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filet stich with yarn (green) into a bigger pattern 4x4
joining motifs (padlet) (x3)
stivlana better tension and thicker
solomon's knot thicker and chaining the chain

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joining motifs; green= chain; yellow= yarn

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FLOWER AND JOINING CHAIN = CHAIN; FILLING OF SHAPE=YARN

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violet = chain; green=yarn; we make a frame 

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European riveted mail arming sleeves, unknown age and origin. The Royal Armoury (Livrustkammaren) in the Royal Palace, Stockholm, Sweden. 

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Brayette and Buttock Defense | German | The Metropolitan Museum of Art

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European, 15th century riveted steel rings

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Mail Breeches | The Art Institute of Chicago; Opens a new tablate 15th century

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European mail hose, 19th century Iron or steel. Thickness: 0.086 cm, wire

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European riveted mail hauberk, late 15th century. Low-carbon steel, hardened by quenching after construction, and copper alloy.

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Window Art Glass of 1914 by the National Ornamental Glass Manufacturers Association of the United States and Canada

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Qui trop embrasse Print ca. 1927 (printed) 

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Plan of arcade at the entrance to the T. Pickett Ltd jewellery store, Portsmouth, UK, from the E. Pollard and Co. Ltd catalogue, Everything for the Jeweller Exc

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Mannequin from Siégel’s Album publicitaire, 1927. 

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Figure 3.11. Brooch in gold, silver, pearls, lacquer and faience by Jean Després, c. 1935.

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Designs for jewellery by Paul Brandt, illustrated in Jean Fouquet’s Bijoux et Orfèvrerie (Jewellery and Metalwork), 1930. Bibliothèque des Arts décoratifs, Pari

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Designs for graphic vignettes by Alfred Latour, 1929. From Volume 1 of the Spécimen général des Fonderies Deberny et Peignot, Paris, c. 1935.

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Brooch in gold, rock crystal, tourmaline and pearls by Jean Fouquet, c. 1937. Width 5.5 cm. Schmuckmuseum Pforzheim. Photo: Günther Meyer. ADAGP, Paris

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Brooch in gold, rock crystal, tourmaline and pearls by Jean Fouquet, c. 1937. Width 5.5 cm. © Schmuckmuseum Pforzheim. Photo: Günther Meyer. © ADAGP, Paris and 

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Charlotte Perriand with architect Ernst Weissmann, 1927. © Archives Charlotte Perriand. © ADAGP, Paris and DACS, London, 2016.

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Kunstgewerbliche Schmuckformen für die Fläche: Vierteljahrshefte für die verzierende Kunst, Verlag Christian Stoll, Plauen, ca. 1910.

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Kunstgewerbliche Schmuckformen für die Fläche: Vierteljahrshefte für die verzierende Kunst, Verlag Christian Stoll, Plauen, ca. 1910.

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Kunstgewerbliche Schmuckformen für die Fläche: Vierteljahrshefte für die verzierende Kunst, Verlag Christian Stoll, Plauen, ca. 1910.

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honeycomb?

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ArchiTextiles or Fluid/Elastic (extra warp piquet) with hard materials (metals.unexpected)

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Also interesting - perhaps we could do two little squares and then join them together with this seam

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Would be interesting to try some edging, maybe with few rows of plain crochet and then bubble edging 

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what you would expect to be flowery and curved (crochet), will be geometric and rational

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Was lace-making a women’s job?

"Yes. I started when I was 10 years old. We had the lace school here in Burano and it was for girls only. Boys had a different education and were fishers as well.

Was lace-making restricted to girls as they had to be home?

"Eh, exactly. Girls had to stay home, they had less freedom than boys so it was a job that fitted this rule as we could do it at home. Once you got married and moved in with the husband, you could stop doing this job if you wanted to to be a good housewife."

Is lace-making considered a feminine work due to the delicatessen needed to work?

"No, I don't think so. We saw there was a gentleman who made some lace who by the way wasn't even from here and he wanted to try the work I do. He was incredibly good, even with very thin yarns."

How long does it take to learn needle-lace making?
"It depends. If someone is prone to hand-working than she can learn fairly quickly. If not, she will never learn."