veil (three sides of which are ornamented, the fourth being plain), containing floral devices made in pillow, and applied to pillow-made mesh grounds. The softness of the grounds, the workmanship of the flowers, of which the cordonnets have little or no relief, the lightness of the fillings of the modes, place these Brussels points in a category quite distinct from any other lace. The design is of light leafy festoons of roses and forget-me-nots. In the corner is an urn-shaped ornament with lateral festoons. The border has a scalloped edge. Throughout the veil are pillow renderings of various modes, the réseau rosacé, star devices, etc. Eighteenth century.

(2) Honiton lace, made by the late Mrs. Treadwin of Exeter, from an old design. The pattern is connected by small brides covered with a number of small picots.

(3) Rose point à brides (Venetian), of close workmanship, in silk (natural-coloured). The free use of ornate picots clustering upon flying loops edging the scallops, as well as upon the brides, is noticeable. The brides are thickly ornamented with stars and whirls. [This sort of lace is sometimes called point de neige, probably on account of its snowy appearance.] The stems of the pattern are of light work, and not strengthened on the edge by an outer cordonnet or button-hole stitched work. Seventeenth century.

A very similar specimen of Venetian needle-point lace in silk is to be seen at the Victoria and Albert Museum [835-'68]. It is also square and of similar size and date, and is also remarkable for the series of scallops and picots upon the raised portions of the design. The design of this specimen ‘consists of a symmetrical distribution of floral forms grouped about an ornamental arrangement in the centre.' It was probably a 'pall' or covering for a chalice or sacramental cup. Though Mrs. Morrison's specimen is said