She flipped the old _doigtier_ of ivory on the second joint of her
little finger, and took her place on the other side of the frame,
opposite to the window.

Since the middle of the last century there had not been the slightest
modification in the fittings and arrangements of the workroom. Fashions
changed, the art of the embroiderer was transformed, but there was still
seen fastened to the wall the chantlate, the great piece of wood
where was placed one end of the frame or work, while the other end was
supported by a moving trestle. In the corners were many ancient tools--a
little machine called a "diligent," with its wheels and its long
pins, to wind the gold thread on the reels without touching it; a hand
spinning-wheel; a species of pulley to twist the threads which were
attached to the wall; rollers of various sizes covered with silks and
threads used in the crochet embroidery. Upon a shelf was spread out an
old collection of punches for the spangles, and there was also to
be seen a valuable relic, in the shape of the classic chandelier in
hammered brass which belonged to some ancient master-workman. On the
rings of a rack made of a nailed leather strap were hung awls, mallets,
hammers, irons to cut the vellum, and roughing chisels of bogwood, which
were used to smooth the threads as fast as they were employed. And yet
again, at the foot of the heavy oaken table on which the cutting-out
was done, was a great winder, whose two movable reels of wicker held the
skeins. Long chains of spools of bright-coloured silks strung on cords
were hung near that case of drawers. On the floor was a large basket
filled with empty bobbins. A pair of great shears rested on the straw
seat of one of the chairs, and a ball of cord had just fallen on the
floor, half unwound.