kinds of ornamental patterns used from the sixteenth century to modern times.  In order to make these lectures of practical value, Mr. Cole placed typical specimens of Irish laces beside Italian, Flemish, and French laces, which seem to be the prototypes of the lace of Ireland.  The public interest was immediately aroused.  Some of the newspapers stoutly maintained that the ornament and patterns of Irish lace were of such a national character that it was wrong to asperse them on that score.  Others took a different view, and came to the conclusion that Irish lace could be vastly improved in all respects, if some systematic action could be taken to induce the lace-makers to work from more intelligently composed patterns than those in general use.  There was a consensus of opinion that the workmanship of Irish laces was good, and that it could be applied to better materials than those ordinarily used, and that its methods were suited to render a greater variety of patterns than those usually attempted.

These and other circumstances seem to have prompted the promoters of the Cork Exhibition to further efforts in the cause of lace-making.  Towards the close of the year 1883 they made fresh representations to Government, and inquired what forms of State assistance could be given.  A number of convents in the neighbourhood of Cork was engaged in giving instruction to children under their care in lace and crochet making.  At some, rooms were allotted for the use of grown-up workers who made laces under the supervision of the nuns.  These convents obviously were centres where experiments in reform could be tried.  The convents, however, lacked instruction in the designing of patterns for laces.  An excellent School of Art was at work at Cork, but the students there had not been instructed in specially designing for lace.  If the convents with their workrooms could be brought into relation with this School of Art, it seemed possible that something of a serious character might be done to benefit lace-makers, and also to open up a new field in ornamental design for the students at the School of Art.  The rules of the Department of Science and Art were found to be adapted to aid in meeting such wants as those sketched out by the promoters at Cork.  As the nuns in the different lace-making convents had not been able to attend in Cork to hear Mr. Cole’s lectures, they asked that he should visit them and repeat them at the convents.  This Mr. Cole did early in 1884, the masters of the local Schools of Art accompanying him on his visits.  Negotiations were forthwith opened for connecting the convents with the art schools.  By the end of 1885 some six or seven different lace-making convents had placed themselves in connection with Schools of Art at Cork and Waterford.  These convents were attended not only by the nuns but by outside pupils also; and, at the request of the convents, Mr. Cole has visited them twice a year, lecturing and giving