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LIBRARY OF 
WELLESLEY COLLEGE 


BEQUEST OF 
ALICE CHENEY BALTZELL 


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_ AMELIE (1782-1866) 


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BY 


N. HUDSON MOORE 


AUTHOR OF 


“The Old China Book,” “The Old Furniture Book,’ etc. 


WITH SEVENTY ENGRAVINGS 


SHOWING SPECIMENS OF LACE, OR ITS WEAR IN FAMOUS PORTRAITS 


AND 


WITH BORDER BY CHARLES E. CARTWRIGHT AND 
DECORATIONS AFTER BODONI 


NEW YORK 


FREDERICK A. STOKES COMPANY 
PUBLISHERS 


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Copynicut, 1904, By 


Freperick A. Sroxes Company 


All rights reserved 


Published in October, 1904 


Bequest of 
Alice Cheney Baitzell 


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THE UNIVERSITY PRESS 
CAMBRIDGE, U.S.A. 


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Contents 


I. Tue GrowTH oF LACE . 


II. Iravian Lace 


ie: 
IV. 


Fiemiso Lace 


FRENCH AND SPANISH LACES 


V. EncuisH AND IrisH Laces 


INDEX 


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Frontispiece. 


PLaTE 


I. 
iil: 
III. 
IV. 
V. 
VI. 


IX. 
DG 
XI 


XV. 
XVI. 
XVII. 
XVIII. 
XIX. 
XX. 
XXI. 
XXII. 
XXIII. 
XXIV. 
XXV. 
XXVI. 
XXVII. 
XXVIII. 


as 


ons, 


List of Illustrations 


PART 


Queen Marie-Amélie. 


Factnc PAGE 


Early Italian drawn-work . . . . - - 
Cut-work, with squares of embroidery . 
Luerezia Ricasoliné Zanchino. . . 
Lacis, and Venetian drawn-work 
Donna Emilia Spinelli 

Donna Portia Rossi 

The Gonfaloniere Peretti ane 
Faustina, wife of Count John of Nassau 
Bossuet . coh 

Marie-Pauline Bonaparte 

Empress Eugénie 

Cornelis de Graef 

Silver Point d’Espagne 

George Washington . 


PART II 


Princess Eleonora di Mantova 
Eleanor of Toledo . . . 

« Punto in Aria” 

Gros Point de Venise .. . 
Gros Point, and Punto tagliato 

« Leader of choir of Henry IV” 
Point de Venise 4 Réseau . . 
Goldiace 3 > 

Thomas Francis Carignan 

Italian bobbin-made lappet 
Italian bobbin-made flounce 
Marie de Medicis 

Bobbin-made flounce . .. . 
Shawl made from pith of the Aloe 


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PLATE 


XXIX. 
XXX. 
XXXII. 
XXXII. 
XXXIII. 
XXXIV. 
XXXV. 
XXXVI. 
XXXVII. 
XXXVIII. 


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XLII. 
XLIII. 
XLIV. 
XLV. 
XLVI. 
XLVII. 
XLVIII. 
XLIX. 
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LIST OF ILLUSTRATIONS 


PART III 


Factnc PAGE 


«TittletPrincess™’ “Wri et (ssf Sena ew teien Ser ene eS 
Bobbin-made Flemish lace, and Mechlin 

Portrait of a Young Man. . . 

Portionofarcaph 2) 3 

Francis Henry of Orange 

Point d’ Angleterre 4 Réseau 

Rubens’ Wife, by Frans Hals 

*“ Fausse Valenciennes” . . . 

Portrait of his daughter by Cuyp 

Duchesse de Nemours . ; 


PART IV 


Court ball in time of Henry III of France. . . . 

Claudia, daughter of Henry II and Catherine de 
Medici. . . st wey Pose tee 

James Stuart and his sister Louisa 

Point d’ Alengon 

“ Unknown Princesses” . . . . . 

Charles de France and Marie-Adélaide . . . 

* Vrai Valenciennes” and Old black Chantilly 

Queen Marie-Antoinette . eer i: 

La Duchesse d’'Aumale_ . 

Spanish needle point yee 

White Spanish blonde . .... . 

Chalice veil and silk Maltese bobbin lace 

Henrietta Anna, Duchesse d’Orleans_ . 


PART V 


OldvEfonitone wyaec my ete te eee aot rere er 
Buckinghamshire lacegy a) a), ee es 
Devonshire Trolly lace, Bedfordshire “ Baby lace,” 
and Buckinghamshire Trolly lace . . 
English bobbin-made lace, and Honiton 
Inishierochet lace) 7. 2 2) 
LimenckeeApplGueuace! . Wremen octet rey liaise 
Point de Gaze and Point d’Alengon XX Century 


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THE LACE BOOK 
Ce ee ee ed 
Part I—The Growth of Lace 


- barbarous nations is responsible for the 


« costume. The progressive steps have 
been slow and interesting, the first having been taken as 
far back as the tenth century before Christ, in the land of 
the Pharaohs, whose mummy-cases yield up work made 
on flax cloth with coloured threads, and patterns drawn 
and worked in geometric design or with inscriptions. 
The luxury-loving Greeks and Romans ornamented their 
togas and peplums with graceful patterns wrought in con- 
trasting colours or in gold. Garments, when fresh and 
new, needed no ornament about the immediate edge, but 
as they became frayed and worn the threads were twisted 
and stitched together, and little by little, from such 
humble beginnings, grew the beautiful fabric we call 
lace. 

The fancy for ornamental edges during medizval times 
sought expression in diverse ways, and by 1250 we read 
in various accounts of men’s and women’s clothes being 
“slittered, dagged, and jagged,” which means that the 


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THE LACE BOOK 


edges were cut in patterns of leaves and flowers and 
bound about with a strip of cloth or cord, or sometimes 
a thread of gold, or the decoration might be cut from 
velvet and sewed on. 

Primarily the word lace signified a line or small cord 
of silk thread or any material which was used to tie to- 
gether portions of clothing, among both civilians and the 
military, as the doublet and hose, the sleeves to the body, 
or the stays and bodices of ladies’ dresses. In the “Paston 
Letters,” where so many of the fashions of the times are 
mentioned, in the year 1469 John Paston wrote to his 
brother: “I pray you bring home points and laces of 
silk for you and me,” which referred to these laces, made 
of silk, for tying the clothes together. ‘“ Points” were the 
metal tags on the ends of the laces to keep them from 
ravelling. There is no reference to lace other than this in 
the book, although there are many references to clothes, 
their fashion and trimming. But Lady Paston followed 
the manners of the times in placing her daughters in the 
families of persons of high rank, who had them trained 
in the various accomplishments deemed necessary for 
well-born females, among which skill with the needle 
held an important place. Royal ladies wrought their 
endless tapestries and embroideries with needles of gold, 
and used up pounds of gold thread besides, some of them 
working merely to pass away time otherwise unoccu- 
pied, and others, like the unhappy Mary Stuart, who 
was famous for her skill at needlework, endeavouring to 
bridge over the tedium of a weary captivity. 


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THE GROWTH OF LACE 


No two languages use the same word for this fabric. 
In English it is lace, from lacier, to fasten. Lace in 
French is either passement, dentelle, or guipure. The 
Germans call it spitzen ; the Italians, merletto or trina ; 
pizzo is the Genoese, while the Spaniards call it encaje. 
Flanders calls its priceless product peerlen, while the 
Dutch have it kanten, and the Portuguese, renda. 

Two countries claim to be the birthplace of lace,— 
Flandersand Italy ; and while the Dutch have contributed 
more to the making of thread lace, it seems undoubtedly 
true that Italy was first in the field with this beautiful 
adornment, but in its earlier form of gold and silver, and 
later with coarse threads of flax. It is in the Italian 
inventories that the earliest mention is made of lace, and 
Italy long sustained her supremacy in the production of 
superb points. She worked right on, even though other 
countries, envious of the immense sums which poured 
into her coffers, sought to prohibit the sale of her wares, 
and in retaliation, during the reign of Louis XIV, when 
her work-people were drawn to France, framed the fol- 
lowing laws: 


“Tf any artist or handicraftsman practices his art in any foreign 

land, to the detriment of the Republic, orders to return will be 
sent him; if he disobeys them, his nearest kin will be put in 
prison, in order that through his interest in their welfare his obedi- 
ence may be compelled. 
- Tf he comes back, his past offence will be condoned, and employ- 
ment for him will be found in Venice; but if, notwithstanding the 
imprisonment of his nearest of kin, he obstinately decides to con- 
tinue living abroad, an emissary will be commissioned to kill him, 
and his next of kin will be liberated only after his death.” 


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EAI HOI IIA III 
THE LACE BOOK 


Different styles of laces may be roughly divided into 
the periods wherein they flourished, the dates in Flan- 
ders and Italy being approximately the same. 

From 1480 to 1590 was the Geometric or Gothic 
period, without brides. From 1590 to 1630 there were 
floral forms held by brides, these being rendered neces- 
sary by the heavy character of the lace. At this time 
“modes,” as the different filling stitches were called, 
were introduced by various makers, and from this time 
until 1670 development and elaboration were constant. 
Not only were floral forms attempted, but figures, heads, 
scenes, and birds were used, and there was more lace 
made with meshed or net grounds. 

From 1720 to 1780 little bouquets, sprigs, sprays, 
flowers, leaves, buds, and dots were freely scattered over 
grounds, and these patterns we have since copied con- 
stantly, for their beauty cannot be improved on. 

Among the old cathedrals all over Europe the stores 
of lace are of fabulous value, being of silver, gold, and 
flax. The number of ecclesiastical vestments which may 
be trimmed with lace, and which are in use in the 
Church of Rome to-day, give an idea of the immense 
amount of this costly fabric which could be used on 
a single set. The dalmatic, the surplice, and the alb are 
those most profusely ornamented with lace, although 
the veil is sometimes trimmed with lace, or entirely 
composed of it, having sacred symbols or letters woven 
in it. The corporal is made of the finest and whitest 
linen to be obtained, and if any lace is put upon it, it 


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LATE I.— Early lialian drawn-work. The 
background is formed by a dark thread stitched 
over the net-work left by drawing some of the 
threads of the linen foundation. Fifteenth Century. 


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must not exceed two fingers in breadth. In churches 
where solemn high mass was performed there were 
white silk veils, trimmed with lace, for holding the eee 
paten. The towels for service on the altar were also [prs 
richly trimmed with lace, often with sacred emblems 
interwoven in the pattern. 

Not only was lace used for the robes of the dignitaries 
of the Church, but the saints and madonnas were hung 
with the choicest possessions of their devotees. No lace 
was too fine and no jewels too costly to be devoted to 
this purpose. So many robes were bestowed on some 
of these saints that they were changed each day, or, like 
the rich albs of the priests, were worn only during the 
celebration of high mass, and preserved with the greatest 
care. In St. Peter’s at Rome stands a statue of St. 
Peter, said to have been cast by Leo the Great from the 
old statue of Jupiter Capitolinus. It is of very rude 
workmanship and stands with one foot extended. It 
is an object of great devotion to Roman Catholics, who 
cover with kisses the extended foot. On high festival (grtia 
days this statue is robed in full pontificals. On the 
jubilee of Pius IX, in June, 1871, it was attired in an 
alb and stole of old Point de Venise, with gold embroid- 
ered cope fastened at the breast by a clasp of diamonds. 

There was no one kind of lace devoted to the use of 
the Church, but the choicest of all kinds. Venice Point, 
Burano lace with its splendid net ground instead of 
ground of bars,, Alen¢on, Argentan, Mechlin, Valen- 
ciennes, all were used. Busts 


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Keble 


oe AS "oe y : IS AM 


im *) x ca aS, cad 


co 
274 a 
Re 
KOK: 
ai 


"az Seas iy 
EY BCR Me OT 7,6 ROR aie Coe k 
~ hei 2 ck: a! a = Kat «J Es 
A iy toe DRA ON A aie 
y GT aT Pa 


vt "ar 


a 


“ 


Qe le 


qe ee ree 
PRIA PRS ABS ZTS 


ee 


= 


LRranG, 
SL SSiet 
—_— 
oR 


at em AF 
PALS 


ANAC 


KOE, 


TPQ 
DIG BI 
5 


Rye 


". 


PL 


OS 


3 * 


The firm and solid 


& 
NI 4 


| 
oe) 
oe) 
ae) 
cal 
iS) 
— 
4 
ca 
a0) 
H 


PES 
at 


* 


LP 


* HOKE 
Of course its cathedral 


was not forgotten, and the sets made for the use of the 


OK: 


CHO 


Ss 


so 


The old ones, which are now a 
deep coffee colour, cannot be surpassed by the modern 
ones, beautiful though these be. 


FA aT Cab 
a Se Fas NI a Few 


OIE: 


Oe, 


The most celebrated of these was a 


flounce and chasuble made for Pope Clement XIII 
(1693-1769) at Burano some hundreds of years ago. 


Queen Margherita of Italy became 
The favourite subjects for design are wheat ears and vine 


much interested in the revival of this ancient industry, 


nee 


PRL 


*. 


i Pa 
Ne Ne 


** 


ie ONAL hip 
RAS 
Pig 
HOE 


¥: 
Nor was the convent or the paid worker the only 


source from which the Church drew her rich store of laces. 
The laces of the Vatican are well known for their 
sumptuous character, and the work which is constantly 


bestowed on them keeps them in perfect repair. 


nd lent many pieces from her own splendid collection 


f, 


character of this lace has enabled it to defy the ravages 
of time, and in the revival of the industry the workers 


leaves, and these are woven into numberless patterns of 
great beauty. 

Great ladies have devoted years of patient effort to mak- 
ing the lace to decorate altar or vestment, and in many 
the members of the family rather than to the individual, 


and have grown steadily in magnitude and richness. 


# 
famed for its splendid laces. 


Church are superb. 
much esteemed. 
for reproduction. 


a 


Tapas fa 


zee 


he 


1 Ga sy 
> era pie Seok, SEs CS 
4 apoveeetecatcpans Saeed 7 Z = KETONES. SCT e NII Sire Se TSS 
3 Pai a CS B88 ad x9 P's Suen "I Me S62 SSE Se mira wt Tl 
3 Pople . x rai Fa Si - R : 
ey volte Pe 2 ‘ 5 Mc 


Reid ete ae de a is Se asesesee gains 


NS ARATE TERING HITS HI IT 


o 
x] 


aa aoe pbb 8 a 
S A 
CS ES a 8 Se 
SAS ar 
Seep 
Sia 9 


a 


‘1 


gat He ea 
PREP RD IR! 


grok 


SRC II OREO ORR 
THE GROWTH OF LACE 


In England, till the time of the Reformation, lace was 
used on the altar of every parish church. When these 
stone altars were abolished, and tables standing on a 
frame were introduced, about 1565, by Queen Eliza- 
beth’s order, the fine old laces disappeared, to reappear in 
some new form in the homes of those whose interest in 
the Church allowed them to get possession of them. 

While the anathemas of the Church were loudly 
directed at undue extravagance in matters pertaining 
both to dress and to indulgences at the table, there was 
no class which wore richer garments, furred or laced, or 
on whose table could be found rarer dainties or sweeter 
wines, than those of the princes of the Church. In 
France the lace worn by the Churchmen was of the 
greatest value and beauty, of home manufacture as well 


ae a Br 
YT 


ae 
a Sg 


ee 


o 
a % 
S3n akon aeaa os 


A a SEAT 
i s 
ira a 


BY 
LTS) 


RehiekieSia 


on 


ast 


AAs harass tad 


as of the splendid Venice and Flanders Points. The 
laces of the Rohan family were heirlooms and of enor- 
mous value. The Baroness de Oberkirch, in the “ Me- 
moirs of the Court of Louis XVI,” speaks of seeing the 
Cardinal de Rohan, coming out of his chapel, — 


0 7 


ana 
% = ay 


Ty 


__“ dressed in a soutane of scarlet moiré and rochet of English 
lace of inestimable value. When on great occasions he officiates at 
Versailles, he wears an alb of old lace, needle point, of such beauty 
that his assistants are almost afraid to touch it. His arms and 
device are worked in a medallion above large flowers. This alb is 
estimated at 100,000 livres. On the day of which I speak he wore 
the rochet of English lace, one of his least beautiful, as his secre- 
tary, the Abbé Georget, told me.” 


CARPE ReDIF 


aS ap Yans ra po 
Fa WAR es 


The Hebrews also used lace in their religious cere- 
monies, and their talith or praying scarf was often very 


a 


he mn ae 
— 
AN 


Ki % 
NORA > A aoe Wed 
a me sused a a ta i Sheuanecuscehe 
Fg aS aa EG AY Mn EM OY aE wT 
Tate aD aS Ts Me 


at ae A Fa PPB Cait PG 1 é 
SOK Ses Epacta PERS Ree Desc 
Ss Foes At So NIT is PIAS Fa BERG Fg BEC aT OSA A NTA A ed 
VSPA RU edz Seaeawss GhsucessGe oe ReDI Sean = an sea 
Nico, Signs Sica ISI A 

ISL Pet Sie PY ay 
IANS Ios 1g So SL) ise Sizise, SSIet 
= 


42 Rae Fass sip a aS 
Re PRR I PL Pet RDA DI Fa has Be 


Qi. eas aeee’ 
ai 


Pa 


CCLCETECCCCESCCCCTOCC eC eC CES 
THE LACE BOOK 


MAY pF 


ot 
ez 
a aS ra aS 


S77 


beautifully trimmed with lace, if not made of it entirely. 
Hebrew law forbade a mixture of materials in these 
scarfs, so, when the body of the scarf was made of silk, 
the lace was of silk also. This silk lace was made with 
the needle, of course, and was like the other laces of the 
period except in material. The beautiful Gros Point de 
Venise is exceedingly rich when made in a silk which 
has grown to a deep cream with age, and looks even 
more like carved ivory than when made of thread. 

In the reign of Henry VIII of England the Wardrobe 
Accounts show that by 1539 shirts had become quite 
common, at least with those who could afford them, — 
for among this monarch’s New Year’s gifts were shirts 
embroidered with threads of gold and silver as well as 
with black or “ blew” thread, which latter made a very 
picturesque and ornamental trimming. This coloured 
embroidery was in fashion during both the sixteenth and 
seventeenth centuries. In “ Religious Ceremonies,” 
published in 1731, appears a direction that a cross shall 
be worked in “blew thred” to denote the spot where 
the altar cloth shall be kissed. 

In 1605, in a play called “ Laugh and Lie Down; or, 
The World’s Folly,” a handkerchief is thus spoken of : 
«Tt was a simple napkin wrought with Coventry blue,” 
—the making of this blue thread being the great in- 
dustry of that city. 

In 1575 Queen Elizabeth made one of her progresses 
to “ Killingwoorth Castl in Warwick Sheer.” The Earl 
of Leicester exerted himself for her entertainment, and 


Sia 
RY NRT Y 


68 a Naat 


LS] 
VIS 


SION 


DIK ara Keo 
v ee 


a'it 
4 


a 
Ae Maat ee a Pa oe 


at a 
Ractieh 
va 


A 
a 
Fak 


a 
Fa Nad 


4) 
aes 
Nis 
ht 
ms 


2) 
a 


a a Yan aa a a RS a eS 
VIS SAIN Yoic tL Wc 


Pecans 


ht 
LS 


Dd ic ; - Loma, 
Se hate pe pa cae oe seo 
* a a RY z 


ee 
iT 
gle 


x y Se RNS 
ra a 8% rhe 
Te ter bey te coue ia “Ad 
2 tte de 
Se fe a a 


x= 


i ‘ ’ 
‘a é 
f Nt iN 


df *y ef “e Ng _ 


fe 

Be 
te 
Pa 
ra! 

be 
» 
i; 


jpP?4 TE I.—Cut-work, with squares of embroi- 


dery. Sixteenth Century, Italian. 


SSS PES SS 


h BS ’ Ret 
had Et Tele ee ee o 
Ly Nid acts ES “Es 
in a Raa te a a 
Bela Sicha Bic ei se Niece BiG -tesa 
DIRS] his) oie] SS OPIS Sees. OS TSI 
Wo Niels Wletee: ictete SISA TS etn Shed DTS 
PIS CDR DI ISL ODI OS) ISL San 
SEER S SERS aS CARS ERS ORES ERAS CIS 
Fa atta’ a! 


PRS RTS IS wie le Sie sy 


THE GROWTH OF LACE 


in one of the many pageants an ancient minstrel per- 
formed, whose appearance and dress are minutely de- 
scribed in “An Essay on the Ancient Minstrels” in 
« Percy’s Reliques.” 


oe 
alc a 
Pee Pee 
SEEDED 
AS Se 


xy 


ais 


“ A person very meet seemed he for the purpose, of forty-five 
years old, apparelled partly as he would himself. His cap off; his 
head seemly rounded 'Tonsterwise ; fair kembed, that with a sponge 
daintily dipt in a little capon’s greace was finely smoothed, to make 
it shine like a mallard’s wing. His beard smugly shaven; and yet 
his shirt after the new trink, with ruffs fair starched, sleaked and 
glistering like a pair of new shoes, marshalled in good order with 
a setting stick and strut, that every ruff stood up likea wafer. A 
side gown of Kendal green, after the freshness of the year now, 
gathered at the neck with a narrow gorget, fastened afore with a 
white clasp and a Keeper close up to the chin, but easily, for heat 
to undo when he list. Seemly begirt in a red caddis girdle; from 
that a pair of capped Sheffield Knives hanging a’ two sides. Out 
of his bosom drawn forth a lappet of his napkin edged with a blue 
lace, and marked with a true love, a heart, and a D for Damian, for 
he was but a bachelor yet. His gown had side sleeves down to 
midleg, slit from the shoulder to the hand, and lined with white 
cotton. His doublet-sleeves of black worsted, upon them a pair 
of poynets of tawny chamlet laced along the wrist with blue 
threaden points, a wealt towards the hand of fustian-a-napes. A 
pair of red neather stocks. A pair of pumps on his feet, with a 
cross-cut at the toes for corns; not new indeed, yet cleanly blackt 
with soot, and shining as a shoing-horn.” 


3 
a es 
a Ve 


Pe <7 
<= 


erp 
Se aka 


a: 


yy Ee 
Kees 
eaes 


o 
ee 
Fon 
BPD 
a a 


ES 
re 
at Fa 
LT! 
ee: 
DEED 


a 
oo 
see 


Re AG 


Sie 
a Ras 
A TSI7) 
seo 


aS 


a 
Me 


ae 


; Bo ; 


RT 


RSI 
VAN 


a 
ath 


There is a portrait of Henry VIII, showing him in a 
costume with ruffles at the hand, and an entry occurs in 
the wardrobe book, of a pair of sleeves, “ruffd at the 
hands with strawberry leaves and flowers of golde em- 
broidered with black silke.” Also a pair of sleeves of 
“redde cloth of gold with cut workes.” 


Yas" "a 4 al 
Hy Pid 
NZ 


SEDI 


Fa 8) 


Sia Sela elas 
Maou cues 
: 


we auras bo ae | ad 7 < 
> ¥ Se % iS. " 
BS aN o o eke eos 
Fa US a TG A a BEANS Pa MGS a BGS gE a Ae "—P SOT A a. 
RRR RS OS Sil ars p HED ADR DRE RDG 
led Peas ao a oe ; I 


ras 
ROS ©, , Richie ete ig : 
Reps "a ke aS a aes abe che Selde Hie 


3 be DER Rey Pee 
BS A COND TON RN ng Ne eT 
> rasa * BA Voy 


ie 


a Mi a 
eau a." ect ag Sirs SI 
oa i Nena Fs OPEN ei er] 
S Ce FORAY Ce 


S Ay 
ia fa Be Ga CorYe TAS Fs A A a ss Sl TSet WL 
aS hg dd ie a vawtae wae % 


Os Fa Ps x 
Tans 
ep 


EDIE DLS 


CO 
d 


CeCe eC CL ECCeLEL ALS Cee eC Se CoS 


oe OE, 


THE LACE BOOK 


BRERA TE Tre] 
Br es Lethe Sak 
J 


Sn] 
Pr 


3 Oe 


"a 


s 
[oes Di -L Ech} 


et 


see sage seg ete ee 
aS Py Para BS2e rage 


aus 


& 


ae SPIe 
RCRD 


ve 


There had been many acts passed during the reign 
of Edward IV (1461-1483) regulating wearing-apparel, 
and during the reign of Henry VII (1485-1509) gold 
and silver lace as well as thread became an article of 
commerce from Italy. There must have been consider- 
able traffic in this fabric, for an act was passed prohibit- 
ing the sale of a packet of lace as a pound when it 
did not weigh twelve ounces, and that the contents of 
said packets should contain lace of the same goodness 
and colour as that displayed on the outside, the crafty 
Venetians considering it allowable to make more than a 
just profit by giving short weight and inferior quality. 
Queen Elizabeth of York pays in 1502 quite a sum for 
laces, and Friar Hercules is also paid for “gold of 
Venys,” and “for making a lace for the King’s mantell 
of the Garter.” 

Queen Mary, whose thoughts were not fixed on 
“app'l,” nevertheless continued some of the laws of 
Henry VIII’s making, in which “ruffles made or 
wrought out of England, commonly called cut work, 
are forbidden to any one under the degree of a baron.” 
No woman whose station was of less degree than the 
“wife of a knight might deck herself with lace, or passe- 
ment lace of gold or silver, with sleeves, partlet or linen 
trimmed with purles of gold or silver, whitework or cut 
work made beyond the sea.” 

It was in the second year of Elizabeth’s reign that the 
great ruffs came in, trimmed with the beautiful thread 
Guipure of the period, and requiring stiffening to keep 


BAN 

Sasa ai 
Se s 
io Na a 


SZ le] 
LEY) 


Siz 


Eta hes 


a 


SORTS 


Soe 


AE Vee Ae Adee 


= 


Si) 


Siz 
LV 


artist 


PRI 


Nata 5 
a eS ya 


el 
eI Oa a! 


aS a a Cae 
Fa ia BETA ae PS 


ata aah 
be 


DIS] 


Fa SAAS Se Na 
EISEN NRG 


& 


Nines Noichon: bake! as SSAeT ss 
= OES ee Puen 


Strato tat 


PIS as 


ice Niza SS 

SiS" NPAAS%s Mada Maa 
PMS a UMS 
Tass Pic aad 

) 


og 


” 


-SOLI > NE ZANCHINI + 


PLATE I1.—Lucrezia Ricasoli né Zanchino. 
Gimp lace, probably made at Ragusa. Six- 
teenth Century. 


eoasee 
Boss 


a 


7 

Es 
reas 
ag 
rs 


a 


7] 
“ 
goruese ats 


SAAS] 
oa 


dasha 
sueaonacs 
Ese ct 


Sieh 
Ki 
a iN 


1 ae 
Rac a a 
Li 
ZT 


Ts) 
ia act gee 


ee 
Shc] 


rae. 
Cie) 
PRS ITS 


re 


ors oy 
i :: 
Ea 


a 


ts 
Pee 


BAO 
te 


LTS) 


ON Retivies 


“estSs note 
esate AA: 
Fea Fase 
Ce Ras GO 


ete ORs 


A 


Ly 


ap ey 


ma 3 a vt ear J 
mars eabsaesages Sau aeee See 
KK 
easees ee 
i e354 SEES CTS AS S08 SS ESS Se SS SS, 
DRS THE GROWTH OF LACE 
Saas 
ax Fs 
esq them in shape. Starching became necessary, and women 
3831 to do this business were brought from Holland. 
oS 


In 1564 Mistress Dingham Van Der Plasse, a Flem- 
ing, came to London and pursued the business of a 
starcher of ruffs, and taught the intricate process to 
others. The clergy fell afoul of starching, and Stubbes, 
besides inveighing against it, mentions also— 


—“a certain device made of wires, crested for the purpose, and 
whipped all over either with gold thread, silver or lace for support- 
ing these ruffs and called a supertasse or underpropper. . . - 

“Great ruffs or neckerchers, made of hollande, lawne, cambric, 
and such cloths,” so fine and delicate that the greatest thread in 
them “shall not be so great as the least hair that is, starched, 
streaked, dried, patted, and underpropped by the supertasses, the 
stately arches of pride, towered over three or four minor ruffs 
placed one below another.” The outer, or “ master-devil ruff,” 
was very rich, decked with “ gold, silver, or silk lace of stately price, 
wrought all over with needle-work, speckled and sparkled here and 
there with the sun, the moon, the stars, and many other antiques 
strange to behold; some are wrought with open work down to the 
midst of the ruff and further; some with close work, some with 
purled lace, and other gew-gaws, so clogged, so pestered that the 
ruff is the least part of itself. Sometimes they are primmed up to 
the ears, and sometimes they are suffered to hang over the shoul- 
ders like flags or wind-mill sails, fluttering in the air.” 


In Mrs. Bury Palliser’s “ History of Lace,” which 
covers the whole subject in such a comprehensive 
manner, the “ Great Wardrobe Accounts” of Queen 
Elizabeth’s time are freely drawn on. Abundant evi- 
dences are given in them of the magnificent way in 
which her Majesty’s wardrobe was furnished forth, not 
only with what she bought, but with the splendid gifts 


13 


Ri 4c) 


4 
aS 
pee 

aia 


S 


ra wa. 
Fait 
Ra oie 


ase: 
Ronan 


SST 
omer eS 
SAT 2. TSI) 
ess 


a 


o3 


Lv 


BEDI 


GR asta 


"ata 


as 


a oe aca a 


Sip ichectoael 
eg SSN oP 
he! 


ISIS NIP 


eal 


Le 


a Fal 
Fs 


(#1 


[ee 


LP 


SUT acts) 
"a ws Was 


foe Soeezass pose umeee’ 


“St: ne 
BSS LENS VV %: 
SE ESES ». stare rey ss WETS ITEP ITAA AT TY LASS & 
PASTE RO PAS UPR PRO BPN ee S aS aR te 
Fa Oa Sey OG I OE es a 
ES PEL a SATE eat Ne aI PRS RS a 2ST 
1S NSIS eUIN oD BS ele Sos 22 OSes 3 


Fa) Ni] 


fs 


aa 


" " KR KE eeaeean pe BR SSR KER EOE SS 
co aS CAN ET Marat SPLAT IAIN Pe LT BiGe DK eB pica PR SF 
. oy 
a Ps) Sid rs Pg Pg ag Tg ag na hg tae ae ae let lt a ea a et en en Coa ea a al 
3 Begasy BACARRA RO EOE Saeas 
Fi OUR a Pas 
BAS BR THE LACE BOOK DED 
PIA . es x 
Basar eas 
Bt PSY RY . . . tea" 
eseezeteas2| from subjects, which were rather in the nature of a tax |Patw 
S73 we) . . . 40 "ait. 
sssusea| than evidence of a desire to give. me 
aaa ae 
a0 BEN 


In 1577 Lady Ratcliffe gave the Queen for a New 
Year's gift a night coif of white cut-work, flourished 
with silver and set with spangles. Sir Philip Sidney on 
the same occasion gave a pair of cuffs of cut-work. In 
the Wardrobe Accounts this cut-work is mentioned as S 
being of both Flemish and Italian make, the latter being eae eaaee 


CONST 
SIC SIS 171 


5 ee 
gras<eae<|_ the more costly. pK 
ag : zane Besides the cut-work, mention is frequently made of 

Brash aad other kinds of lace. ‘Bone lace” heads the list, and was 

ee TPES so called from the use of fish-bones, which were scraped 

res sye-ez""1 down to the proper size, instead of pins. The bobbins 3 

1G ie #| were also made of bones, the small bones in pig’s 

tees Dit “trotters” being those generally chosen, —in England, = 
E rhage at any rate. Italy used, besides small bones, bobbins 


@zsue2a, Of wood, with sometimes a pretty bead set in or a bit of 
oa PRN silver. Mrs. Palliser says that lead bobbins were also in 


i} use, but the weight of these would seem to be prohibi- 
#281 tory. After a time the bone bobbins were replaced with 
i 
at those made of wood, and the term bone lace becomes 
had 
aie 


s#) less frequent. 

Vay . . 

be “ Bobbin lace ” was next in order, and afterward there 
Ni . . : . 
#53} Was scarcely any end to the various trimmings which 


a Fa 
ra a 


Las 


77 


at. 

PRESS  s ° : fy 
i EO the Virgin Queen lavished upon herself, although she e 
a RT a : - = 
: Se kept a stern eye on any too excessive gaudiness in the |¥ 
H@tesceeses| apparel of her loyal subjects. “Crown lace,” as its name [ses 
AE couay cues: implies, had devices of crowns ; then there was “ Hollow 
Bis Nita Nia 


263 


guess} lace,” “Parchment,” “Spanish,” “Fringe and Diamond ” 
Bsa 
ES aay ows 


SOAR 
Mg Rca a 

NAS 

a at 


ra 


RN 
. 


FX ON BOS 

Bee NIDA RGN NEY 3 
MUON GIS GOO BOIS 
SI KTM NIAZ NI 
GE UD GN UNS UNO 
Nal ON Slee ae 
ae 

] 


ary 
"ar 
Wy 


"a 
Da) 


» 
a at Ey 


AO IS 


AGM AIDE 2 
BeA“2NSCuIS 
Ka GRUVGN 4 


Ps S/R NE WG 
WIGS AR A JoEscone 
UNBAU NGM SS BNXGAa yo 
FYE MATS HAGE DGS ae a 
Qu AGA NGM FPL Ne OI 
DEN AS Ar ANGE ZENG S 
gy NOM NG ns PUG SOM 


Ou aS 


x 
LeTS 
Ds 
% 


Nee 
on pes Ar 
a ae 


“x 


&, 
OTs 


Ya: 


ONL) 
ones 


Ya GS ag ALS 
A at es as oe See bs 


Vag eg MAG 


4 OTS BOR 

be as ue ee 

Ya a HA Se 
in So La] 


LATE IV.—A. Lacis, or darned net-work. 
Sixteenth Century. B. Venetian drawn-work. 


Fifteenth Century. 


y by 


<§ 
SJ 
a 
[oe 


ih 
aa CATA as 


Pabweeck 
coe % 
rs 
ea 
Peete 
s 
sees ase Oa le 


eS) 
YLT 


ai 
“ 
SI 
Fa 
LA 


Son abe oes 


2 
Ks 
SO 
tL 
opm 
Ka 
S77 
a a 
Rat asa 
ABT -TS) 


‘Seas es 
hal 
Lend = 
3 
a 


ais 
2% 
Stas 


exe 
Saeaees 
F 
at Fa 
at ae 
ra 
Naa 


FRONT OR Scene 
Py] 
aA 
Ks 
DJ PRES Sl 


Ay UTa an Va 
ae ae s 
o 


ans 4 
a 


¥ 


r 


a Fa 
PASI IZ TS 


SeRN 7 netnes 

val iy 

IN © dL vs 

sage eb OT ATS 
3299 Aa 


st! a 
4 A a PEGS Fa AAS Hi BUG Ge 
2 Pace = 
Fn Fa FR aS se aS aA CaS EAT COPE AN Me 
S04 Nis MON es Me Fs SEB BETAS 


ag, aon 


eK FS 


THE GROWTH OF LACE 


lace, —all mentioned in these voluminous Wardrobe 
Accounts, which extend from the first year of Queen 
Elizabeth’s reign (1558) till 1781, and fill one hundred 
and sixty volumes. 

Articles of feminine attire were easily purchased at 
the shops of merchants by those who dwelt in cities. 
But the country ladies, who were quite as eager to be 
“brave” in their attire, were forced to buy from peddlers, 
who carried their wares from one end of Europe to the 
other, and were eagerly welcomed whenever they 
appeared, as they were not only expected to show 
their goods, but to be able to tell the latest fashions 
in coifs and wimples, smocks and pillow-beres, ruffs, 
cuffs, and passements. Needle-made lace was always 
more valuable than bobbin lace, and in Queen Eliza- 
beth’s time varied from 8s. 6d. to 50s. a yard, while 
the bobbin ranged from 3s. 6d. to 11s. 6d. 

The entries in these account-books seem to show 
that the laces worn and most in demand were of foreign 
make, and imported from Venice, Lucca, Genoa, and 
Flanders. As early as 1454 a complaint was made by 
the women of London against six foreigners by whom 
the manufacture of cut-work, both of silk and thread, 
was introduced. During the sixteenth and seventeenth 
centuries lace was made in many counties of England, 
some of it of great beauty ; but in the early days it was 
the foreign lace which was worn. 

It seems amazing that Queen Elizabeth, herself an 
arch-offender in the matter of exaggeration of costume, 


Ri 


Rca. Sioa SI NT a ete 
AS CG eS 
74S GS 

iTS 72 
act 


Keb 
ar, esl TF, % 
‘so S Loe I Se Ae 
%, aS PH a 


ay 
BT 
Ta 
aS 


bags 
aS Pra ALi 
5) Pm BOR ie 
a Fe 
geod oe. 
“7 Fh 


a 
POL DCL ee TE SL 


ee ee eee eee eS ee ee ee ee ee 


Ir, 
We NS ASN 
iT rs NN 


a Fai 
a a 


el “Y 


at ae 


SZ) 
aces 


Mito 


Serre 


OOO CLA TTL Oo 


bh ach 
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Petee cee ee ee eee SO ee Ce ee ee 


~" te NN Rath Ne" 


THE LACE BOOK 


should have been so strict in her proclamations against 
the “inordinate use of apparel.” In 1568 the value of the 
lace imported into the kingdom was £775 6s. 8d., and 
the Queen personally was a small buyer, since she received 
for presents such quantities, all of the richest quality. 
Her very petticoats bristled with lace of “ Venys gold,” 
and none of them were so poor that they did not at least 
have a guarding of “Venys silver.” There was hardly a 
garment which was not edged with lace, and christening- 
shirts, mittens, and mantles or “bearing-cloths” were 
richly laced, and aprons came into fashion. Laced hand- 
kerchiefs were given as love tokens. King Henry VIII 
himself had used “ handkerchers of Holland fringed with 
Venys gold, red and white silk.” They kept on gaining 
in richness with nearly every reign. In June, 1665, 
there are advertised as lost : 

“6 handkerchers, wrapt up in a brown paper, two laced, one point 
laced set on tiffany; the two laced ones had been worn, the other 
four new.” 

Everybody knows the sad ending of Mrs. Turner, 
who invented yellow starch, and expiated that crime 
and some others upon Tower Hill. Not only starch 
was needed to keep these huge ruffs in the desired 
shape ; there were setting-sticks and struts of either 
bone or wood, and the poking-stick of iron, which, 
being heated and drawn through the ruff, gave it the 
proper arch of pride. Queen Elizabeth no doubt con- 
sidered her huge ruff most becoming, and never dreamed 
that it was whispered about behind her back that she 


16 


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BRIAR IH AIHA III 
THE GROWTH OF LACE 


isaes 
FH 


had the “yellowest throat in all England” and wore 
the huge gorget to conceal it. In the face of such 
extravagance as we know her to pardon in her own 
person, Queen Bess ordered that— 


“neither also shoulde any person use or weare such great and 
excessive ruffs, in or about the uppermost part of their necks, as 
had not been used before two yeares past; but that all persons 
shoulde in modest and semely sort leave off such fonde, disguised, 
and monstrous manner of attyring themselves as both was unsup- 
portable for charges and undecent to be worn.” 


Foneae cones wal 
aS 2 ol 


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Stranger to us, in these days, would be the laces 
woven from human hair, the soft and silky white being. 
that most often chosen. Mary Stuart had a small ae 
piece of hair lace given her by the Countess of Lennox, aa 
woven from her own white hair. peices 

The clergy and those rich and powerful nobles of 
Scotland who could receive their “ passements” and 
guards from France and Italy, as did the rest of the 
world, used them no doubt according to the fashion of 
the times. Mary Stuart’s arrival in her dominions 
stimulated yet further elegance of attire, and in her 
Wardrobe Accounts of 1567 are found records of passe- 
ments and Guipures, gold and silver lace, and most of 
the varieties of thread lace then known. The national 
dress of Scotland precluded the use of lace of a delicate 
character, and an account of the costume of the women, 
written by Martin in 1703, is as follows : 


“The plaid for women, being plaited all around, was tied with 
a belt below the breast. . . . They wore sleeves of scarlet cloth, 
closed at the end as men’s vests, with gold lace round ’em, having 
plate buttons set with fine stones.” 


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Cee e eee SS ee ee ee ee ee ee ee 
THE LACE BOOK 


Richy Bere 
so 


PL VSIZINE Y 
| 


SEI 


The bulk of the people not wearing lace, little was 
made except among the great, who worked at it them- 
selves and had their maidens make it, so that petticoat 
and apron, neckerchief and fly cap need not be without 
it. The quantities made by the captive Queen Mary 
seem almost incredible, fashioned from patterns designed 
by herself, “after nature,” of birds, fishes, beasts, and 
flowers. Of the latter 52 patterns, of four-footed beasts 
16, and of birds 124, were mentioned in her inventory. 

The sumptuary laws in England regarding dress 
must have been carried out in a half-hearted way, for 
during the early days of the reign of James I (1603) 
the ruff, double, single, three and four piled, was the 
fashion still. The clergy yet railed at them, and “ deep 
ruffs and shallow ruffs, thick ruffs and thin ruffs, 
double and no ruffs ” were denounced from the pulpit. 

In 1607, according to a play of the period called 
“What You Will,” a gentleman’s dress, as described by 
his servant, was as follows: 


faa 


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STOO Si oh ICES ke 


ASAE Nees 


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SISO 


Ne 
PRIOR Sel 


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SD TSEZT Si 


masta Naat Ma oN 
aint o 
Ae 


PRD Se 
De 
BOS 
Fa Nata Fa 


(Sly a tals 
a ag teas Oe 


“ A cloak lined with rich taffeta, a white satin suit, the jerkin 
covered with gold lace, a chain of pearl, a gilt rapier in an em- 
broidered hanger, pearl-colored silk stockings, and massive silver 


The granting of monopolies “as numerous as the 
frogs of Egypt,” and then the rescinding of them, 
occupied King James’s attention for twenty years. 
The importation of gold and silver lace was the per- 
quisite of the Earl of Suffolk, and no doubt he saw to 
it that plenty was worn. 


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SPINELLI 


LATE V.—Donna Emilia Spinelli. Ruff of 
linen trimmed with Reticella or drawn-work 
and edged with Gothic Point. Sixteenth Century. 


RISE 
SN Nis 
aa a 


i 


Le 
aS 


S 

OYa A he ROS Stace A SS prot Sse 
AN a AS Fs OG AP A AS RY aT Ee RG a? . S Tat 

iA Me Ss eS is Ss as SS a eS a 


ti] 
ated 


at 


THE GROWTH OF LACE 


BITRE 


As early as the middle of the sixteenth century there 
were many styles of cloaks,— 


aan a 


sl 
Si) 
rs Nas as Maa 


“ Genoa cloaks, French, Spanish, and Dutch cloaks ; some of cloth, 
silk, velvet, taffata, and such like. . . . . Some short, reaching 
to the girdlestead or waist, some to the knees, and others trailing 
upon the ground, resembling gowns rather than cloaks. ‘Then 
they are guarded with velvet guards, or else faced with costly lace, 
either of gold or silver, or at least of silk three or four fingers 
broad down the back, about the skirts and every where else.” 


ar 
ce 
L7) 


A Ma : 3 
Besa ‘i a 


ORE 


See ee 


nee 
giocees 


When Queen Anne, wife of James I, was hurried over 
from Scotland to sit on the English throne, her scant 
wardrobe was replenished for the moment from the relics 
of Queen Elizabeth’s magnificence. But as soon as pos- 
sible she bought a good wardrobe for herself, and lace in 
plenty, “little bone lace,” “ great bone lace,” and “18 yards 
of fine lace, at 6s. the yard,” and yards upon yards more. 

All accounts of the period tell how Prince Charlie and 
his companion the Duke of Buckingham ruffled it in 
Spain when the marriage with the Infanta was in pros- 
pect. One item in “ Extraordinary Expenses for Prince 
Charles’s Journey to Spain” (1623) is: “95 dozen rich 
silver double diamond and cross laces.” Not only were 
rich presents sent from England to the Spanish princess, 
but when the negotiations were fairly under way great 
preparations were made by the Infanta herself, according 
to the letters of James Howell, who was in Spain at the 
time. 


aa a 
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a aaa ne ae 


te 3 “Ee 


awe rer occu a 


Sissies eee 


a TSIZ} 


“She is preparing divers suits of rich clothes for his Highness of 
perfumed amber leather, some embroidered with pearl, some with 
gold and some with silver.” 


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THE LACE BOOK 


a 
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reed. 


SRST 


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PRCA es rats 

SESE 

Le DICED DR DRS Dy 


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The English Ambassador was so sure the marriage was 
to come off that he— 


TE OS A a8 aS a Ae 


— “caused above thirty rich liveries to be made of watchet velvet 
(pale blue), with silver lace up to the very capes of the cloaks, the 
best sorts whereof were valued at £80 a livery.” 


an 


It seems as if Buckingham must have almost outshone 
the prospective bridegroom in the magnificence of his 
attire and the superb jewels he wore, which, by the way, 
were none too tightly sewed on, so that a few occasion- 
ally fell off, to be picked up by whoever would stoop for 
them, since their haughty owner would not do this, nor 
would he receive those that had once fallen on the floor. 
In “ Curiosities of Literature,” D’Israeli writes : 


“ Buckingham had twenty-seven suits of clothes made, the richest 
that embroidery, lace, silk, velvet, silver, gold, and gems could 


; ‘ 2 
bee hie contribute. 
Bae 


B.Saas 
VT 
SIPRLATSICR Sirk 
" OE 


Aa a 
Fa Bic 


Speaking of the Spaniards, Howell says (1623) : 


SAE 
ae &S Paras 


“His gravity is much lessen’d since the late proclamation came out 
against ruffs, and the king himself shew’d the first example ; they 


ehiee | were come to that height of excess herein that twenty shillings 


NER “#91 were us’d to be paid for starching of a ruff; and some, tho’ perhaps 
he had never a shirt to his back, yet he would have-a toting huge 
swelling ruff about his neck.” 

After the intricate ruff with its treble-quadruple 
plaiting, the fashion for what was known as “standing 
bands” came in. These were of linen either starched 
or wired to stand up stiffly, and edged with lace. They 
were seen as early as 1604, and were worn by persons of 
quality till the middle of the seventeenth century. Even 
before the standing band went out entirely, the “ falling 


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wir & 
' 


LATE VI.—Donna Portia de Rossi. Ruff 
of Reticella or drawn-work, edged with Gothic 
Point. Sixteenth Century. 


Sus: x PG ees 
sae Paeaac. 
orbs oa a Kook 
Pan) a BO tS 
ee 


Cy ne ara S eee 


eS = PK 
‘I 3 a FA 
Ke Dict eHeeneet 


THE GROWTH OF LACE 


band” came in, and was bordered by lace, embroidery, 

cut-work, or even pearls. It may be said that in King 

Charles’s reign the ruff finally died, and falling bands [isis 
became the mode. These latter were worn by all {% ae 
classes save judges, and must have been very much ye 
more comfortable than the ruffs which preceded them. 

With them came “band strings,” so called, to tie or 

fasten them. These were often very rich, and were 

made with the collar or sold separately. Sometimes 

they were plaited, or made with bobbins, being finished Banta 
with a medallion of lace or merely a tassel. ‘“ Snake- DENIED 
bone band strings” are mentioned by 1652. It is agreed 
that the reign of Charles I (1625-1648) was the most 
elegant and picturesque in the line of costume ever 
known in England. Because Van Dyck painted at this 
time and made the dress such a feature of many of his 
wonderful pictures, the costume has become known by his 
name. The perfection of this courtly costume was not 
reached until about the middle of the reign, for during 
the first decade the dress of his father’s (James I’s) time 
still prevailed. To the completed dress of the gallant of 
say 1630 almost every European nation had contributed 
its quota, and in Ben Jonson’s comedy of “The New 
Inn,” first performed in 1629, a beau observes: 


ia 

a 

a a tae <> 
BM abies 2 AN 


ra a 
ry 
2 


PB 
Dad 


tid 
Lac 


*T would put on 
The Savoy chain, about my neck the ruff, 
The cuff of Flanders ; then the Naples hat 
With the Rome hat-band and the Florentine agate, 
The Milan sword, the cloak of Geneva set 
With Brabant buttons, all my given pieces, 
My gloves, the natives of Madrid.” 


BREE ES EPA SRE 
Pore So: . hear, a 
eae 
peg Boer mee cud ns 
eed 


Bon 
amt eC eae 
"es ES FSD? Bee “p ni 
% 5 « 
Saat nan. ashe sunus serena fe mes feat ete 8.2 
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8 IAC OI IIE IE EO 
THE LACE BOOK 


VN 


Even after the commencement of the Civil War, when 
Royalists were dubbed Cavaliers, and Republicans were 
called Roundheads, the costume still retained its ele- 
gance and beauty among the faction devoted to the 
Crown. The doublet of velvet, satin, or silk guarded 
with lace, had large, loose sleeves slashed up the front. 
The collar was covered by a falling band of richest 
Point lace, which, with its peculiar edging of points, 
became known as Vandyck’s. The breeches met the 
long boots, which were wide, and fringed with either 
lace or lawn ruffles. 

The female dress was equally elegant and varied. 
“Rhodon and Iris,” a play first acted in May, 1631, 
gives the following catalogue of the ornaments of a lady 
of fashion : 


“ Chains, coronets, pendans, bracelets and earrings ; 
Pins, girdles, spangles, embroideries and rings ; 
Shadowes, rebatoes, ribbands, ruffs, cuffs, falls, 
Scarfes, feathers, fans, maskes, muffs, laces, cauls ; 
Thin tiffanies, cobweb lawn and fardingals, 
Sweet fals, vayles, wimples, glasses, crisping pins ; 
Pots of ointment, combes, with poking sticks and bodkines, 
Coyfes, gorgets, fringes, rowles, fillets and hair laces, 
Silks, damasks, velvets, tinsels, cloth of gold, 
Of tissues with colours of a hundred fold.” 


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The varieties of falling bands are “French falls,” 
“Geneva bands,” which were worn by the clergy, and 

Sed the narrow falls worn by the Roundheads. 
AG om Nightcaps, which had appeared in King Henry VIIT’s 
Ree Oy time, had by 1626 become valuable adjuncts to both 


SYS “aM 5 ; : 
users! men’s and women’s attire. Prince Charles carried two 


Rese A AT a itl a 


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iaaceieed - 5 


THE GROWTH OF LACE 


a 
i] 


with him on his Spanish trip, for which the gold and 
silver laces cost £15. These nightcaps must have been 
very large, for King James required ten yards of needle- 
work for his, which cost £16 13s. 4d. Nightcaps held 
their own for many years, and in 1762 we find women 
of fashion wearing the “French nightcap” in the day- 
time. It was a large and flapping garment, so that a 
writer of the time says: “Each lady, when dressed in 
this mode, can only peep under the lace border.” 

During King Charles’s reign, if the lace ruff had de- 
creased in size, there was no less lace worn, since ‘it 
blossomed out in prodigious fashion on the boot-tops 
and in rosettes on the shoes. By 1627 much fine lace 
was made in England, but it was not till 1635 that home 
industries were protected by prohibiting the importation 
of “ Purles, Cutworks, or Bone-laces, or any commodities 
laced or edged therewith.” 

Under Cromwell such vanities as lace were sternly 
suppressed, except among those like Cromwell’s mother, 
who would not lay aside her rich lace; but with the 
coming of the Stuarts such “fallals” as lace were once 
more brought forth and shaken out. Although Charles 
II issued many prohibitions, he himself loved Flanders 
lace, and wore it, too. The fashion of dressing the hair 
in flowing locks effectually killed the wide collar, as only 
the front could be seen, so that the cravat, richly laced 
and tied in front, became the mode. In the last year of 
Charles II’s reign the expense accounts show that he 
paid £20 12s. “for a new cravat to be worn on the birth- 


2 aes ed 


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Me", ri DR Td Ru 
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THE LACE BOOK 


CAC 
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CRONE NEO LT een te 


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SOR Roe Al 


day of his dear brother.” Pepys wore one of these 
bands to church on October 19, 1662. He was so {%% ERE, 
pleased with his appearance that he notes down: “So |ggratre 
neat it is that I am resolved my great expence shall be 
lace-bands.” Pepys speaks many times of the lace on 
his and his wife’s clothes, of gold lace, lace bands, lace 
petticoats, garments guarded with lace; and finally, 
when his brother goes to Holland to seek his fortune, 
Pepys, in a burst of generosity, gives him an old coat 
trimmed with lace from off one of his wife’s petticoats ! 

Lace cravats were popular for many years, and were masks 
only beginning to be superseded in 1735. James I] jggsten 
wore, on his coronation, a Venice Point lace cravat and 
ruffles, and the cravat cost £36 10s. 

William III and Mary did not hesitate to have much 
and costly lace, both of Italian and of Flanders make, 
and the expense accounts duly set forth the fact. In 
one instance six Point lace cravats for William cost 
£158, and it is in this reign that the extravagance in 
lace reached its height, everything being trimmed with 
aokeus it, even such homely articles as combing-cloths, “ toy- 
lights,” pillow-beres, night shifts, razor-cloths, etc. If 
the Queen pays £17 for a lace apron, the King exceeds 
her by giving £499 10s. for the lace to trim his new 
nightshirts. Nor were simple gentlemen far behind 
royalty, for in 1709 Mr. Gore’s wedding shirts are de- 
scribed as “laste with lace of eight pound a yard, the 
nightshirt lace three pound ten a yard.” 

“Good Queen Anne,” whose name has been attached 


Ka 


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bears 


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as Ole 
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Ee I ee AD 
Nias bec? Cae a> bale <) 

Helena hcarcs 

Sear rmerasera 


LATE VIL.—The Gonfaloniere Peretti. Ruff 
and breeches of cut-work. Portrait by Domeni- 
chino (1581-1641 ). 


SH 


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ARIK 
THE GROWTH OF LACE 


to so many objects from a hoop-skirt to a house-roof, 
did not spend quite as much money on lace as her 
sister, but she, too, when she wanted it for state occa- 
sions, sent to Flanders for it. Until this time we find 
that the term “ Flanders’ lace” covered all of this fabric 
which the Netherlands furnished. In 1710 Queen Anne 
paid £151 for 26 yards of fine edged Brussels lace, and 
two years later her bill for Brussels and Mechlin lace to 
one merchant alone was £1418 14s. There was no 
extravagance to which the ladies of the court did not 
go in regard to the quantity of lace lavished upon their 
clothes, and in an effort to stem the rising tide an 
embargo had been laid, in 1711, upon the importation 
of gold and silver lace, under pain of the forfeiture of the 
lace and a fine of £100. The companions of laces were 
the unguents, essences, and cosmetics considered neces- 
sary to improve the complexion. In 1730 Swift wrote: 
“Five hours (and who can do it less in ?) 

By haughty Celia spent in dressing ; 

The goddess from her chamber issues, 

Array’d in lace, brocade, and tissues.” 


The male costume was scarcely less exacting. The long 
wigs necessitated a weekly shaving for the head. The 
ill-paved streets wrought havoc with fine clothes and 
the rich laces with which they were trimmed, so great 
cloaks, often edged with gold lace, were part of every 
man’s costume. Each walk in life had its own dress, 
and each might choose to throw about him at night the 
Doyley, the Joseph, or the wrap-rascal. 


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THE LACE BOOK 


Year after year the “ Great Wardrobe Accounts ” teem 
with exorbitant sums paid for lace. During the reigns 
of the first two Georges we read of lappets and flounces, 
caps, aprons, stomachers, and handkerchiefs, and the 
second George was quite a martinet as to the quality of 
his lace and the profusion with which it was to be worn. 
To please him, and in deference to the prevailing Eng- 
lish fashions, when Queen Caroline first appeared in 
England she wore the dress most in vogue among Eng- 
lish ladies. She had on a gold brocade with a white 
ground, had a stomacher ornamented with diamonds, 
and a fly cap with richly laced lappets. During his 
reign English laces began to be held in greater estima- 
tion and more worn on high occasions, and edicts were 
passed prohibiting foreign importations. 

By 1760, with George III on the throne, much less 
lace was used in masculine attire, and the rich lace 
which had been in daily use was laid aside, appearing 
only on great occasions. 

Early in the nineteenth century collections of old 
lace began to be made by women of fashion, and Sydney, 
Lady Morgan, gathered much in her travels. In 1818, 
at Paris, she writes to her sister : 


“TI have had to set myself up an evening dress, and though 
materials are extraordinary cheap here, work is wonderfully dear, 
so dear that I cannot get a plain dress made up under a guinea 
and a half. However I have made myself a very pretty dress with 
my own two hands, white satin with a deep lace flounce. With the 
skirt I got on beautifully, but as to the corsage, fortunately there 
is scarcely any, what there is being covered with falls, and frills of 
lace, so it does not signify how the body is made.” 


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From the cradle to the grave there was no place or 
occasion where lace was not worn in profusion, the only 
limit being the ability of the wearer to gain possession 
of it. The once beautiful Aurora von K6énigsmarck, 
whose form has become the colour and consistency of 
leather, lies in her coffin completely enveloped in folds 
of costly lace. She left directions that no expense 
should be spared to purchase Point d’Angleterre, Ma- 
lines, or Guipure for the last adornment of her body, 
and the jewels which were also coffined with her are 
worth a fortune. Many people were anxious about the 
way they should be dressed for the grave, and left par- 
ticular instructions in regard to the matter. The Duc 
de Luynes writes in his Memoirs: 


“The Curé of Saint Sulpice related to me the fashion in which 
the Duke of Alva (who died in Paris in 1739) was by his own will 
interred. A shirt of the finest Holland trimmed with new point 
lace; a new coat of Vardez cloth embroidered in silver; a new wig; 
his cane in the right, his sword in the left of his coffin.” 


At christenings lace was always abundantly used. In 
1778 the infant daughter of the Duke and Duchess of 
Chandos was so weighed down by the immense amount 
of lace on her robes that she fainted. George III and 
Queen Charlotte stood as sponsors, and although the 
child’s mother observed her condition she said nothing, 
so that the dignity of the christening, with Majesty in 
attendance, should not be disturbed. As the Arch- 
bishop of Canterbury gave the child back to its mother 
he remarked that it was the quietest child he ever held. 


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It died soon after, having never recovered from the f 
effects of its christening. 

It was much the fashion for great dames to receive 
company upon their “uprising” a few days before the 
christening. Lady Chesterfield, in 1802, received the 
Queen and George III “reclining on a state bed, 
dressed in white satin with a profusion of lace, the 
counterpane of white satin embroidered with gold, and 
the bed of crimson satin lined with white.” 

England, in her love of lace and extravagant use of it, 
had but followed in the path worn by her Continental 
neighbours. France desired to be no less brave than the 
rest of the world, and the sums of money she expended 
were even greater than those of England. 

It was the arrival of Catherine de Medici in France 
that disseminated the taste for lace through all classes, 
together with other luxuries that had their origin in 
Italy. It is true that it was at first the more primitive 
forms of lace which she brought with her, but, with the 
development of lace in Italy, France followed suit, and 
it was in full favour by 1550. The effeminate Valois, 
dissolute and extravagant, gave themselves up to every 
species of folly. Their dress was as costly and brilliant 
as could be devised, and the last of this family, Henry ITI, 
paid so much attention to the preservation of his beauty 
and the details of his costume that he was well called the 
homme-femme of the Louvre. There are many portraits 
of him, —with his dogs ; receiving Guise ; at Blois ; insti- 
tuting the order of the “ Holy Spirit;” and at balls. —and 


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LATE VIII.—Faustina, wife of Count John 

of Nassau. Ruff of lawn, triple -plaited, 
edged with fine Gothic Point. Portrait by Raves- 
teyn (1572-1657 ). 


Beas eaten 
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nae ey THE GROWTH OF LACE 
ime Bas 
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ES == in all of them some form of the ruff is evident. Indeed, 

by Nf . . . 
eee ay one of his favourite amusements was to “do up” his 
Bake as : : ' r 5 
Eas ruffs himself, spending a world of time and pains in 
BZ] F409 . . . : 
e “#281 clear-starching them and ruffling them with poking- 

ch Pe : ; 
eae athe sticks, getting them so stiff that they cracked like 
3 be val | ° . NY Pane 
ui paper. Finally they grew so enormous and unwieldy igus 
ee ab ss ES rn 
pSiees eveae4 =6that they could be tolerated no longer, and ruffs sud- [Ex 
PBN GaN < x 
ESteawergsue denly disappeared, and turned-down collars became the {gae4aae#e 
Raa a a hs 2: ae Pats weds ey 
ecpentespee mode. But lace was still in demand, and Henry III poeni see 
pra bina Sicha ; : YS YS a8 
erate led the court in the amount and costliness of that used 
ucepaensas z : : 
musicesscea| on his own person. At the meeting of the States of 
es IC Pa - 5 5 . . AN 

aces} Blois, the King’s robes were trimmed with 4,000 yards jgast 

4 A LAS VT 
cate, of pure gold lace. When the French queen made her [suk 
Eset eC C : : : was 
Rsaggczexer| entry into the city of Lyons in 1600, the Captains of ra 


% 
Pe the Guard were all dressed alike, their garments being oH 4 
LESS heavily trimmed with gold parchment lace. : p 
i aeee deona ‘ 
Paani “The coronall marched before them, mounted on a mightie courser, {4 ae 
| barded and garded with gold lace, himself aparelled in blacke }s2* 
velvet all covered with golde parchment lace.” Rey 
+ 
All this time edicts were put forth to restrain extrava- ae 
gance in dress, and during the reign of the House of Nee 
ky a Valois no less than ten were issued. With Henry IV a e 
x Seas these edicts increased, and in his own person he endeav- aa 
pgrsupetee 3 oured to stem the tide of extravagance. If he was plain {8% 
is Seas in dress, his queen made up for it, and the accounts of 
ethno the Queen of Navarre teem with items of cut-work, 
noes passements, points for handkerchiefs and rabats, for 
MTNA collars, towels, and lace for sheets. 


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Eh IA Ne The inventory of Gabrielle, Duchess of Beaufort, 
a RASS NNN ‘ 4 % 
Eessens2eea| 1599, mentions handkerchiefs worked with gold, silver, 
Tzanduaeyas ; 
Eqeeeeneaseeal and silk; cuffs of cut-work, enriched with silver; hand- 
Eotetoeetse 
os 481 kerchiefs of cut-work enriched with gold and silver ; 
BP seu ee : 
Basseeyeeas| and much linen also cut and worked. The sumptuous 
ue EE REES 
eawaews4e%\ eleoance of Marie de Medici’s costume has been ampl 
BEA De OS 
Bat ey Be 
ESres<eeeze41 portrayed by Rubens, and her laces and jewels were the 
eis cas OB = 
Eieewszenses) finest to be had anywhere. Yet the time came when 
De she was obliged to curtail her expenditure, owing to the 
Retry . A 2 
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ry CITY 4 ayes * 
Bi aoe edict prohibiting the use of lace and embroidery. For 
Bh asichee Nicci 3 ; : 
neat: some years previous to this the court had been using 
sega PALS aris, = Z : 
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tae Flanders. Much lace had been made in France, how- 
<szeezeea| eVer, and many pattern-books published there, the first 
teetueers| by Vinciolo, the Venetian, in 1587. He was commis- 
sioned by the King to print these books, and they were 
so much in demand that there were many editions, and 
grande dames made lace as did the great Italian ladies, 
for themselves, and also rarely for the Church. 

Boots, garters, aprons, cuffs, and falling bands were 
all garnished with lace, and though edicts were showered 
upon the use of it, the portraits of the time show that it 
was still the finishing touch to the toilette of beauty 
or of cavalier. That gallant boy, Cinq-Mars, Master of 
s:3 the Wardrobe to the fickle Louis XIII, is always re- 
Eide “#4 membered by his 300 sets of lace ruffles. He was only 
&#,0, twenty-two when he went to the block in 1642, his suit 
of “dark-coloured Holland cloth covered with gold 


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lace, and a scarlet mantle with silver buttons,” setting 
off his handsome person, and befitting the way he met 
his untimely end. 

By 1634 boots and carriages, it is decreed, must show 
no lace. In 1636 a fine of 6,000 francs, banishment 
for five years, and confiscation, was the penalty for 
wearing home-made laces as well as foreign. Yet Marie 
de Medici still imported and wore gold, silver, and 
thread laces from Italy and Flanders. The waists of 
the gowns, stiffened to an extent that made them in- 
struments of torture, were cut out so liberally in the 
neck that the Pope at last interfered and threatened 
excommunication to those who persisted in baring their 
necks in this style. But this had little effect, and the 
superb upstanding ruffs of lace, stiffened and borne on 
wire frames, set off the painted faces of their wearers in 
a most sumptuous frame, enhancing the whiteness of 
the shoulders from which it rose, and adding another 
lustre to the brilliancy of the jewels that were crowded 
on neck, corsage, and hair. On one gown alone the 
queen had sewn 32,000 pearls and 3,000 diamonds, in 
addition to many yards of gold lace, and the finest 
Venetian Point for ruff and cuffs. 

Nor was the use of lace confined to the outer gar- 
ments only. A dame correctly dressed wore three 
saeuee skirts of different colours, all guarded or trimmed with 
muse! lace, for each skirt was expected to show, and the 
fashionable colours for these petticoats were called by 
such whimsical names as “dying monkey,” “ sick 


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Spaniard,” ‘“gladsome widow,” “rat colour,” “fading 
flower,” and many other equally grotesque terms. 

During the regency of Marie de Medici fashions 
underwent a transition state, and the gorgeousness of 
the Renaissance lasted till about 1630, when for a brief 
time, under the edicts of Richelieu, simpler stuffs un- 
trimmed with silver or gold lace, gold thread, or thread 
lace, were worn. But this eclipse was only temporary, 
and men and women shone with even gayer costumes 
under the eye of the Sun King. 

Nor was the crafty Mazarin above the passion for 
Points, which he bought from Genoa, Venice, and 
Flanders. Later, under the fostering care of Colbert, 
the lace industry of France grew and prospered. This 
astute minister found edicts of small avail. It was of 
no use to prohibit the wearing of any lace greater than 
an inch in width. “Canons,” enormous ruffles of lace 
just below the knee, were entirely prohibited, and, as 
usual, gold and silver lace was under the ban; yet so 
superior were the splendid laces of Italy and Flanders 
that no royal mandates could compel the wearing of 
coarse, home-made fabrics. 

In 1665, Colbert, at one of his own chateaus, Lonrai, 
near Alencon, started a small lace-factory with thirty 
‘ women whom he had brought from Venice. This first 

effort is connected by most authorities with the name of 

Madame Gilbert, a French woman who was a native of 

Alencon, and who was installed as head of the factory, 

since she had already learned how to make Venetian 


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LATE 1X.—Bossuet (1627-1704). He wears 
an alb trimmed with Point de France. 
Portrait by Rigaud. 


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PoCECCCtC.e CLES £440 0668 5 4 0 6588 
THE GROWTH OF LACE 


Point. Fine lace was produced here, and soon in 
other places in France. It was originally called “ Point 
de France.” Later, specific names were chosen ; and 
encouraged by Colbert, and fostered by the edict of 
Louis XIV, who forbade the use of any other kind of 
lace in his immediate court circle, Alengon lace grew 
to great perfection and beauty, and many people were 
at work upon it. Drastic measures were used to see 
that the edicts relative to the wearing of French lace 
only were carried out. In 1670 the hangman publicly 
burned “one hundred thousand crowns’ worth of Point 
de Venise, Flanders lace, and other foreign commodi- 
ties that are forbid.” 

At the frequent balls and masques which were the 
diversion of the French court, the outlay for lace was mai, 
immense. Louise de Querouaille had a man’s dress ak 
made to wear at a ball in 1672. The bill shows it to 
have been a very rich court suit: 


“For making a dove-coloured and silk brocade coat, Rhingrave 
breeches and canons, the coat lined with white lutestring and. 
interlined with camblett ; the breeches lined with lutestring ; 
seamed all over with a scarlet and silver lace ; sleeves and canons 
whipt and laced with a scarlet and silver lace and a point lace 
trimmed with a scarlet figured and plain sattin ribbon and 
scarlet and silver twist . . . - +. + + > 

SORMECOUSIEN fom ta be) fee) 

“10 yds. brocade at 28s... Soe 

“Linings and ribbons. . ieee ae 

“22 yds. of lace at 18s. : 

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By 1680 it was publicly stated that the laces com- 
monly called Point de Venise were made in France as 
well as in Italy, while in 1687 the Earl of Manchester, 
writing from Venice, complains of the excessive price of 
the Point made there, and says he is sure it can be 
bought as cheap and in better patterns in England or 
Paris. Never was dress more extravagant. Since the 
ponderous richness of the fashions of the Renaissance 
had been thrown off, it was lighter and more graceful. 
Beauties and é/égantes of both sexes gave their minds to 
this absorbing subject. She who could invent a new use 
for a bit of lace, and he who could contrive something 
bizarre in the cock of a bonnet, were sure of the plaudits 
of their friends and the satisfaction of having their ideas 
promptly copied. There were such fantastic trifles as 
“ galants,” “ ladders,” “ fanfreluches,” “ transparents,” 
« furbelows,” “ hurly-burlies,” ‘“‘what-nots,” ‘ Steinkirks,” 
« Fontanges,” “ engageants,” “ roses,” and “ palatines,” — 
all requiring more or less rich and beautiful lace in their 
composition. The skirts of the gowns were looped aside 
to show an under-petticoat quite as rich as the gown 
itself, and frequently smothered in lace in the form of 
whole fronts which hung from the waist, or two or three 
smaller flounces. The sides of the outer skirt were 
trimmed with lace set on in full shell-like ruches, or in 
«Jadders,” and only the purse of the wearer, or her credit 
with the lace merchants, limited the amount put on these 
sumptuous gowns. Lest, even with all this elegance of 
attire, life should not be sumptuous enough, “ bath sets ” 


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HII ACI OIE HEI NE RI IE HIE I AICI I IE ROE EEE 
THE GROWTH OF LACE 


were made, trimmed with lace, and comprising a gown, 
towels, and a great flounce of lace to surround the bath- 
tub itself. 

Changes of fashions were shown on lay figures, or 
dolls, dressed in costly stuffs and laces. At this time 
France had assumed her place as arbiter and leader in 
the world of dress, so these dolls were sent all about, 
to Italy, Flanders, Vienna, and England, and called 
“ Courriers de la Mode.” Two hundred years before, 
Isabella D’Este had sent to France a doll from Mantua 
dressed in the style she affected, which was also worn by 
the Milanese ladies, for Mantua was famous for its caps 
and its embroideries. Indeed, the well-known term 
“ mantua-maker” comes from the name of this city, 
now scarcely more than a memory. 

With the coming to the throne of Louis XV, lace was 
still in great demand. None, from grisette to grandee, 
but squandered all they could gather together on this 
fragile fabric. Ruffles were an absolute necessity on day- 
shirts, dress-shirts, and nightshirts, Valenciennes being 
the proper lace for these latter garments. For other 
occasions thetrimmings might be “ Point a bride,” “ Point 
4 réseau,” “ Point superfine,” “ Point brilliant,” ‘“ Point 
d’ Angleterre,” “ Point d’Alengon,” or “ Point d’ Argen- 
tan.” The extravagance of the period in the lace put 
on thenight garments is shown in the Wardrobe Accounts 
of the Duc de Penthiévre (1738), who paid 520 livres 
(about $104) for the lace for collar and cuffs for a 
nightshirt. His nightcaps were many and ornate. 


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They cost from 27 livres ($5.40) to 253 livres ($50.60) 
each. 
By 1730 the fardingale, which under the austere frosti- 
ness of Madame de Maintenon’s reign had_ suffered 
eclipse, regained its old-time proportions. This led toa i; 
change in the fashion of gowns, and once more yards BOSE 
upon yards of lace were needed for their embellishment. Re Nee NaS 
The thick and heavy stuffs worn in the preceding reign 
were rejected for gauzes and transparent materials, 
trimmed with fluttering lace, which was seen on every 
article of attire from slippers to fans. It was during this 
reign (that of Louis XV) that in the fancy of the great 
dames special makes of lace were relegated to special 
seasons, Argentan and Alen¢gon being called “ winter 
laces,” and their use being somewhat superseded by 
Malines and Point d’Angleterre. 
In Mrs. Palliser’s “ History of Lace” is given some 
items from the Wardrobe Account of Madame Du 
Barry, showing the amount of Point d’Angleterre she 
considered necessary : 


SEEE TNS 


a8" Pea e 
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B-F4ud Ma 
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“ One complete toilette of Point d’Angleterre, 8,823 livres [about 
$1764.60]. 

“A head-dress composed of two barbes, six pairs of cuffs, and a 
jabot, all of finest Point d’Angleterre, 7,000 livres [$1,400]. 

“Trimming for peignoir, of Point d’Angleterre, 2,343 livres 
[$468.60]. 

“Trimming for a fichu, of Point d’Angleterre, 388 livres ” 
[$77.60]. 


—and so on, while her bills for other laces, Alengon 
and Argentan, even as late as 1773, teem with borders, 


sue 


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17 
S 


pi TE X.—Marie-Pauline Bonaparte, Prin- 

cesse Borghese (1780-1825). Empire robe 
trimmed with black Guipure. Ruff of gold lace, 
wired. Portrait by Mme Benoit. 


‘Swrapees = Be risisuaesecsee sess: TISOST ATV E once ueecnsssses ts ssueee BSE EE es 
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THE GROWTH OF LACE 


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ee fea82| flounces, and festoons. Even a pair of sabots was 
sea, trimmed with two ruffles of Blonde Tulle bordered with 
Alencon ! 

With the coming to the throne of Marie Antoinette, 
wearied with the formality and etiquette of the old 
régime, the court, when not on dress parade, laid aside 
formal fashions, and frivolled in India muslin and straw 
hats. There was not much lace worn, except Blonde, 
which made frills at the sleeves and about the corsage, 
and much of the eccentricity which crops out in every 
court found expression in the hair-dressing, which as- fais 
sumed such gross and ridiculous proportions that books PREP 
and newspapers are filled with sarcastic remarks on the fi 
subject. Many little details of dress originated by the 
Queen were called by her name, like the fichus trimmed 
with lace and tied behind, which we now call “ Marie 
Antoinettes.” They were originally called “ Archi- 
duchesses,” and were made from both Tulle and Marli, 
as well as from muslin. At the Petit Trianon the 
ladies worked at lace-making and embroidery as well as 
at farming, and flounces of Marli lace were embroidered, 
or at any rate commenced, and served as pretty trifles to 
show off white hands. Even the men worked at such 
things as lace work, and carried about with them 
little bags, called in derision “ridicules,” which were 
furnished with sewing-implements all of gold, and often 
jewelled. 

When a court lady reached her fortieth year she wore 
a coif of black lace and tied it under her chin. By 1789 


acs 


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Slain i 


THE LACE BOOK 


only old ladies wore caps “ a la Pierrot,” trimmed with 
quantities of lace. 

With the Revolution died, at least in France, the 
manufacture and use of lace, to be revived for a brief 
period under Napoleon, who appreciated the effect of 
luxury of attire, and during the early years of his reign 
lace once more was imperial. Alencgon, Brussels, and 
Chantilly laces were the favourite fabrics of this 
monarch, who made time even to attend to the small 
details of the costumes of his family and court. To 
encourage home manufactures, and commerce as well, 
Napoleon ordered Josephine not only to entertain ex- 
tensively, but also to devote much attention to dress. 
The Empress, who was as fond of dress and gewgaws as 
a child, was only too glad to devise new and extravagant 
costumes, and spent over 1,000,000 francs a year on her 
clothes, and even then was constantly in debt. In the 
year 1802-03 she ordered 200 white muslin dresses, 
embroidered or trimmed with lace, costing from 500 to 
2,000 franes each. In the same year she had 558 pairs of 
white silk stockings, and 500 lace-trimmed chemises. 
In her whole wardrobe there were but two flannel 
petticoats, since the fit of the gowns was so close that 
even in winter a chemise and corset were the only gar- 
ments possible to wear underneath them. At the 
coronation Josephine wore a gown of silver tissue em- 
broidered with gold, and around her white neck a ruff 
or fraise of exquisite lace heavily wired and studded 
with jewels. 


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LATE XI.—Empress Eugénie. White and 

black silk Blonde lace. One length of this 
flounce three and one-half yards long, twenty inches 
wide, sold in London in 1903 for forty-five guineas. 
Portrait by Winterhalter. 


Sel 
PRIS 
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RIOR IIH 
THE GROWTH OF LACE 


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The trousseau of Marie Louise, prepared under the 
critical eye of Napoleon himself, had an abundance of 
lace on the beautiful garments. Her bed was draped 
with fine Alencon lace made with the Napoleonic cipher, 
this figure being introduced into the coverlet, curtains, 
valances, and pillow-cases. At the birth of the King of 
Rome the city of Paris presented a cradle, made of 
silver, gilded, and designed by Prud’hon. It was an 
exquisite thing, crowned by a figure of Glory upholding 
a brilliant star. Silk curtains fell away on either side, 
and the most delicate Alencon lace composed the cover- 
let, while the lace flounces bordering it fell to the floor. 

When Mademoiselle Permon became Duchesse 
d’Abrantés in 1800, her trousseau was the first one of 
elegance and beauty seen in Paris since the Revolution. 
It contained, as the bride described it with real girlish 
delight, — 


Hes ok sagas] —“full-trimmed chemises with embroidered sleeves, pocket-handker- 
Stee % 0% w, j ~ ; S 7 ns rEcc} } Wy 
[ganas Kul chiefs, petticoats, morning gowns, dressing-gowns of India muslin, 


night-dresses, nightcaps, morning caps of all forms and colours,” 


Si) 


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—and the whole of these garments were embroidered 
and trimmed with Valenciennes, Mechlin, or English 
Point. The wedding gown for the civil ceremony was 
trimmed with Point lace. The bonnet was of Brussels 
Point, from which fell a veil of fine Point d’Angleterre 
large enough to cover the whole person. Empress 
Josephine was present ina superb “ redingote ” trimmed 
with “ magnificent Point d’Angleterre and with bows of 
turquoise-blue ribbon.” 


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OIRO A AE 
THE LACE BOOK 


In a letter from the Duchesse Edmée de Brancas, 
dated Paris, 1778, she says: 


“The craze for the Neo-Greek costume which has been in favour 
ever since the Revolution demands that every line of the female 
form should be in evidence, and lays stress on much that were 
better concealed. 'To me it is quite disgusting.” 


REE ONES 


Brae? Ca AO a 
“TS 
" ie 


Bourse 
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at Sr 
* BEEP 


The colours affected were all called by fanciful names, a 
certain shade of brown being “ terre d’Egypte,” while for 
ladies’ gowns such colours as “ gorge de pigeon” were 
all the rage. 

The Baroness de Courtot, a member of the old 7é- 
gime, who returned to Paris in 1800, wore on her 
presentation to Josephine a gown of gorge de pigeon, 
“with the waist up under the arms and a long train.” 
The dress was decorated with a jabot of Flemish lace 
fastened on the bosom with a diamond clasp. 

Madame Tallien, who was noted for her extravagance, 
was the possessor of 365 head-dresses and bonnets, all 
more or less lace-trimmed, and 400 gowns, varying in 
value from 50 to 1,000 francs each. ‘The appearance of 
the court was very gay and bright, since Napoleon 
abhorred dark colours and would not permit them to be 
worn before him. 

About this same period (1801) there occurred in 
Cassel the wedding of the Duke of Meiningen with the 
Princess of Hesse. The trousseau was on view in one 
of the rooms of the palace. The dresses were displayed 
upon a long table in the middle of the room, and round 
about stood smaller tables on which lay the body linen, 


a CY Raa 
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Se SERCCE RC COS ES 0 0 2 6 6 8 5 00 8 08S 
THE GROWTH OF LACE 


the bridal robe, hats, shoes, coiffures, and smaller articles. 
An eye-witness goes on to say: 


“Many of the dresses were extremely rich and elegant; all had 
immensely long trains and separate sleeves, either of old Point or 
embroidered muslin or lawn. The bridal robe, I was told, was a 
gift from the divine Queen Louise, who had chosen and had it 
carried out after her own design in Berlin.” 


Gra 


cp 


This “ divine Queen Louise ” was the lovely Queen of 
Prussia whose portrait, coming down a stair, is so popular. 
The scarf of lace which she always wears, like so many 
other personal details affected by royalty, —as the hanging 
sleeves of Anne Boleyn, or the ruff of Queen Elizabeth, 
— was first worn to hide a defect. This is a description 
of Queen Louise at the opera, by the same witness : 


Ty 


tot agen 
Bi hdd 
EDK DIE 
aS Fa 


wre 


roncaurceuebece tae 
a 


sibshta 


35 


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Guan ahs 


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ian 


Ly 


“She wore a white muslin gown, with a little posy of violets at 
her bosom, and a kind of turban of silver-spangled crépe on her 
wonderful blonde hair. Round her throat was draped a curious 
filmy scarf-like veil of delicate white lace. When her Highness 
first came to Berlin, she suffered from a slight swelling in the 
neck, and took to wearing this scarf in order to hide it. The 
scar has long since disappeared, but she retained the habit of 
wearing the scarf, and, strange to say, the ladies have adopted it 
as a settled fashion, and all go about now with their neck so 
enveloped.” 


rae 
a at 


aol 

oe 

ty zs 

Cis eer re tol 


Yas rast 


It was this same young and lovely Queen who tried to 
induce Napoleon not to deprive her husband of half his 
kingdom of Prussia, but which Napoleon did, neverthe- 
less, at the Treaty of Tilsit. 

Napoleon had special laces made for his own and the 
royal family’s wear, with the Imperial bees introduced 
as a part of the pattern. 


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REP URIRE TS © 


By 1853 there was another Empress on the throne of 
France. Eugénie’s wedding dress was white satin cov- 
ered with Alencon lace, not so costly as that upon one 
bought for her some years later by the Emperor at a 
cost of 200,000 francs, and which she gave to the Pope 
to be made into a rochet. This was modern Alencon, but 
the most costly lace gown ever made in France, the {Eg 
ground being the needle-point mesh which had almost [sess 
been done away with. The wedding veil of the Em- 
press was the gift of the city of Liége, and was large 
enough almost to conceal her figure, as it fell from her 
diadem to her feet. 

The French laces no longer retain their distinctive 
character. Alencon is made to-day at Venice, and the 
styles have become so merged that it is difficult to dis- 
aavzee tinguish them. The Flemish influence, however, seems 

ag: still to have vitality, and some of the modern Flemish 
zeat-ss! laces closely resemble the old ones. 

LPR y 

PRE PRS Flanders and Italy have been rivals so long in the 

Satuecea} World of art and all the higher forms of artistic indus- 

tries that lace forms only one more item in the list 

where each country claims priority. There are no 

records to show that any Flemish lace was made before 

the fifteenth century, about the time it was made in 

Italy, and the early forms were Gothic in character, as 

was to be expected. These passed, and designs drawn 8 
from flowers took their place, and “‘ Rose Point” was the PRPS 
name applied to the most beautiful and delicate laces of |eeSatesseaiy: 
both countries. rat 


Bosiaeas 


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LATE XII.—Cornelias de Graef. Collar, 

band strings, and edging of cuffs Point de 
Flandre. Cloak and doublet edged with black 
Guipure, garters and roses on shoes of this same lace. 
Portrait by Nicholas Elias. 


SSE 


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Is IN 
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NEA, ie loos Pas aera Cara 
ISIS Deena CISD oars) 
See Sieg Rie aS a) aes 
S 


eT a 
ct 1a Ea 
oe SIE} 
PRA RTIAI 


OKO PR, i RE, 
H OF LACE 


The imitative Dutch always bettered the article they 
copied, and the lace made by their men, women, and 
children was no exception to the rule. Not only was it 
made at the homes of the workers, but in great estab- 
lishments called Béguinages, one of the most famous of 
these being at Ghent. Different qualities of lace, and 
of course great varieties of patterns, were made in the 
lace schools, and were sold both for home use and for 
exportation. No Dutch vroww considered her dress 
complete without some edging of lace at least on her 
cap, and generally her skilful fingers could make it if 
her pocket was too lean to buy it. Just how early lace- 
making began in the Low Countries it would be diffi- 
cult to say, but it is known that long before it was 
applied to secular uses it was owned by churches and 
ecclesiastics. Many rich vestments still belong to the old 
churches of Brabant, made of the splendid old Brussels 
lace, and so well cared for that they retain to-day their 
old-time elegance. In the magnificent cathedrals of 
Holland will be shown you treasures of lace that are 
absolutely bewildering, not only those belonging to the 
robes of the priests and the cloths of the altar but also 
votive offerings to madonnas and saints. These often 
take the form of robes made wholly of lace or richly 
trimmed therewith, veils, or whole suits for the Infant 
the Madonna holds in her arms. 

The Hollanders had many methods of economising, 
—selling the splendid cloths they made at home, and 
wearing an inferior quality of English manufacture ; or 


Sich 
YI/i 


i 
ars 
bets 
+P 2 
Tieton! 


Suse oma 
Sins 


Si) ao 
Nara 


4 Bed 
7} VT Y ¥ 
Sine 


ae 


SI 


a 


Fe, 
Be 


sue 
NI 
ae biG 


aa Ba a 


Ni 


ms Seat 7 
Sita isieca ts 


Fay 
NEN 


s 
ma" "2 ” y eI a Ny 2 
Oy “4 J of A b ; 


ra oN 


aS Fs Ba 
PTS Obes 
Al 
oI 


“2 a “j 
a 8 aca a YRS a 0 Pe a Vass 
Se fs Fa 
Mca ta wea 


os s So “a aS a ra 

bi : : TS a 
SIH See AD POR RON APL ee ee oe 
% a Pan Ba AY a BAN aN 


SL Tet ISL Y aed 
FeaBtsTanS PoE A a BG AY aI AN PMY NP BO 


SRT ie Paes) 
. a Re Pee ED. 
Lr Ae Sy Be 


it ro 4 
PATRIA RAR ee PL LL LE Le BE To PC 


A cs " 
eS PR sl 


OREN 


zi "an 3 ss = 

Ei to KE Sa Fa s* Fe = Re ho note Nise Sie Nice NS 

2 PINs a7 BST a IB he Ua ce a Fas MI A Fes NA a Sie Sa TS a 

SSI 

oe x OO , POR gg ON GIN 9 Mh hg ee eg ag “ a 
nae SEES CCE COS ESSE Le SSS eS SL BS 
z 


9% 3%: 


HB an ia 3 ue THE LACE BOOK 


exporting their own rich, sweet butter and using a less 
admirable article purchased in the countries of northern 
Europe. They sold their lace, too,—thousands of 
yards yearly ; it remained their staple of commerce when 
the country was ravished by wars, distracted by troubles 
at home, or devastated by the plague. Yet we never 
find any record of lace being exported to that— 


7.0) 
ee 

a Fa ‘ 
eae a 


a 


AT 
ae 
heel 
.ae% 


ae 


By 


— “country that draws fifty feet of water, Lp Dies 
In which men live as in the hold of nature, K+ 
And when the sea does in them break 
And drowns a province, does but spring a leak.” 


Tau 
SOS 


ape S ¥ 
& 


a a ST ON a 
Se Dion aeana 


They might go without lace, but, when they wore it, it jg : 
was that made of choicest flax, and at home. Countless [isteisas 
portraits bear out this statement, as well as testifying to Bes 
the fondness these burghers had for rich raiment and 
twisted chains of fine gold made in Venice, which city, 
in the centuries of the Renaissance, led the world in 
goldsmith’s work. They copied, it is true, the laces of 
Venice, but this was only till they learned the intricacies 
of needle point. After that they were quite able to 
stand alone. 

The Dutch artists of the sixteenth and seventeenth 
centuries painted charming genre pictures of life among 
the simple as well as among the great. Card parties, 
music parties, a lady sewing or reading in her room, 
flowed from their brushes with prodigal abundance. In 
all these pictures the least minutiz of dress, adornment, 
household belongings, and customs of the period and 
country are observed. The satin and lace, the broideries 


aS 


Mat os 
Fas Se 


Mee oeee 
Hid 
SPR ON 


Woo’ 


BES 


Peers 


a 
ma 
ae 
SOR 
YI 


reas ‘ 
gees 
zt EOI 


% RB 
BOK NARS cee te 
a Ye GS cea 

i DB Pes Oat 


Ltt 

DRS 
i 
OT 


CF 


a Dy ; aa SS ASST RN Ooi nko 
oY ONES ISIN NEAT rn 
E Ke geese ep Sea De Sea Sieve Sep Se poke De ep ets 
. ae ae “i 
mies 
Nits 3 PT eT Oe nn eR ae ee ee ee ee re 
ON ee ee ee ee ee ee Oe ee ee ee ee eee eS 


THE GROWTH OF LACE 


A AS AAS A Fa a ape 


ARN VIP 


and furs, the carving on the furniture, and the gold- 
smith’s handiwork, are treated with reverent care. None 
painted more realistic pictures of this character than 
Mieris, while the portraits of Mierevelt, Jan de Bray, 
Franz Hals, and Rembrandt show what dignified and 
elegant gentlemen these burgomasters of the Nether- 
lands were, how sumptuous was their attire, and with 
what a grand air they wore it. The lace roses on their 
shoes were not too small a detail to be duly given point 
for point, while the falling collars, fichus, cuffs, stom- 
achers, and caps of their wives are painted with such 
faithfulness that the quality and kind of lace is easily 
discernible. 

The use of lace seems to have been encouraged rather 
than repressed, and the chief care for the Dutch was to 
keep at home their skilful workers who were tempted to 
other countries to teach those less skilful the arts and 
crafts in which the Flemings excelled. So alarmed did 
the Flanders burgomasters become at the number of 
lace-makers that emigrated to France, attracted there by 
the offers of Colbert, that in December, 1698, an act 
was passed at Brussels, threatening with punishment any 
person who should entice away her work-people. Even 
with the loss of many skilled hands, more than enough 
lace was made for home consumption, and in 1768 
England alone paid Flanders for lace, $1,250,000 
russes) (£250,000). 

The Dutch were always on the lookout and ready to 
supply any market with any article desired, from wooden 


45 


POR ERE ee etn] 


seats 


KR DRS 


gee 
Lai 
rs 

at 
S71 
Ts 
b>} 

rs 

Siz] 

Fa a) 


NaS ie 
Set 
ie 
ir, 


Se sa Shae 
Pet ete 


coy 


iad a eas 
a 


Fa was 
a ARES MaMa aN a 
LN Ait INL 


aS 


an 
s 


Fas crans 
ORT aS 


AGN Fae Ma 
BADIA 


ja as 
ed 
Nis 


Fy 
“a 


"4 


= 
SS 


SET-fctSi} 
i SER 


oy 
LIN} >] 
at a 


ARR CY, 
DRON 


eS ee iS 
Waa seas ORS OT 
Pi oe i oss TSS Re Sh kd 


(iB Ce OSs Nh Ss Ss Ua Fs a i 


ECCI EI AR OIE EEN 
THE LACE BOOK 


pepy Ss Vd 
DEBE dal 
MS a 


2a@5 


ware to South Carolina and Virginia, to a special kind 

of lace to the Spanish Indies. This lace was of quite a 
different character from that sent to other quarters of the [tg2% 
globe, being a Guipure of large flowers, geometric in a. 
character and united by brides. In 1696 a galleon on 
its way to Cadiz was taken on the high seas, and among 
its rich freight were “2,181 pieces of assorted coarse 
Spanish laces.” There is hardly a town in Flanders, 
east or west, that has not depended and does not still 
depend largely on the wages of her lace-makers, the 
greatest drawback to this industry being its merciless 
destruction of the workers’ eyes, many of them losing 
their sight when in the neighbourhood of thirty years of 
age. Even so, there are always plenty of apprentices to 
be had, the lace schools of West Flanders alone num- 
bering over 400, with more than 30,000 scholars. The 
Béguinages harbour many more lace-workers of all ages, 
for by far the greater number of inmates are women of 
independent means, who live at these institutions, come 
and go as they please, the only requisites being that they 
are not married, will come within the walls at a certain 
hour at night, and have enough money to maintain 
themselves. During a large part of every day they 
labour for the benefit of the institution, which is pre- 
sided over by members of a Catholic Sisterhood, who 
also have in connection with it a lace school. The 
Béguinage at Ghent numbers several thousand of these 
independent workers, beside the immense numbers of 
children and young girls in the school itself. 


46 


i ae ah A a a eae en eae ae ae RK 
ac aias Sisk Sea Sie uae Sek eS ASE Nee Bees eae oe 
ds § " 


Sa t 


ma 


‘! 
Rec cess 


fae 


a 


aecebeeg seetees 
its 
Sta obots 
PROTA 


vat 


a 


cr scccccueae 
SRS 
KS 
Fs Maa Fa 


f 
: 


i Fy 


% 


VELA 


7 asi 
cas 


= ae. 


ES 


7 
re 


Roerr 


TAS Fea a A 
5 
EPS 


fs 


SOLD ey 
MS a Ra a a Ma Ta Fa? 
Sas Ot Oho 


AS Ta 
SIAR Osler 


VT 
wad 


S 


: at 
IST 


eas 


Sat aasra 
ipaisia3: 


PEL ee aad 


+) E 


So! 
Peart hel tees 
ot a 


ree 


ee 


Datei: 


NTA) 


Fs Ra 
“4 


aka 
Ta 
Me 


aga Sawa 
RE 


5s 


Bie cea ame oe 
iar Seat 


yaa 
cana 


ara 


Ts) 


SIGs 
at 
A 


is 


SI 


Seta ON Oe 
: AIAN 


ae 
sears 


% Lo) 
oH 

a 

T 


re 


cae NY 


Nie Ni 


aN 


aS Fs BRIA Fa BIHAN Be aN? a BEE 
in Na Ba a ea Bs 

Si ras apa oo 
Shea's chess Nase 

A) NT Ce 
Per Si 
AES SAS GENS AS gS aS Se Seo GAGS CRS ea G 
x iS 


SRONAS 
lsc | ae ES Bie aie Sa. Nae 
K I S aS ose Sarg oe 
Oral Ome eos Sn ctan onan sets Oe aD SEA ce aa OMB Reds Oks o 
SERA RES Sy 
PRSSUASLS 


= 


as SR A Fa Na AS Fag 8M 2 Fs aad a Ag Na Ps a a a 


eee eee eee ee ee ee ee ee ee ee ee 
THE GROWTH OF LACE 


Quite different is the position occupied by Spain with 
regard to the lace made within her borders. Quantities 
of course occupied the attention of the many nuns 
which dwelt in such a Roman Catholic country. They 
copied very faithfully the beautiful Gros Points de 
Venise, and these were used wholly for the Church, 
adorning its altars and the robes of the priests. Little 
was known of this store of lace treasures till the middle 
of the nineteenth century, for the Spanish grandee, ever 
a wearer of choice raiment, laced his garments with the 
products of Italy, France, and Flanders, or with laces 
of silver or gold. Few laces ever achieved the vogue of 
what was known as Point d’Espagne, the most splendid 
trimming of the seventeenth century, worn extensively 
by all the world of powerful and great, and, although 
called Spanish Point, yet largely made outside of Spain 
and sent there for sale. With the changes of fashion in 
both men and women’s clothes the use of this lace has 
wholly declined, the remnant of its glory still shining in 
subdued form on the uniforms of the army and navy. 

Spanish Blonde, the only other famous lace of Spain, 
is yet worn in mantillas and flounces; but in modern 
times this is no longer made in Spain except in small 
quantities, the French market supplying the demand, 
and making these laces in the well-known Spanish style, 
with a fine net ground and heavy florid pattern. 

Germany never occupied an important place in the 
lace-making world, though she early began to copy in- 
dustriously from France in the north and Italy in the 

47 


hs 
Bee See! "i 
Ra ety 


7 


Bie = 


ase 
v Dey 


Es 


7] 
a4 .9 Pai 
LI 


My SCN 


eens. : id 


SI 
a Pa 


A ye SS 


SICA IST AIC a 


gi ceh ce 


. . on 
DST le DT SOT Go) 


heise 


Fra 


ade 


BA ese SC SK Foot 
Barts NS Ma BES 


Fa 
SISA SILAS 


Fla aS a NS 
LINC VET 


a ad Ca 
WITS 


7‘ Se ee see 


SSI 
ag a TE a 
Svea cea 


MEIN OBL YSU Ts 


*} became known in Germany as Hamburg Point. 


4 


in! 


Es 


ato Ne, OA 


SI 


ES aa a 
ANeeat rs teats AY 


Sms 


ne 


a Lis 
rx ae EEN AN a Basie 
BSR CIS Vues Se ta) Puri Suet) eet) 
1 AS Sa ie oe SST 
SS ey 
‘G 7 


Mii 


bids-bid 
PRSEV PTY 


Py Sich 
PPS Fa 
PPR OR ORS) 


Si 
PRG AP 


a 
PRICY 


SO OO EO ORF 
THE LACE BOOK 


south. She never achieved fame in any branch of the 
industry, her sole great name in the work being that of 
Barbara Uttmann, who, having learned to make bobbin 
lace from a refugee from Brabant, introduced the work 
to her own countrywomen about 1561. French refu- 
gees settling in Dresden and that region brought their 
knowledge and skill with them, and taught the German 
workers, so that the quality soon improved. 

Saxony Point, so called, was a close copy of Brussels 
Point, and, like that lace, extremely costly. Darned 
work, lacis, and embroidery on net were extensively 
made, and gold and silver lace was made at Hamburg 
(another point where the French refugees settled) and 
Fred- 
erick William of Brandenburg encouraged lace-makers 
to settle at Potsdam, and France bought from Germany 
laces made by the very Frenchmen her intolerance had 
exiled. Bobbin lace gained a firm hold in Germany, 
and many varieties of coarse laces are still made there 
by the peasants. Some of the earliest known pattern- 
books were printed in Germany, and the patterns bear 
a strong resemblance to those in the Venetian books of 
the same period. 

Nor is it possible to close this sketch of the use of 
lace without glancing at the colonies in North America, 
that followed at a distance and slowly, it is true, the 
fashions of the period, as they changed from time to 
time in the Old World. Little lace was made here. I 
have no doubt that many a Dutch vroww brought her 


SO Re RT RTE SE 
DKS Dies Die Diesel 
oF 4724S" 4S Sa 


acid Vo Maat a 1° as 


susie 


eS AIS 
ou 


CRD 


AT 
ci- 
2 


os 

AN NA] 
Fa Sead NRL 
Ta a RS 


Ma) 


EDIEDEL NA. 
OTST es ven é 
= 


Siz 
a 


oun 
con 


<l7 ‘J 
RTS 
SE ee 
A NI lore 
i Lt - > 


ai) 


Ma 
a 


Niele 
" thao 


LATE XIII.—Silver Point @ Espagne. Six- 
teenth Century. 


2 SU a: ewan eeu sess 
SSE 5 we i 
Dy : met b 
PS ert 3 ori De Dic 
oT A NI 


PRT 
a 


AT CPR ae > ae A 
b= 1S woFe CN he) oe 
PITRE I)? D344 


BCE OI AE SEI IEEE EI 
THE GROWTH OF LACE 


pillow and bobbins with her, and found time amid her 
varied duties to make enough “ Potten Kant” to keep 
her caps trimmed, and enough to edge the many fine 
linen cloths which stood on table and mantel-shelf. 
There are one or two old pillows, still set with pins, the 
thread yellow with age and the bobbins quiet for many 
a long year, treasured in museums in New York State 
and in Maine. But these are only occasionally to be 
met with. Like most of our luxuries, our lace came 
from London, and plenty of it was on sale here. Too 
much attention and too much money was bestowed on 
these gauds in the opinion of our ancestors, and they 
found it necessary to frame sumptuary laws for the 
guidance of the light-minded, just as was being done in 
Europe, to check over-indulgence in world’s gear. 

In 1634 the Massachusetts General Court prohibited 
the purchase of “any app’ell either woolen, silke, or 
us| lynnen with any lace on it, silver, golde, silke, or 
zs.ace| threed.” ‘The very fact of this prohibition being framed 
AF = one 
pasucesa| Shows that there were sufficient quantities of these 

articles on sale to draw attention to them. 

From year to year these prohibitions continued in 
force, and in 1653, nearly twenty years later, we find a 
man taken before the Court for excess “in bootes, 
rebonds, gould and silver lace.” This was the period 
of the lace “ whisk,” as the gorget was called, of lace- 
frilled boots, garters, and other extravagances. 

Even from somewhat remote spots like Ipswich, 
Mass., which was settled in 1633 by the younger Win- 


FES GRAS ap 
a Maat 


PRIA ATT ATE LE 


LBicih de 


ace: 


aca 


res 


cae ee 
A285 
apy 


oh 


STS: 
Me 
Re 
Sag. 
VI 
a 
ae 
SET 4 
68h 
ae 


Sie 
$ aad 
> “ai. 


aR: 
a 


oun 


T2152 
ed 


OA : = = 
7 a : : + He 
SIDI n 


at a1 

Ba Di oe I tk enone OR he 
py Es : - noth che : anes KORA ea zane 
oan > ¥: eS eens coy a eaenaae 
PST R 1 BAS ISA i ee Mad Mat 
ht 2 is peices Siclor ae ice toeiea Se ele 


da Fa a 


ARCY DIS ror 


a 


Ses 
SET ANIZ fe iro 
as aaa Aedes o 


y3 aS 


te 
Gee Shao ames 


acs 
PRISER 

OS a Ba a Ms | 
fata Ses 


eae oer tes 
gat es Ne Fa At 


Sor ASi 
SRLS ass 
SOROS 
a Na 
Pe eS Ta 


ts 


IX 
zane 
a ew 

DS 


NI 
Fa Sead 


"7 


RD Sis 
rated re 


fa 


at 


v GS Fare 
Dip DIK 4 


. & 
rae 
aS 
a SE 


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age 
ares 


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ot Fa aN a 
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Sel Mad aa 

SEES Sa? 
ma 

od EP 


ae 
cet 


at an at! 
FAS Wea PAS Fa A Fe 


ATR ORG 
<} S* 


Seek 


eeescess %: 


ila a 
RES up AS 
asec a 


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= 

2 
IG. 
oy 


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acts 


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on 


atu 


a 


SS 
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a 


i ra wt Py a8 SS Meats Oe 
BIAS iti. iciat-ISi7ion.Tsiot LS Siziee. Nictics, SIS TUS Wig Ties SSI tS 
q PRS Fi 


PRS SEN Pre eS Fs ORs Ss Se 


Pi tg Mm 


cee? eee ee ee ee ee ee ee ee eee ee ee 
THE LACE BOOK 


throp, to cut off the Jesuits from starting a mission 
there, Madame Rebekah Symonds, wife of Deputy 
Governor Symonds, sent to England for her clothes. 
About 1658, when the lady was close upon sixty years 
of age, she had from London shoes of damson-purple 
Turkey leather and satin, scarlet stockings, and a light 
violet-coloured petticoat, “ grave and suitable for a per- 
son of quality.” She had a spotted gauze gown, a 
“striped” silk, a cinnamon silk, and a flowered silk, 
‘with partes (ruffles), as they rate them, to weare in the 
sleeves, as the fashion is for some.” Silver gimp and 
ribbons for trimming, a black sarinden cloak with two 
black plush muffs, “modish and long,” were among the 
next articles forwarded to her. She must have known 
the colony law: 


“Noe p’son, either man or woman, shall make or buy any 
slashed cloathes, other than one slashe in each sleeve and one in 
the backe ; also all cutt works, imbroidered or needle worke capps ; 
bands and rayles are forbidden here after to be made and worne; 
also all gold and silver girdles, hatt bands, belts, ruffs, beav’r hats 
are prohibited to be bought and worne.” 


Fortunately the Pilgrim Fathers left a loophole of 
escape, for they go on to say, — 


“It is the meaneing of the Court that men and women shall 
haue liberty to weare out such app’ell as they are now provided of, 
except the immoderate greate sleeves, slashed app’ell, greate rayles, 
and long wings.” 


In more liberal New York fine clothes were more freely 
worn. In 1700 the wife of Colonel Bayard wore to 


| 
Ty 


MAY % a : Q 3 Q ees acteps 
Weir, Ki} Dito bid z mot Dee Shees 
3-5 Tan Ma Ea a BES a FAS YS oA 


“4 
% 
Ke: 
ted 
i] 
~ 
4 
rs 
‘a 
e 


ra? Pa Fa 
Rope 


aay 
DIK 


aS 
4 
i 
i 
a 
Ss 
% 
lest 


SEND ISIche 
DORR eels] 


% 
Fe 


AAS 


* vIn 
Na RZ 
KS DIR 


Se 'ese eee ess S220 Be tH . Sawnebtsaevbessesessseges Pd 
ee ty aS Et gies Ray Wott 
Al S is iS “a LS Ly < 
RERIARC SION 1s DDI Se te Dic seep ites ete] es eaey 
a Sees : A 
“4 3 
cep 


%" 
- i J 
e) a ra ” 
PRES SSeS SPS CEE ELSES ras SSS DSP R Seat Pane 
CS aaa Co bran Meany aS a BAY Fp DEKE AS oie Niele LQe Grays jas 
SUI SPS OPS) On Suz] Stas aes Ratuce ss SE oa Shes Ks SE ska Dy Solel 
y sy Nise ictesn Sie lose as. alioe, Shao Nin Nic oe Nicton ita Ey San? Ka 
vb as ame Fo = eB eS) ea Bo 
rai q mot “ iN = 
PR DIK RDC or Die DC Se DI es ic ei seks pC 


Se ottry 

he 

yi 
Fa 


fi 
a 


SINAN 
Big Spices pid] 


rabiee 
gases 


(ES eee eee eee eee ee ee ee 2 ee ee 
THE GROWTH OF LACE 


fd 


Oh) 


IS 

ass 
S77 
LT 


PDI EDI Di 
a 
BSS. 


Sit 
My MMs a A 


iat £ 
ie 


church of a Sunday morning a purple and gold atlas 
gown, cut away in front to show her black velvet petti- 
coat edged with two silver orrices. Her head-dress was 
a “frontage,” or “ Fontange,” and she wore around her ( 
neck a “Steinkirk” edged with lace. The news had |Sgyrcrar 
probably not yet arrived that Fontanges had been [sfasev.ch 
“out” a six month and “flat heads” were the mode. ERP 2#3"7 
Nor was the dandy less solicitous about his appear- 
ance. From 1780 till half a dozen years later his gold- 
laced coat was buttoned at the waist, and then left to. 
fly open to the throat, to show as much “bravery ” as 
he could muster in the way of lace ruffles. These 
were repeated at his wrists. 
Governer Montgomery, when he occupied Fort 
George, had not only much household furniture sent 
him from London, but clothes as well, suitable to his 
quality. Among them was a suit with “open silver 
lace,” “a scarlet coat and breeches trimmed with gold 
lace,” and many lace-trimmed shirts. 
New York and New England were, however, away 
behind Virginia and the Carolinas in the elegances 
which could be obtained there without sending to 
England. John Frison of Henrico County, Virginia, 
had on sale in his store, beside farming-tools, such as 
they were, the following expensive articles : 


“Holland night-caps; muslin neck-cloths; silk-fringed gloves ; 
silver shoe-buckles ; embroidered Holland waistcoats; 2 doz. pr. 
white gloves ; 1 lace cap; 7 lace shirts ; 9 lace ruffles ; holstercaps 
of scarlet embroidered with silver and gold; gold and silver hat- 
bands ; a parcel of silver lace ; and a feathered velvet cap.” 


51 


Pa Arh Ree ae : Nieeat 
NT eT Tt aN AM 
is rs 


a 
CA pS 
PKK 


aaa Nk 


a a 
ee 
2 


Ae Ra aI 
noua 
Rat 4 
RS2 0 


AO 
at ag 


Wines 


5 


Wa a Fg 
Ee 
cl 


Fa we 


ta 
e5 
YSTy 
a 
SNA 
oo TS) 
Fe ms 


LA 


te 


Fass 
Fo AS ant 
a XP 


7] 


4 


oe 


oy 


ae i; ay 
1 Eade Peas Fa 
DIETS 


i 


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Fak 


. cee! 
Sas 


wy FN aS aa 

AS a TA AY a BH AS a A 
rg heise wm ° PRON SR a 
PTA 2 Nit on le ZENG 


a a 3 
Pat re a 
-*. See 


a Ns AP PAD a BEDE BO 
eS? fe. v ES aboncks aka 
Sieh PAS Ma fF.TQNY "YAY AY Ta Ma 
RPE! ete Sheds SRS a 
Sra SPSS Bit eos 

PROSE 5 

NARS si 


iP 


ae! 
Basra 


THE LACE BOOK 


eS 


Be 


The country, as it prospered, constantly demanded 
what was worn in England and the Continent, and by- 
and-by the newspapers had many advertisements of 
laces for sale. The presence of the many officers who 
came constantly caused a demand for gold and silver 
lace, and by 1760 there were on sale in many places in 
New York, “gold and silver vellum lace, gold and 
silver bullion fringe, silk sashes, and hat feathers, for 
the gentlemen of the militia and army.” 

Indeed, ten years earlier, there was enough finery 
here to necessitate the services of a cleaner, who adver- 
tises in the following words : 


BAS UE RS ue ; 
SOAS UPR ene ues 
a BB a Ned Ca i a NA NM 


at a OUP Ree, 
ber shezseazs 
a Ts ay ~ 
abana Abeta PR? 


Be ISA TS 
path oT 


a 
SES AUN 
CMI SVT 


on 


Ke 


Ly 


SES 


a te 


“Thomas Davis, Dry Scourer from London, now lives at the 
house of Mr. Benjamin Leigh, School Master, in Bridge Street, 
near the Long Bridge, where he cleans all sorts of Gentlemens 
and Ladies cloathes, Gold and Silver lace, Brocades and em- 
broidered work, Points d’Espagne, cuffs and Robings, wrought 
beds, hangings and tapestry, flower’d Velvets, and chints, without 
hurting their flowers, at a reasonable rate.” 


We find aprons were as fashionable in New York as 
they were in England, even though Beau Nash declared 
them only fit for Abigails. By 1751 you could get 
them of “flower’d and plain gauze, lawn, gauze with 
Trolley lace, and finely flower’d.” 

Three years later (1754) appeared this announcement : 

“M. Derham, milliner from London by way of Philadelphia in 
the Rachel, Captain Joy, at her shop near Alderman Livingston’s 
in South Street, has brought a genteel and new assortment of 
figur'd ribbons, plain ducapes, satten do, gauzes, catgut, Paris net, 


white and color’d blond lace, silk edgings, thread do, black silk 
laces and fringes, hollands, minionette and other muslins.” 


SI 
wks 


ae 


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as 4 
Fa 
On 


fa 
ae i 


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Ra a a PAS Fa 
STARS Polers) 


33 


Sy 


Besar wearers 
Pe rer teen ae ae 


Sees POS 


LATE XIV.—Portrait of George Washing- 
ton, by Rothermel. Showing use of lace, 
probably Mechlin, in Colonial costume. 


R 3 
Tian "on™ Toi 
ce cesar 
- a el 
ey pees Sta 
DKS DK DIC Se DISD 


THE GROWTH OF LACE 


SST 
a OTs 5 
‘J pi 


There are more than a hundred other articles mentioned 
in Mistress Derham’s list of goods which concludes as 
follows : 

“ Every thing in the millinery way is made up in the newest 
fashion, such as lappet heads, caps, French handkerchiefs, ruffles, 


stomachers, ruffs, sleeve and glove knots, shades, capuchines, hats, 
bonnets, etc., at the very lowest prices.” 


"As A 5. 


oh a 
LED ED 


Pah 


Be sah ALE 


In 1762 there is advertised a special importation of 
“ gentleman’s superfine laced and plain hats, dress’d and Peat as 
cock’d by the most fashionable hatter in England.” In [egusagvow, 
addition were to be had castor and felt hats, and a par> [Raszesr2e' 
ticular kind of felt hat with gold lace and feathers. 2 

By 1764 there could be bought at Moore & Lynsen’s 
Vendue House such fine “apper’l” as a “suit of super- 
fine white broadcloth trimmed with gold, and a suit of 
superfine blue trimmed with gold vellum holes.” This 
same year Nicholas Stuyvesant advertises ‘“‘ Gentlemen’s 
ruffles of Blonde lace.” 

Colonel Washington sent to London in 1759 for arti- 
cles needed by his wife. No lace is specified, but there 
are caps, handkerchiefs, and tuckers ; “ double handker- 
chiefs,” a black mask, a silver tabby petticoat, and a 
“tuckered petticoat of a fashionable colour,” and two 
handsome breast-knots. All these articles were prob- 
ably trimmed with thread or metal lace. Nearly all the 
portraits of Washington in state dress show lace ruffles 
at the sleeves and a cravat or breast ruffles of the same. Razsasist) 
In later life Mrs. Washington’s caps and kerchiefs were 
always edged with lace, and some of this, of both 


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55 


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ARGS, 2, 


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ARS a OEY Te ES 
DCS Des SPRL es 
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th the ascendancy of pantaloons and shoestr. 


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glish and Dutch make, 


her descendants. 
wi 


But 
the glories of ruffles and buckles perished 


n 


decking herself in the richest products of the loom, the 


EK 


tume, and to woman alone was left the prerogative of 


needle, and the 
LED DTD 


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SST SIE eas 5 Es GRY ea Ra aS a Me , CAS a ey 

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a a iNiasty SB chase seas cee *s 2 er 
Bh 


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as BSED e ducu sn, BIG DK 


NaN Ea, 


EP Ter ih ae ae A oe et da Si Biguesaseags ry 


SRR OTIS ER TREATED 6 ree , J Soret 


Part II—Italian Lace 


Ke aS 
PeREES 


e “ee 3 wa 


a Le eS 


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LTS 
at ape " 
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a a Faas a 


a 
ite 


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ence Specie cahes oe 

: <P ’ eee: a 21 ma 

"apie aaa a ee 


Epaess ee 
“s *. a oan a" aa ag =e" 2" 3 = PS SS SS PIP Ee oer rece e. - 

SERENE NTRESESES Sens Spee aR ee jaa os 

ob oaths oo esas" Soh os 5 st AEB OSS 3 DERE S Sat ae aa at CO Soe ee ee 


rat 

‘ TT PL BEET he a NASe 1S 
Biv ue ry 7 gy a a 
Siely ASEAN Ke SieRa at Me 
fa ie 
SSS IIa SEG A NG A a AT aT RG 0 
PDI Diep Ke Dig Dic epi Ppa 


y I-Ts 


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oe: 


ELLETO uno adoro filato. 
Payro uno fodrete di cambria lavorate a gugia. 
Lenzuolo uno di revo di tele cinque lavorato 
punto. 
Peza una de tarnete @argento facte a stelle. 
Lenzuolo uno de tele, quatro lavorato a radexelo. 
Peze quatro de radexelo per mettere ad uno moscheto. 
Tarneta una @oro et seda negra facta da ossi. 
Pecto uno Coro facto a grupi. 
Lavoro uno de rechamo facto a grupi, dove era suso le 
perle de Madona Biancha. 
Binda una lavarata a poncto de doti fuxi per uno 


lenzuolo.” 


From the Inventory of Angela and Ippolita Sforza-Visconti. 
Milan, September 12, 1493, 


ghscghs 
nese 5 


ESS % 
Siongneugac 
a aN Ki 


PRE 


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PRR TSP ee BETS 


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Part IIl—TItalian Lace 


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15 


Kee 


O other article of attire has been so 

hemmed and hedged about with re- 

strictions, orders, edicts, and laws as 

this, the most becoming of all the 

frivolities of woman’s attire. Writing 

in the twentieth century, when the 

utilitarian and entirely ungraceful habits worn by men 

have superseded those rich and graceful costumes of a 

s.| century or two ago, one is led perforce to grant to women 

Be a the sole use of this most elegant ornament. This is, 

seat however, only a matter of evolution. At first the rich- 

est laces were worn by men, and there was not a single 

article of attire, from hat to shoes, which was not deco- 

rated with it in one form or another. In fact, as a 

“| sprightly writer in the “Quarterly Review” for 1852 
ry puts it, — 


IRATE IIIT EA 


Fa Picts aha 
SIZ NIA A Nid 
MINA VIA T 
Fr N 


a A 


a Sat 
& BEES 


a4) 
bat 


By Fai 
te] 


TRL 
os 


Yas Fa 
ea 


—‘we cannot point to one single excess or caprice of dress which 
has appeared on the beautiful person of woman, that has not had 
its counterpart, as bad or worse, upon the ugly body of man. We 
have had the same effeminate stuffs—the same fine laces—the 
same rich furs—the same costly jewels. We have had as much 
gold and embroidery, and more tinsel and trumpery. We have 
worn long hair, and large sleeves, and tight waists and full petti- 
coats. We have sported stays and stomachers, muffs, earrings and 


STS oA Fa Ba A a wa 
Bee away ABest a 


LJ 


imeaowd . oe 
te Pan ce ee ae a 
é ANS 075 +o So piidaeee Reda Siete] 


Nid 
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hast 


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SP aehraa aa 


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Y-I-¥s 


Ma 


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Pe PICS 
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Pe AAR? 
VIDE NLA TSIEN he NI 


re 


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AR ARC 


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Maa aS 


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L-} 


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CESSTT TES Se 
eos 
LJ 


238) SOS DRL NLA 
ERE DIED Bahic 
be SRS SER BA 

ING a Yd DTS 
Bis RN bea Big eG 
DSi aa 
c BoD Sennen = RAK 
he y 


b 1 « uw 
STN 3D 
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aS OREO 


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ad Fs I 


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Vw NE NE Vv 


THE LACE BOOK 


love-locks. We have rouged and patched and padded and laced. 
If they have lined their petticoats with whalebone, we have stuffed 
our trunk-hose with bran. If they have wreathed lace ruffs around 
their lovely throats, we have tied them about our clumsy legs. 
In short, wherever we look into the history of mankind, whether 
through the annals of courtiers, the evidence of painters, or the 
researches of the learned, we find two animals equally fond of 
dress, but only one worth bestowing it on, which the Greek fathers 
doubtless knew as well as we.” 


The desire for the enrichment of the plain edges of 
garments manifested itself first in embroideries of silk in 
various colours, mixed, if possible, with gold or silver 
threads. This gave way to “ cut-work,” as it was called, 
where the material on which the embroidery was wrought 
was cut away, leaving open-work spaces. So perishable 
is this costly product, lace, that many of the earliest 
specimens have ceased to exist by the mere falling away 
of the materials of which they were composed, so that a 
great source of information as to the periods when cer- 
tain laces were used, and how, is the pictures of the 
times. Cut-work to embellish sleeves and the necks of 
garments was shown as early as 1460. 

The earliest cut-work, which is called Punto Tagliato, 
had for its foundation coarse woven linen. Elaborate 
patterns were buttonholed on this, and the linen cut 
away, so that it became more and more elaborate and 
ornate. The latest stage of this cut-work was made, 
not on coarse linen, but on fine lawn, known as “ Quin- 
tain” from the town in Brittany where it was made. 
Over the lawn, which was fastened to a light wooden 
frame, were stretched threads which crossed each other 


58 


PS 


(ay 


+ SP eB i 
SPR a Oa 
ts 
a 


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PISS Rs VISUAL ie) 


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at 


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VS) 

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Rebates 


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Fa 63 Rica 
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5 


Rep “B 
NaN Nie 


VIN Y NS Re 


SZ) 


Sean 


Np sat we way 
LP Lg AO MINIM 


LATE NV.—Princess Eleonora di Mantova. 
Ruff and cuffs of cut-work. Portrait by Por- 
bus the younger (1540-1580 ). 


een 


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ca DEBE IKP DIK RDI CSE DIS Die Did epi DIR : Pepe 


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ITALIAN LACE 


back and forth, and which were sewed to the lawn with 
buttonholing, such parts of the lawn as were unneces- 
sary being cut away. 

Little by little new stitches were tried, different de- 
signs were introduced, and the first work which bore 
any resemblance to lace and eventually grew into its 
finer forms was called “ Drawn Work,” or Punto Tirato, 
some of it being of great delicacy and beauty. 

Punto a Reticella, or “Greek lace,” as it was com- 
monly called, was made in both insertions and edgings. 
It was really the first needle point, as well as the first 
lace ; since both cut- and drawn-work, which had pre- 
ceded it, were more lace-like material than real lace. 
Greek Points or Feticellas were made in abundance 
from 1480 to 1625. Not only did they decorate vest- 
ments and altar-cloths, but whole shrouds were made of 
them as well. The earliest of these points—made in 
stiff geometric designs, such as were used in Gothic 
architecture—were at first threads buttonholed over, 
the foundation being cut away, or threads being drawn 
out, and little loops called “ picots” or “purls” being 
set along at intervals. Later the varieties of pattern 
became greatly extended, wheels were introduced, and 
triangles with inside ornaments of great beauty. De- 
signs alternated in the points, giving it great variety, and 
toward the end of its career the patterns lost their 
geometric tendency, and, as far as the limited nature of 
the work would allow, followed the style of design 
popular in other laces of the Renaissance. In some of 


Pe ES 


a a BZ 
yA 
Q oc 
aah at ae "Patra Pa 
ausne Dest pe 
1 FEL a NaS 


I 


a 


SKI 


Boss ty - 4 

oi Sis eas & 
SIS CA Wise Wit f Dr 
as SB Fie Na a Fae P ‘ > te 


“ES : | 
fs ety 
SY “are " a 


AT ele 
Wadd Fa 
PIL Y 


aC ale aCe aC 8 eae 200 ea aa eC ae ea 
THE LACE BOOK 


ss 
oP 


Ct 
b TSIZT a ISAZT 
AE TH 
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SST 
Baeonan akon sksrce 
ey ye RAS GY a. 


i tome 


the richest of the old Greek Points, to add to their 
beauty, silk threads of different colours were introduced 
as well as gold and silver. The best means of studying 
this lace is in the splendid portraits of the period, when 
artists delighted to linger over every loop and purl, and 
rendered the lace with a fidelity which betrayed their 
appreciation of it. 

Although it was freely worn in France, Germany, {33433" 
England, Spain, and Flanders, little of it was made in ; Keak 
any of these countries. In its home, Greece, and in the [3443 aoe 
Ionian Isles and Italy, enough was made to supply what 
was needed in all these other countries. As finer laces 
were made, the Reticellas fell into disuse, and their pro- 
duction declined. With each succeeding year, under 
the skilful fingers and in the artistic atmosphere of 
Venice, all work became more and more beautiful, and 
the next step forward was Punto in Aria,— literally 
“point in air,” showing the departure from cut-work, or 
drawn-work, in having no cloth or thread foundation 
upon which the pattern was worked. It was in reality 
what we call “lace,” worked on a parchment pattern 
upon which the design was clearly drawn, and enriched 
with many very beautiful stitches, the various parts of 
the design being connected with “ brides,” or bars, made 
of buttonholing and ornamented with loops of thread 
and sometimes with tiny wheels. 

It was not difficult to trace how, little by little, this 
lace became the celebrated Punto Taghato a Foglami, 

US OM - ; 5 a 
wowe"ves| which was made in the same manner as Punto in Aria, 


a 


Sapa 

PTS eo 
4 ie i 
SCTE SIL AN] 


Ey sabeceseauts ceenses 


ski 


Seth eho 
1S AR 
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0 Ea 
be 


Pe 


Esl 


PRR SI) 
Lt Sisasuses 


Stick 
7] 
SSI 


ASAD ROR HE: 


CUR Sh 


gor 


Oe Nas 


Oa Ea OP 
oie CRG ae neae 


Heads 


ae a Se 


oe. 
OP Nes 
Si 
Hp ® 
Leh PBL LT! 


fa 
OR 


Ras 


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% 

Pe oen 
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LATE XVI.— Eleanor of Toledo, wife of 

Cosimo II, Duke of Florence, died 1562. 
Showing chemisette of drawn-work very beautiful 
in design, and net of knotted gold threads. Portrait 
by Bronzino. 


te 
a 7 
PSC 


ES Pye PES oo 
oS oP PEE Te ON 
OS Oat OS 
Sho Sian Nie Nice 


Res SEG te Os tes 


cates 

chetiee 
his is 
Se 


z- S76. wad < % oJ 3 Fal ta 7 J 
Fg aestac SEBS SUSE CSS aos cei cuias sees sats SeSaSeR 
ae Cj 

BNE hay sou 

Rhee OCTET TEC OTTT OUT OOTTOOUO REN OT TEE: 

at a © SHS NA LEB Vv Cele ee ea eee es aS ¥:9:8-8- 8 BU Be a aaa 3h 
pater BN WD 7 

Eek ssandcces ITALIAN LACE ua 

Bie — SAN re 

i Ty) 4 

: a NYE 0 7 nie 

SOR ESO but made richer and heavier by the use of heavy threads Rs 


in some portions of the pattern, so that the outlines and 
edges were much raised. This thread or fine cord used 
to outline the pattern in needle-point laces is called 
cordonnet. Sometimes the outlining cord is still further 
enriched by loops of thread, purls, or other ornaments 
which were then known as “ Crowns,” or Couronnes, 
when they came on the edge of the lace, and as Fleurs 
Volantes when they came in the body of the lace. The 
"§| variety of complicated stitches used in the flat parts of 
the lace are without number and of exquisite beauty. 
This rich point is the famous lace known as the Gros 
Point de Venise, or “Venetian Rose Point,” which was 
the most sought-after and celebrated lace of the seven- 
£3831 teenth century. No cavalier was fully dressed without 
the use of some of it in his costume, and no grande 
dame hesitated to adorn herself with it for any ceremo- 
nial occasion. The pictures of the times show the use 
of this lace when it was at its greatest beauty, and when 
the artist prided himself upon the fidelity with which he 
copied it. 

Besides these four there were two other varieties of |548 
lace made in Italy during the fifteenth century,— one a {# 
coarse knotted lace, Punto a Groppo, made of cords )¥e 
similar to what is known as Macramé. Then there was 
the darned netting called Lacis, in which patterns were 
stitched upon a lace ground already prepared. This 


STEN 
aoe Kf - 
DFT Be el) ee 


TA a 


sake 
Fase ha) 


Ot, RS 
Ee 


r I 
SOTA Sirs 


4. 
rare 

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Ty i" 


er. 

pe 

Fg et a 

Bea 
C7] 


Si] 

aan 
Pepe) 

] 

mal 

i 

a Fa 


SZ 
Tan 


aes 


Wr act 


Say 


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A] 


at 


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eT 
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a 
VTS] 


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Ts 


Put . . 
cup sehs 3 was not used for clothing, but for domestic purpose, 
Peaches bed-linen, curtains, etc. 


SSESELS a's 
oe pid 
Si) 

A 

te 

NS 

“a 


Re SES 


Ma atta: 
RS as 


rym 


PSI 
a 


1 a 


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ra Fa Bays Ce aS Ta iA Biel 
Sa SS 
oF aE Raa Se PRO NA So Dal) iS x 
PRP ORR Ene = cs fa aun oes! 


Kale O eee ee eee eel eee 8 S66 eat a) 
THE LACE BOOK 


as 


SED 


aa ma a 


Fiorano ats 
= 


There are so many technical terms used in lace, and 52% 
their meanings and the ways in which they are applied 2st 
have so changed with the years, that it is necessary to 
give several of them before proceeding further. 

For instance, we now apply the term Guipwre to all 
laces having large, showy patterns with coarse grounds, 
requiring no brides to hold the pattern together. Ori- 
ginally Guipure referred to lace made of gold and silver 
cords, and no doubt the white and gold lace worn by 
Berengaria at the coronation of Richard III was this 
same Guipure. Among other items of expense for the 
coronation ceremony it is stated that the Queen wore a 
mantle of cloth of gold with trimmings of lace of white 
and gold. This lace was extremely costly, and could be 
worn only on the garments of the rich, and was sub- 
jected to many sumptuary decrees. It was ultimately 
made in thread, which material showed itself admirably 
adapted for making an ornamental trimming of great 
beauty. Early in the seventeenth century when lace 
was in such great demand, a finer quality was made 
with grounds, or network mesh into which the pattern 
was worked. Such laces are called a réseau. 

Guipure lace was made either with bobbins or with 
the needle, sometimes with both, as when the large 
flowing pattern was first made on a pillow with bobbins, 
and the clusters of flowers, leaves, and ornaments were 
filled in with stitches worked with a needle. The 
PRPS English term for this old Guipure was “ Parchment 
eaausutms} Jace,” and as such it is frequently noted in inventories. 


aL te ok 


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LATE XVII.—** Punto in aria.” Italian 
needle point. Larly Sixteenth Century. 


1 Es Oe SS ORs Se ORS 
ISS IA SISA] ones SRC at SI hae CTS Se oI) 
Fa sea Bes eS RSE N ma a the: 
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ITALIAN LACE 


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This same name was made to cover a trimming made 
of twisted silk cords, — what in modern times is known 
as passementerie. 

The old silver and gold Guipure looked much like 
modern passementerie from the coarse character of the 
cords which composed it. It was made all over Italy: 
in Milan, Florence, Genoa, Lucca, and Venice. At 
this time, the sixteenth century, Italy was the head- 
quarters for all the rich and sumptuous articles of dress 
which decked the persons of both men and women. 
Silks, velvets, and damask were made in her cities, en- 
riched with threads of silver and gold, and bearing that 
“stand alone” quality of which we have heard our 
grandmothers speak. The Italian cities were rich and 
prosperous. Love of beauty, ever a factor in the Italian 
heart, sought expression in paint, in stone, in stately 
architecture, in dress, and in small refinements and 
ornaments. Artists did not consider it beneath their 
abilities to design patterns of jewellery and linger lov- 
ingly on the setting of a gem. Indeed, several artists 
whose names added lustre to Italy’s greatness began to 
work as goldsmiths’ apprentices. Such an one was 
Ghirlandajo, the “garland-maker,” who wrought, in 
gold, flowers as fine and delicate as a hair. Alessandro 
Botticelli has clothed his figures dancing on the hillside 
in “ Spring ” in gauzes fine as lace and almost as beau- 
tiful. The rich and magnificent viewed with alarm the 
encroachments upon their prerogatives. The usurpa- 
tion, by the prosperous middle classes, of those things 


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THE LACE BOOK 


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which those born in the purple considered their own 
prerogatives, gave rise to sumptuary laws, which sought 
to regulate the expenditure of those who wished to 
lavish too much money upon splendid gauds. Perhaps 
the earliest sumptuary law framed in regard to women’s 
dress was that passed in Rome, 215 B. c. and called the 
Oppian Law. This provided that no woman should 
possess more than half an ounce of gold, wear a dress of 
different colours, or ride in a vehicle in the city, nor 
within a mile of it except on occasions of public reli- 
gious ceremonies. This order was repealed twenty 
years later. In more modern times the first important 
sumptuary laws in Italy were those of Frederick II 
(1194-1250). 

The Great Council forbade the use of any trimming 
which cost more than ten lire in all. 

In the next century (1348) colours were a matter 
against which laws were framed, and neither dark green 
nor black gowns were allowed to be worn in the morn- 
ing; while in 1330 edicts had been passed allowing only 
embroidered figures on dresses, not painted ones. By 
1414, however, the manufacture of gold lace had so far 
progressed that the horses in a state procession at 
Venice had housings of gold lace. Of course this was 
of a less rich character than that used on clothes. 

Prohibitions of gold embroidered and trimmed gar- 
ments were passed in 1481, but, notwithstanding this, 
zo the manufacture and wearing of gold lace continued. 
te “3, About 1500, Hercules I, Duke of Ferrara, created the 


40 


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LATE XVIII.—Gros Point de Venise. 


Six- 


teenth Century. In process of construction. 


- wa 


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S SED RG PR 5 Se SA tai 
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ITALIAN LACE 


Lee 


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Order of the Golden Spur, and to the gift of the spur 
was added a sword, a mantle trimmed with gold lace, 
and a grant of money. With these emoluments a 
quantity of service was expected. About ten years 
before this, on January 26, 1491, at the wedding fes- 
tivities at Milan held in honour of the marriage of 
Lodovico Sforza and Beatrice d’Este, the fétes were a 
succession of most gorgeous pageants, in which men and 
women were robed and jewelled with a richness unpar- 
alleled even in the days of the Renaissance. In a 
tournament which was one of the crowning festivities 
of the week the combatants entered the lists in com- 
panies, clad in fancy costumes, and bearing the devices 
which were the fashion of the day. The Mantuans, a 
troop of twenty horsemen, were clad in green velvet 
and gold lace, and bore in their hands golden lances and 
olive boughs. 

The old burgomasters of Florence made a firm stand 
against indulgences in dress and ornament. They 
aimed their strictures against the frivolities of women’s 
attire, though the fop of the day was as much bedecked 
in his way as the belle was in hers. Dante aims some 
of his scarcasms at the rich chains and crosses worn 
about the neck and over the doublet, and the girdle of 
gold or silver, studded with stones and fantastically 
wrought, with which the good citizen begirt himself 
instead of with leather, as he did in earlier days. For 
the guidance of the feminine part of the Republic of 
Florence were these laws framed at the time when the 


ee ee 
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THE LACE BOOK 


Fa a ape 


ARS ARE INR 1-1 


Was nO 
QS UracG 


only lace so far known was that twisted of strands of 
gold and silver. 


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Sc SieTsa 
VIS Y 
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CIR 


“ No woman of any condition whatever may dare or presume in 
any way in the city, suburbs, or district of Florence to wear pearls, 
mother-of-pearl, or precious stones, on the head or shoulders, or 
on any other part of the person, or on any dress which may be 
worn upon the person. 


Item. She may not dare or presume to wear any brocade of 
gold or silver, or stuff gilt or silvered, embroidered or trimmed 
with ribbons, neither on her shoulders nor on her head, nor on any 
garment as described above. 


es 


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4 

a 


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Item. She may not dare or presume to wear more than one 
pound of silver in the shape of garlands and buttons, or in any 
other way, on the head or shoulders, or otherwise as has been said 
above; except that besides the said pound of silver she may wear a 
silver belt of fifteen ounces’ weight. 


Peres 
a aS ae 
CARLY any 


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ESS ats 


a a ape. 


d 


ROP OR ent Ko 


a aa a 
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Item. She may not dare or presume to wear any slashings, in 
any robe or dress, neither at the bosom nor at the sleeves, nor to 
cuffs or collars, larger than the seventh of a yard according to the 
measure of the yard of the wool-workers, oar | these slashings shall 
not be lined with skins either of wild or tame beasts, or with 
silk, but only with woolen or linen, nor must they be trimmed 
with fringe either of silk, silver, or gold, or gilt or silvered. 

Item. She must not wear on her fingers more than three rings 
in all, and the said rings can have no more than one pearl or 
precious stone in each, and the said rings must not exceed the 
weight of silver allowed above. 


Item. No person in the city, suburbs, or district of Florence 
shall permit himself or presume to give in any way to any woman 
any kind of collar or buckle, or garland, or brooch of pearls, or of 
gold, of silver, or of any other precious stone or similar thing, by 
whatever name it may be called. 

Item. No individual, tailor, dressmaker, or furrier, shall dare 
or presume to cut, arrange, or line any of the said scarves, dress or 
sleeves, prohibited garments, nor make any of the things forbidden 
by the present law.” 


ry 
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ate tein 
tines ae Se a 


LATE XIX.—<A. Gros Point de Venise. Six- 

teenth Century. B. Punto tagliato a fogliami. 

Seventeenth Century. ** Rose Point.” Both speci- 
mens are needle point. 


PSS 
aS 
ake 


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Fa EGA SQA Co BMRA Fea BE AS Pog BNR AS PPM AY a BM 
RPDS Die Dig DIS ee i i PDT pas EDN 


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ITALIAN LACE 


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cat rs as 
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PBL 


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rao 


Yet the list of articles enumerated in the fourteenth 
century, as belonging to the trousseau of a Florentine 
bride, forms a curious commentary, since the rich stuffs, 
damasks, brocades, and velvets are calculated by the 


“ 
Tae a. 
oe 


YJ 
ry 


iter fle Fe 
a 
Kod oa 
Skrale Mhetes Atades aeeae, ase 
nl 
t\ 


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PITA] Ja 
Biv 


Seay 
2 Oa 
aS 


ty tsy. AD eA re 


s2| pound weight, and “great pearles” are given with 
ie ay ss unstinted lavishness. Yet there is the letter of the 
pay, law observed in a“ gold ring with one large pearl.” 
Beisery Tt can readily be seen how heavily such laws as this % 
cae: would fall upon the workers in gold and silver thread. PRES 
ke ; Some of them left Italy and settled in other countries, Basses 
GBs sed where they pursued their trade and instilled a demand 
a EH for these luxuries. Others remained at home and es- 
i s| caped the edict by making the lace of flax thread, coarse 
34 Kd at first, heavy and raised, and growing finer and finer 
rd 3| with the demand till it resulted in the exquisitely fine 


Re 


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flat Point which became the pride of Venice and the 
desire of all the world. Both sexes made use of lace in 
their personal attire, and even before there was any 
distinct record of its export the fame of Venetian lace 
had spread far. But while Venetian laces were in great 
demand both at home and abroad, and the revenues 
brought in by them were large, they still met with oppo- 
sition in their own country. Officers of the Republic 
issued several ordinances against the wearing of Punto 
in Aria in towns under pain of a fine of 200 ducats. 

Another sumptuary law of 1514 lays down the law 
regarding the cut and character of “ ladies’ cloaks, laces, 
gloves embroidered with gold and silk, embroideries 
generally, fans, gondolas, and sedan chairs.” In order, 


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TS 
PREF fa Ses SE Oe 9G OS RSS 


a A, 


CeCele ea eee ee ee ele ee ee ee en ee eee ele ele etx 
THE LACE BOOK 


v7 
Fall 


however, that Henry III, King of Navarre, who after- 
wards became Henry IV of France, might be duly 
impressed when visiting Venice in 1574, ladies were 
permitted and even urged to wear all sorts of cos- 
tumes, jewellery, ornaments, and laces, “even such as 
were prohibited by the ordinances.” 

Curiously enough, lace does not appear in the pro- 
grammes of any of the guilds, yet it was one of the most 
important industries of Italy. Beside being made in 
nunneries and secular houses, the great ladies themselves 
devoted much time and attention to making it. The 
production of it in private houses continued to the latter jpascs 
part of the seventeenth century, for De la Haye, travel- )iSmist 
ling in Italy, notices that “when the ladies are at home {#33 
they entertain themselves by making their Punto in Aria, 
which are the Points de Venise so much valued in France.” 

To assist not only the convent workers who had and 
maintained with pride their own patterns, but others as 
well, books were brought out containing directions and 
patterns planned particularly for “ noble-minded ladies.” 

The earliest-dated pattern-book is of 1527, and con- 
tains patterns only. It was published at Cologne by 
O. Foelix. There are, however, undated pattern-books 
which have come down from monasteries, and they show 
patterns for edgings of Reticella or drawn-work as well 
as insertions, and so extremely beautiful that they vie 
in delicacy with the needle point, or Punto in Aria. 

In 1537 Zoppino published his book of patterns, 
“ancient and modern.” The use of lace became more 


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XX.—Called ** Leader of the choir of 


Henry lV.” 
Supposed to be by Van Dyck (1£ 


LATE 


Collar of Gros Point de Venise. 


99-1641 ). 


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and more extended, and the patterns numerous. While 
the general character remained the same, there were 
certain stitches guarded as secrets by the convents 
where they were invented. 

As early as 1550 Matio Pagani brought out : 


“‘A good example of the laudable desire of noble-minded ladies 
to learn the art of making Guipure laces, with 31 engravings.” 


In 1546 Andreoni Vavassore (called Guadagnini) 
first published his— 


“New Universal work, entitled the Crown of Embroideries, in, 


which worthy ladies and maidens will find various patterns for 
making collars of shifts, covers of cushions, silk coifs of many 
kinds, and a large number of works for embroiderers.” 


The idea of attracting the mother’s attention by pro- 
viding occupation for her daughters seems first to have 
occurred to John Ostaus. In 1567 he produced : 

“A most delightful way of occupying your daughters with 
work, such as the chaste Roman Lucretia gave her maidens, and 
upon which they were found employed with her by Tarquin and 


her husband Collatinus, as described in the first book of the 
Decades of Livy.” 


The most famous lace book in both Venice and 
France was that published by Federico Vinciolo at Paris 
in 1587. It went through many editions, and was in 
two volumes, the first devoted entirely to cut-work, 
the beautiful patterns for which are shown in white on 
a black ground, and the second volume showing lacis, 
or darned work, most of the designs being in squares, 
with counted stitches like modern worsted work. 


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SP PIS Re Pe 
CadeeCaceCe lee ee eee ele Ce ele aCe eee eee ee ete aCe 
THE LACE BOOK 


As early as 1596 patterns were published by Giacomo 
Franco for lace made with bobbins, suitable for sheets 
and handkerchiefs. There were many other books 
showing designs for cut-work, drawn-work, and the 
Gros-point, which was worked on parchment. 

The cut-work was made so beautiful that it became 
greatly in demand, and was introduced into France, 
where it became very popular. As the making of 
other lace trimmings arrived at a greater state of 
perfection, the use of cut-work declined, but during 
the whole of the fifteenth and sixteenth centuries it 
remained in fashion. When no longer popular for 
dress and outer garments it was used as borders for 
linen underwear and household linen. Of course the 
high Church dignitaries had first choice of the exquisite 
convent laces. One set of nuns might begin the mag- 
nificent altar laces or those for the ecclesiastical robes, 
and die before their completion. But there were 
always plenty of willing and industrious fingers to take 
the work right up and carry it on. Nor were these 
laces confined to personal decoration for Cardinal or 
Bishop. In the inventory of Giovanni Battista Valier, 
Bishop of Cividale di Bellemo, written in 1598, mention 
is made of five pieces of bed-linen of needlework Point, 
“ ancient works.” There were pillow-cases of the same 
lace, besides napkins of similar work equally old. 

In the sumptuary laws of Venice in the years 1616, 
1633, and 1634, the use of this lace was proscribed. Yet 
fashion circumvented these laws and retained the use of 


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LATE XXI.— Point de Venise a Réseau. 
Needle-point lace. Seventeenth Century. 


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Oma AL ADSORB EC 
ITALIAN LACE 


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the lace even though there was a penalty of 200 ducats 
for each offence. 

Reticella was very ornamentally used, early in the 
fifteenth century, by Venetian and Florentine ladies, to 
veil their necks, when the fashion of the day called for 
their gowns to be open. The perfection at which this 
lace arrived is shown in some of the accompanying illus- 
trations, and it seems a pity that change of fashion caused 
its decline. 

Punto Taglato a Fogliami, or flowered lace, acquired 
a greater renown than any other made at Venice, on ac- 
count of the beauty of its design. Everybody, whether 
of the Church or the world, strove to own some of it, 
and men as well as women hoarded it for love of its 
beauty as well as for the pleasure of wearing it. The 
Doge Francesco Morosini (1618-1694) had wonderful 
laces of this make, which are still jealously guarded by 
his family. Some of them are shown in his portraits, 
and portraits of other Venetian noblemen who lived 
from the seventeenth to the first half of the eighteenth 
century depict how highly this lace was esteemed. 

The surplices of ecclesiastics were rich and costly gar- 
ments, and there are many records of their cost. In 
1769, more than 1,896 lire ($379.20) were spent for the 
lace alone on two of these garments for the “ Venerable 
Scuola di San Maria della Carita.” 

The festivals and all ceremonial occasions were oppor- 
tunities seized by the beauty-loving Italians for the dis- 
play of their richest finery. The entrance of the Doge 


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Luigi Mocenigo into office, April 18, 1763, is described 
by an anonymous contemporary. The share of the 
Dogaressa in the festivities seems to have been of equal 
importance. She went to the palace by water, accom- 
panied by her mother and many other female relatives. 
Seated upon a dais in the great hall, she received the 
congratulations of the members of the Electoral College 
and of others present. The festivities lasted three days, 
and on one evening there was a ball, during which the 
Dogaressa danced a minuet. Her outer robe was cloth 
of gold, like that of the Doge. The underpetticoat 
showed in front where the robe flowed aside, and was 
smothered in floral sprays of gold lace. On her head 
she wore a lace veil so disposed as to look like a berretta, 
though lace lappets fell from it on either side of the 
face. The costumes of the ladies present showed that 
the use of gold lace and jewellery was not diminishing. 

The appearance of both men and women during the 
Renaissance in Italy was more beautiful and polished 
than among any other nation in Europe. Their dwell- 
ings surpassed in comfort and luxury any of the habita- 
tions of the noblemen of northern Europe. The style 
of dress varied continually, and nowhere did it assume 
such importance. Even while the Church was gather- 
ing in the richest work, beautiful graduated fronts were 
being made for the great Neapolitan ladies, showing the 
demand there was for these sumptuous trimmings. 

The earliest Italian inventory which gives the names 
of the laces in vogue at the end of the fifteenth century 


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LATE XX1I.—Gold lace edging robe of dam- 
ask. Sixteenth Century. Italian, bobbin-made. 


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is that of the rich and powerful Sforza family, dated 
April, 1493. A division of family property took place, 
in the records of which not only the jewels are men- 
tioned, but rich stuffs, borders, veils, fine network (Reti- 
cella), Points, and Bone lace, all of which are mentioned 
in the pattern-books of the time. 

The notorious Lucrezia Borgia, married for her third 
husband Alfonso d’Este, brother of Beatrice d’Este, con- 
nections of the Sforza family, the division of whose 
property has been spoken of just above. The marriage 
ceremonies were most lavish and prolonged, both at 
Rome and at Ferrara, the home of the bridegroom. 
The bride’s dowry consisted of 300,000 ducats,’ 100,000 
in gold being paid down in Ferrara, and 200,000 being 
spent in clothes, plate, jewels, and fine linen, costly 
hangings, and trappings for horses and mules. Among 
the garments are mentioned 200 camoras,’ each of which 
was worth 100 ducats, with sleeves and gold fringes 
valued at 30 ducats apiece. The records of the d’Este 
family give full accounts of the clothes worn not only 
by the bride and her ladies, but of the bridegroom, his 
family, and the attendants. Amidst all this gorgeous- 
ness of damask, velvet, satin, brocade, and cloths of 
silver and gold, only one mention of lace is made. 
When the bridegroom rode out of Ferrara to meet his 
bride, his father accompanied him and wore “a suit of S%8¥ 
grey velvet covered with scales of beaten gold, worth at fi 


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1 A ducat is worth about 114 francs, or roughly speaking about $2.30. 
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least 6,000 ducats, a black-velvet cap trimmed with 
gold lace and white feathers, and grey leather gaiters.” 

While it is true that records still in existence show 
that lace was made and used before 1500, it was by no 
means such an ornament to costume as it became half a 
century later. 

When Catharine de Medici came as a bride to France 
in 1533, the lace she brought with her was Reticella and 
Punto Gotico. Her ruff, which was at first a modest 
affair, succeeded the chemisette of drawn-work which 
was used by Italian ladies at an earlier period. 

The first portraits painted of Catharine after her 
arrival in France, by Clouet, who was then court 
painter, show her in a ruff of Reticella of very simple 
design, while a portrait of her daughter Claudia, painted 
between 1550 and 1560, shows nearly the same style of 
dress as Catharine’s, except that the ruff entirely sur- 
rounds the throat of Claudia, while her mother’s is open 
in front. Catharine’s trousseau was very fully furnished 
forth with all the richest stuffs Milan, Venice, Genoa, 
and Florence could supply. Among the ornaments she 
had was a set of especially magnificent pearls, ‘the 
largest and finest,” Brantéme tells us, “that were ever 
seen in such a quantity; which at a later period the 
queen gave to her daughter-in-law, the Queen of Scot- 
land.” Mary Stuart wore these pearls at Amboise when 
she was the newly made wife of Francis II. Her hair 
fell upon her shoulders in rich curls, and she had a stiff 
ruff of lace about her throat. 


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LATE XXITI.—Thomas Francis Carignan of 

Savoy. He wears collar and cuffs of needle 
point, ** Van Dyck style,” 1634. Portrait by Van 
Dyck. 


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Nor were the ladies the only ones who changed the 
fashions of their garments radically and often. The 
splendid gorget ruffs of Punto Gotico were succeeded 
by the square collar bands and edgings, or by the collar 
wholly composed of the costly Gros Point de Venise. 
The portrait of Francis Carignan, Prince of Savoy, 
painted in 1634, shows the Van Dyck Point in the 


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height of its beauty and in the richest Venetian Point. ja 
Points were succeeded by lace with a straight edge, AS 
which was made in the most beautiful patterns of flow- | 


ered laces (punto tagliato a foghami) about 1664, both 
in Italy and France. 

The fashion for wearing it was straight about the 
corsage, which displayed its beauty to the best possible 
advantage, and also threw into relief the lovely shoulders 
it encircled. 

Fortunately for us, the dark-eyed beauties of Italy 
still live on the immortal canvases of her painters, and 
present a picture vivid almost to reality of those splen- 
did days which we have learned to call “the Golden 
Age of Italy.” 


Reference List of Italian Laces 


PUNTO TAGLIATO, cut-work. 
Punto TIRATO, drawn-work combined with cut-work. 
Punto a Reticetia, Greek lace, or drawn-work 
afterward worked with a needle in bands or points. 
Punto IN Ar1a, “ points in air,” having no foundation 
of either cut- or drawn-work. 
75 


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PUNTO TAGLIATO A FOGLIAMI, flowered lace, known 
variously as Venice Point, Gros Point de Venise, Rose 
Point or raised Point, made in silk, white or coloured, or 
flax thread. 

Punto Gorico is reticella or Greek lace of the earli- 
est style, when the patterns were copied from the Gothic 
auszeal architecture then in vogue. 

SN Punto Burano is the lace made on the Island of 
=| Burano, not far from Venice. Much of this beautiful aes 

fabric was made there during the eighteenth century, eases ck 

and this particular variety has a réseaw or network ’ 

ground, not the brides or bar ground. This network 

was made entirely with the needle. From this fact the 

lace is not unlike both Brussels and Alencgon lace, which 

have similar grounds. The old lace was extremely 

beautiful, and was made with the finest thread. The 

making of this lace was revived in 1872, and the Royal 

Lace Schools are situated on the island. Only the 
aS choicest laces are made there now, but they are no 
aswevexees} longer exclusively Italian in character, since beside the 

| Venetian Point, flowered laces, and Venetian Rose Point, 
Brussels, Alencon, and Point d Angleterre are copied 
there with the greatest skill. 

Pornt Lace. In Venetian laces, as in those of every 
other country, the term “point lace” grew to mean 
that the lace was of the finest quality, and made with a 
needle and thread. Connoisseurs, however, now use the 
term “point” to indicate lace of a superior quality and 
exquisite design, whether needle or bobbin, so that the 


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LATE XXIV.—Italian bobbin-made lappet, 
showing ‘‘snowy ground.” Lighteenth Century. 


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Venetian bobbin lace, Brussels lace, and Valenciennes 
are called “ points,” as much as the needle-made laces. 

THE VENETIAN Rose Pornt, with its varied outlines, 
the most beautiful of all laces, had the ground of brides or 
bars. These brides were buttonholed over threads, and 
were the earliest form of a groundwork. From being 
at first irregularly placed in the work, and used only as 
supports, they became placed in regular shapes, almost 
forming a mesh. This form was followed by a regular 
mesh, six-sided, the bars were constantly made lighter 
and lighter, till at last the buttonholing was entirely 
given up, and the mesh was made of single threads. 

THE VENETIAN Pornt A REsEAU was the final out- 
come of this desire for the fine and light, and this form 
of lace was what the French workers seized upon and 
constantly improved. But the fine and very light laces 
demanded by fashion in the eighteenth century could be 
better made with bobbins, so the making of needle point 
declined. 

At the present time, when rich lace of the old makes 
is so eagerly sought, little ever comes to public sale, as 
there are always private buyers ready to take it. The 
old Venice Point, the handsomest lace in the world for 
wear on rich stuffs, and velvets in particular, always 
brings high prices. Some was recently sold at Christie’s, 
in London, for very large sums. A flounce 4 yards in 
length and 11 inches deep brought £350 ($1750). But 
as this lace could be used, one does not regard the price 
as so excessive as £24 ($120) for a square of Rose Point 


77 


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measuring but 25 inches, and of use only as a cabinet 
specimen. 

The first-mentioned piece, the flounce, was interesting 
from the fact that the pattern showed not only fine 
arabesque curves, but figures; animals and birds were 
introduced as well, placing its manufacture in the six- 
teenth century. 

Still another length of Rose Point, 44 inches wide and 
5 yards and 21 inches long fetched the large sum of £15 
($75) a yard. 

Some panels for dress fronts were sold at the same 
time, the design conforming to the shape of the panel, 
some only 4 inches wide by 20 inches long bringing as 
much as £19 ($95), while one 20 inches wide and 43 
inches long brought £38 ($190). 

Some splendid fichus of Rose Point and Gros Point 
brought from £38 ($190) to £150 ($750), and a small 
cap-crown had many bidders and was finally knocked 
down for £4 10s. ($22.50). These prices seem exceed- 
ingly high, yet it must be remembered that these 
Venetian Points are so solidly and beautifully made that 
they do not wear out or tear like the more fragile French 
laces, or like the Venetian Points a Réseau. 

Even after the severe sumptuary laws of Italy forbade 
the making and wearing of gold and silver lace, threads 
of these metals were woven or embroidered into flax 
thread laces for their further enrichment. The collection 
of laces belonging to Sir William Drake, and mentioned 
elsewhere, was exceedingly rich in specimens of thread 


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LATE XXV.—Italian bobbin-made flounce, 
twenty-two inches wide. Seventeenth Century. 
Photograph by Charles Balliard. 


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lace enriched with gold. There was one piece which 
was considered quite unique, being 4 yards long and 29 
inches wide. The pattern was of foliage in arabesques, 
introducing animals and birds, and at regular intervals 
were panels or medallions consisting of views and figures. 
In the length of four yards there were five of these: 
first, a queen with an attendant in a garden; second, 
St. John appearing as a monk ; third, a monk telling his 
vision to six persons, all seated; fourth, people in a 
garden with a dove hovering in air ; fifth, a king with 
armed soldiers and pages bringing gifts to the queen > 
surrounded by her maids of honour. The price given 
for this was £380 ($1900). 

There was another flounce also, and a pair of cuffs of 
similar pattern, both enriched with gold; they brought 
£135 ($675). Two pieces of cut-work on linen were {fi 
also embellished with the finest gold wire, showing how [istsiseiy 
the elegance and richness of the Renaissance would crop | 
out, even in forbidden places. 

Only twenty-five lots of Sir William’s collection were 
offered at this particular sale, and of these, eighteen were 
of the fine old Italian laces, showing that the judgment 
of this distinguished connoisseur agreed with the opinion 
of those who have long believed that Venice led the px 
world in lace as well as in the creation of other sump- [ses 
tuous works of art. 

Mixan Pornt was lace made at Milan during the see, 
seventeenth century and earlier. It was made both of jgas%ess 
silver and gold thread and of silk, and the patterns 


79 


PADIS STs 
Sethe Gs ie ig Si os Si a TS See ESS Ny Nie ATS 
# ¥ v i Fe AN as NC SS 
aoa s5 "a 45 2X Sai Ba oS a naif MAN 
Ty Phd I 
ase 2 


TS 


* 


NOS SIE SI 
Ay As es a 


71 
Ps 
Le) 


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ats as 


ITY 
LN 
71 


Sieh 
rad 


ebca 


KR ¢-] a g 3 
i 

Ty eae ET 

s rey re ca te oe 


ui 
Pa La a kd 


Se 


b 
aN 


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ex a 
Fy Ra 0 eRe a y 
BY an Pa ANS 7a Fa 
Maa RS 
a a 


aaa ra 
i 
aS 
a Ge 


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Wrasthcecs' 


aR 


NAN 
Ny 


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< TF Fy ONY AS a IAT aKa 
a8 Fa oaks RSs es 


HDC Ca CC CC a iC 
THE LACE BOOK 


= 
Sh 
GO a rae 
iets, 


a 
at 


ve 
AS 


77 

Sti 

S-Di] 
|e UTS! 
SA 


a 
4 elisa 2 
a Blas 
‘ Asie] Se bts y 
Sse : 
PRR ENR REC ene 


SoS Se SRS 


SOT Ne 


VIAN TART REE 


became justly famous. Like the other famous Italian 
laces, Milan Point declined, and although lace is made 
there to-day it is of a coarse quality and very similar 
to the Torchon laces. 

Lavoro A Macutia, or Lacts, network on which the 
pattern is run or darned into the stuff. 

Punto a Groppo, or knotted lace, includes all the 
laces made of knotted cords, whether of silk, gold or 
silver thread, or coarse white or cream thread. It some- 
what resembles the Guipures made in different countries 
as well as in Italy, and was used for ecclesiastical linen, 
and, by the upper-class Italians, for the trimming of bed 
and table linen. The chief characteristic of this lace is 
the variety of knots used in its making, which were tied 
with the fingers, individual workers sometimes having 
knots and combinations of their own which were very 
beautiful. The method of manufacture is on a pillow, 
the threads being cut into short lengths, so that they can 
be easily handled and knotted. At the present time, 
since gold and silver laces are no longer made, this lace 
is formed of thread, and has become a peasant lace, used 
by the contadini to ornament their undergarments. 

GurrureE was a kind of lace formed of gold and silver 
threads. Owing to the nature of the material used, the 
designs were large and florid, requiring no brides or 
bars, and with coarse grounds. From this circumstance 
all laces with large designs and coarse grounds are called 
Guipure, although that name is now chiefly applied to 
lace made of black silk. 


Pap ecen ween e 
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BED RD 
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PNA DR s REP oh 
Niza sedated 3 as : BEAT aA TU ota 
RUS UES AEM CRD SR tN 


LATE XXVI.—Marie de Medici (1573-1642 ). 
Standing ruff of superb Point da Venise. 
Portrait by Scipione. 


Tears as 
EROS 
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sihedatd Side 
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Ss SSSSNA se z: ay 
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Poa TSkelst 
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OSCE SEE Je ee eee 8 Yee eee eee ee eee 
ITALIAN LACE 


Nor was the name applied only to the gold and silver 
lace mentioned, for it was also given to a style of trim- 
ming which is now known as passementerie, made of 
cords around which silk is lightly wound to conceal them. 
Formerly, instead of the cotton threads, a strip of parch- 
ment or vellum was used, called cartisane. The nature 
of this fillmg made the lace very perishable and costly. 
It broke, was ruined with water, and shrank with heat. 
It was used, even when made with silk, only by royalty 
and the very wealthy. Later the cartisane was discarded, 
and the Guipure became more common. In addition to 
these rich Guipures just described, thread laces made 
either with bobbins or needles, and with the patterns 
outlined in narrow hand-made tapes, were used as early 
as the time of Louis XIV. The Italian and Flanders 
varieties were the handsomest and most showy of these 
laces, with a background or réseau of round meshes, or 
simply brides. The fillings of the pattern were worked 
in a variety of stitches with a needle. By the first 
quarter of the seventeenth century the demand for lace 
was so great that these Guipures with tape design became 
very popular. The tape lace made in Flanders had 
peculiarities of its own, being of superfine quality and 
fineness. The change of fashion to the collar and falling 
bands required a heavier style of lace than the exquisite 
points of fairy lightness that had been used on the stand- 
ing ruffs, and Guipures were found to be very suitable. 
Of course these laces were found on altar cloths as well as 
on secular garments; and the earlier ones had a straight 


81 


Sea Sela 

a aa 
piece 
rm a 

" | 


iT 
iTS 


2% Na 


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Le DIELEDKT Di i eS 


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ta 
EDIE DI 


MaRS a 


as Pala 
hers oF! 


es 


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=e 


+ 
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BUREN. 


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RN 


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sae pcg oF 


TEA SIND 


Be 


ne ‘ 
ae 
ties 
Gis cese cess 


Ye a 
=< ee 
SSA 


Tracts 


5 Spay 


Speer 


ee 


ea aaa 


Sta eee 
ase Bi 
Sees 

& 


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as | 


Tan 
Ga ae, 


LT! 


crs! 


a 
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? iS ¢> 
LACT EAS TSS 
N 


y. VJ 
2 a aS a Na Pe Taste’ De PBR ET 
Sriods Sicicss SIP oS. TS Bean a AS a SAY a OES ry 7 
SLPS OPIS) oes) eae ta ye Suan 
SFA Fg BEG AF a PETRA SAAN Aig BRS Ca POR Ce A Fai RCTG AN ASTRAY a VG uN 
Se Paes PBB SAAS eas baa Ls NG 4 
Ma Be ka Far wt a AS aS TG AS Ca PU a BOS Fa BG AS RS 
OBE MBAs Wet Fs Os SIS SDR EDI RD em 


seta aaa) aC 1) SC) 
THE LACE BOOK 


edge, while the later ones had a clover-leaf edge, which 
made it a little heavier. These tape Guipures are still 
made in Italy, of handsome design, but lacking the charm- 
ing irregularity of the old patterns and hand-made tapes. 

Genoa Lace. The rich old city of Genoa was 
famous for its lace as well as for its gold work and 
jewellery. Perhaps it was on account of the number of 
goldsmiths that Genoa was among the first countries to 
make a sumptuous trimming made of slender wires of 
both silver and gold. They made this lace-like material 
in small quantities late in the fourteenth century. So 
popular was it that Venice followed suit and made it 
also ; but it was not until several hundred years later 
that Genoese Points became well known and in demand 
all over Europe. Few of the inventories of royalty fail 
to mention Point de Génes, and Marie de Medici had 
much of it; but these laces were of silk or thread, since 
the Genoese Republic had made sumptuary laws regu- 
lating the wearing of gold and silver lace, as did the 
other Italian cities. 

While Venice held the palm for needle-point laces, 
Genoa was unrivalled for her bobbin lace, although she 
made needle point also. But the exquisite pillow-made 
fichus, collars, kerchiefs, and even aprons were univer- 
sally sought, and more in demand than edging lace. 
Pieces like this necessitated the use of very large pillows, 
and each pillow required four workers to attend to the 
700 or 800 bobbins used. The lace now made in Genoa 
is a sort of Guipure, and is sold in France. 


7% 


ate 
iy ict 
js & 
: 


*, yo Sephon ' 
Re eae = FAS wT Pas 
nS 
Td me 
SS Ta Fe BF SE15 aD "aaa Ms 
RSPR PSC PR ASPB SPS ESPRL EPS 
a IN AN a TG a BET A a a BETAS a YEN arte 
Dee DCs BRR ep epee ep es "a: 
58 Ya Ma EA MaMa a AS PANN 
aa a A MAN Ma a as ST tar 
-" eee PERE PDE he Th eee 
pid ta te ie ae te eo 


3 
rah Parts 0? 3 


Ps) 
ia Fa SGT 
Di LSet 
Or 


Sid 
a 


SZ 
Fa 


a Ma 


LATE XXVII.— Bobbin-made lace flounce 
with brides. Made at Lucca. Seventeenth 


Century. 


SES ENISENS! NASON AS RSOS BLOB es 
3-5 a] BK aa 
Sebi 
Seatac se ote ee eee ee Bee a BOS ee ee oe 
ITALIAN LACE 


77 


= avis 
DORs Sa eS ones 
% & 


Si 


CARNIVAL or BripE Lace, as it was called, was made 
in Italy chiefly during the sixteenth century. Like much 
of the lace of that period it was Reticella, made over drawn 
threads, but its characteristic was that the initial or 
monogram of the family or person for whom it was 
made was wrought in it. When such lace was made for 
the personal linen of brides, it was worn at the wedding, 
or at festival or carnival times. Z 

ARGENTELLA Pornt closely resembles the French |23e3r383 
laces, Alencon or Argentan, and was made when the {: 
heavier raised laces were less popular. It has one great [EQiGtsn3is 
point of difference from the French laces in that the x 
figures are not outlined with a raised cord or thread, but 
simply have a flat buttonholing. The designs are sprays, 
small ovals, or circles, and it was much esteemed on nd Pe 
account of its delicacy and whiteness. The groundwork {fas 
is a fine net. 

Punto pE Racusa. Ragusa, a city near the north- 
western coast of Greece, was one of the greatest Adriatic 
ports of Greece during the fifteenth and part of the 
sixteenth centuries. The peasants of the near-by Ionian 
Islands, and of the villages along the coast of Greece, sent 
to Venice, through Ragusa, drawn- and cut-work in which 
they excelled. But these were not the so-called Ragusa 
laces, which were made of gimps of gold and silver 
thread fastened together by bars, and wrought on the 
edge into a pattern of loops and trefoils. While Venice 
soon excelled in thread laces, the gold laces of Ragusa 
were deservedly famous till late in the seventeenth 


Saat. 


A pas » 


tose Sass 


DS 
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Se AR AS 
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es 

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Tak Sea ete SAN oO 2 Rar LR Na Ny i) 
Rats s iss Ra east Rat Ss ocean 
"Bg 3 KE ; 4 4 1" 
Soepeo tae cea : pacers , 
% ie ied % i = x 


ras 26 
Senay 
ra ra, 

a 2 z 

A co 27, i) — + 

DEEDS Sa a 

me re : 

ee Le OI A A oe 

EDR DRt DC St De Le DESDE MP DES Dee Dei Se DSSeonaes 

rane yn’ BM AN a GN 


a ra RASC NRP tH 
a SER RT ret uP, 2 end < ri 7 
“ih 3 Ya te} 2%: cry try os ey | 
Ertan Robes reas eee! s “s e: 2: CPI IEEE asia G 


eee Ie orn 


rat 


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SSI AIST ONION 


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ra 

ohar | 

SONIA 
Fa 


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Pica hy a 
PS aa OPS aS 
a Ned 5 She 


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Kr 


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Donoes 


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ca a OP Pe 4 


& 


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2eR 


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Piciete| BK 
Sara ead 


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SORE NORE 


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La 
Seana, Fa 0M: 
RNY EEA a WRN 
ea 8 Carat a 


aC e288 2) ea aoa ef a6 oa eo aL aL a ao 8 
THE LACE BOOK 


century, but were finally driven from the field on account 
of the expense of the material, the prohibitions against 
them, and the beauty of the designs and workmanship 
of the flax thread laces. 

ALOE Lacs, a fabric curiously delicate in character, 
considering the material of which it is made, has been 
woven in Italy since remote times. The pith of the 
aloe-tree is split into threads, and woven, tatted, knit, 
or twisted with bobbins into a sort of lace. Sometimes 
large pieces like shawls, lappets, and table scarfs are 
made; but the lace is of little use, since washing 
practically destroys it. It is made not only in Italy, 
but in the Philippine Islands, South America, and the 
Barbadoes Islands. It is always more interesting than 
beautiful and is seldom used. 

The superb Medici collars, which are familiar to us 
from the portraits of the period, were not complete 
without the framework of fine metal wires which 
supported them. In Italy these were called verghetti, 
and such large quantities were required that many 
people were employed in their construction. These 
workers, and others of like trades, gathered in one 
particular quarter of Venice, which was called after 
them, and it still bears the name. 


jet le 


\~" 

i] 
ate 

OF 


SORT 
BSD Reet Det Di) Me Oe SIs ty 5 
v2 Tae ra 8) Pa BT AS Mal 


saaecs 
i) 
tare ean 


DSTA 


& 
PI PI 
Ss 


Facts 


A 
NN 
VINA 
ys 
i 

"ase 


> 


Cae 
D 


pe 


» 


ry 


"ata 


‘Saas 


use 
tei oh 
Ra 


ay 
Th 


Gs thst, 


Ma a Fa PTT a 


of 


ores Islands. Nineteenth 


the aloe. Made in A 


LATE XXVIII.—Shawl made from pith 
Century. 


SRNL! 


ag 
AS oe Fa 
Fa RCRD Sey 


SJ 
Siete 


4 
eae 
Zn 
Na 
rH 


Rise 


Las 
ea 
ceo 


Sonar 


‘i 
sas 


OID 


Sse 


7 


ae 
es 


Bras ’ 
we cy 


NERS 


Bilas Silas SPT a ST 
PRI LL RL Por 
Das ie a 
Ree ters 


ae 


PPS 
patty Soh 


aN 


ASP a 


LAT 
Cd VT 
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at BF 
c™ 
rf 


2 


SESS TES 
2] 


ae 
Bee 


Pepa ere 


DES AOD ee 


ranaPa* aha a®s 


at : > 
DR NER ace gcuciens 
Sos 


"sa" oe" aos" 


== 


py 
a WS 4 ~~ 
KeepE SPDs 


ae a eS Sa Te RE SE 
PeCROR CCR OROROBOROROR OBS 


Part III— Flemish Lace 


i wy 
ee 
Ly 


gy 
i] 


iS 


sare 


27 Sawa S 


fom 
Pease 


PEPPERS) 


aes 

a8 a 
Kt 
bs 


a r 


me 
a 
gs 


Ts 


S77] 
Re 


ae 


kf 
S71 
et 


ae 
Fail ae a GS 
DEERE DT 


” 
s 


BEES 


RON 

NAY NT 

DED 
Nieto NZ 


Al 


pp pw Ee 


us 
' ee: oS 
aS act Ps a at 
aera Mal | 


ms | ] ae 
iF weucususu ses Busteese ets me 
Fs + 3 ea 
DIES DE RDP oes Dae 
SI AS g 


Paes 
9 a 
asl 


Lass ra SS ZIT iT we 
EPR Ripeageeeoeee gs ish e] SR ers 
aS aR SEN ON , Ta Ras Slice Nietse tT 
Eat re SIS Ie PICS DICE DIREC IC Pa Me DICT DC Oe I > DIC i ie ee Ig ee 


es 


sp tit 
7 


ae, 


mM 

a 

Ry 
he 


eu : 
SITS ISICNA Ni) NA 
ae aN pores 
a | 
Se capa oe: BRP 
Bee AC 8 ie 
BSR NEN Fa SiS 
tse] Koh vay 
Sep Pie Pry Pep 
ESS SEBO 6 N a Fake 
are wesa Nuys rik F 
FS : Rites 


I 
CNA NANA 
se ee ee 


VIR 


ee 


BY tr) 
ries 
iS: 

hes Te 

a 
WY 


Fa 
ae 
ae 


F many Arts, one surpasses all. For the 
maiden seated at her work flashes the smooth 
balls and thousand threads into the circle, ... 

and from this, her amusement, makes as much 
profit as a man earns by the sweat of his brow, 


i 

oe 

c 

73 
DB se Sth 
aban abe 


NI 

VT Ss 5 ° - ® 

eet cttae and no maiden ever complains, at even, of the 
% 


Sepang length of the day. The issue ts a fine web, 
HESS, which feeds the pride of the whole globe ; which 
igedeuees surrounds with its fine border cloaks and 

aA tuckers, and shows grandly round the throats 
and hands of Kings.” 


3 
Ps 
4 
seas 
él = 
Gunn 
Ca 
fa 


ane nan 
Le] 
a a 
a 
Ns 
Fase 
eats 2. 


ose 
r 


KR 
Pa 


“as! 
Wee 


—Jacos Van Eyck, 1651. 


bs 


LT 
aw S 
a Kaeo 
obs 
PS) 
iS 
Fa 


GRAD UT.W | 
a SN ks a 
PERKS Hata 
At Behe PAE 
aw 
BNI A INE Ta fs 
gears ay 


DEA 


a 
Fa OY 


Maia Fs 
oes: 


val 2 
Sy 
os 
[or Dae] 
SK 
DR 


fay Fe 
Pes 
i 
a Fa 
Keke 
zeus 
~~ 
Ta 


(Ni 
ANS " 
RK 
Ta AMMAN a A Raa wig 
; NN les ba 
9g aS betas Sitch. Sela eas Sao A a etc Net Mas i of a 
eRe, oa 1 SES BES Sea Bee Ig Bi i ie 87s Ns Nes 
NIT SF Ra I A af SS a GC OTC AP Ss SON a 
SAMO Tg SSE ed Re ie oe Ge RSS 
Bate Side Sas aia) ABS oS PPS AS % 
Bh Ay Ree hag Rea bs LB 
ae a Pe 2 £ES tts Wi a Se a Nichi Siete to awe ait 
Bess an 
Saanew OID NE th Sty iat 7% 
ta a at a aS ARRAS PROS A 
Bh one heNe a a AT MaRS AY 
Ry 
agad [I 
al ¢ Fg Be Red 
Bs aA SSA G neues KS tai Yaa ms 
R ra 7 ea Pa! % 
+e CO eo Peat Ces Ma He a Ma at”, 
ee Bas Sad Sic acts any ra DETERS Ys D % Se Ni Nie Ni Dine Ns 
segs DS i ea PRY ita no Fag an 97 NS 
is Siti fee See eE ety pees ragga RATE ERE eo 
Baits BA NENES > ng BBS: Sooke 
"a aaa "ene "ees" rete" a” 272 "a "so" "a" s"s "oe" ke =< = 


Shc 


PIELER EIS ELIS EIRP LIED 


3 


AES as Ct eee Fane m i ¥ he 
Cpe teats OR Fa aa aa Ca 7 ON a Nica 
fs > a3 Ce PO SES Sie Sia Ni . 
o 8a NEB 8 SS 
SS NSssots aT Me 
Rats Ae OMe a Ama Oma 


; mas 
PISYSVINN 


eI 
cat okes o 


(ne ee eee Oe ee ee 
fee ee ee ee ee ee 


“s 
at a 
fe] 


Part IIIT — Flemish Lace 


ae] 


O country in the world has a more 

=) interesting past than the Netherlands, [[2esiak3 
not only from the historian’s point of A 

view, but from the artist’s side ; from 

Fr we tea the standpoint of the élégante; from 

TANS ee eee of her Ha eee for the 
union of utility and beauty; and from the lovers of |x eS 
flowers as well. PEP DG 
The Dutch, even while at war and busy wresting (far2ea: 
their little garden spot from the encroachments of the 
sea, had time to spend in learning and perfecting the 
secret of pictorial art, whose natural birthplace more 
appropriately seemed the sunny and beauty-loving Italy. 
Their conquests in China had brought to Holland 
specimens of porcelain, and the Dutch potter sought to 
imitate this in his coarse pottery, smeared with a finer 
surface, on which the decoration was laid, and succeeded 
in producing ware of great beauty and use. When 
commerce brought to her shores furniture carved and 
beautifully inlaid, she straightway set to work to copy 
this, and bettered the models. Her goldsmiths wrought 
with a delicacy and beauty that could vie even with 


prs 
Size 
iy 


° 


BDDC es 


a aie 
a sen 


ua 


as Die 


Sin 
bebe 

g 
eee 


o 
I 


ma 
ss 


; 


a" 


COSTES Seer 


ote 


DRAIN 
ighe SiG 


Maat" 


DIEPRD IC 
Big 


Pry 
a 


“as 
oy 
7 


01 
BG a 
=} 


> 


om re 

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THE LACE BOOK 


Venice, and would it be natural that in lace she should 
fall behind? She not only had the artistic capacity to 
make this fabric, but had also the patience and intelli- 
gence to raise flax, the most necessary article to success- 
ful thread lace-making. 

Flax is a plant native to Egypt, and, transplanted to 
the soil of Holland, it was tended by the best gardeners 
in the world, who gave to its cultivation that unweary- 
ing care which vastly improved the quality of the 
plant. Delicacy of fibre and silkiness of gloss were 
the points aimed at, and in these the Dutch flax was so 
superior to any other that it was soon in demand all 
over Europe. There were many trades, grouped around 
and allied to the use of flax, that soon sprang up and 
became important. The growth of the plant was but 
the first step. It had to be hackled, or the fibre 
separated, bleached, spun, and sometimes dyed. Into 
the production of the finest thread went eyesight, and 
almost life itself, so difficult and under such disadvan- 
tageous circumstances was the making of it carried on. 
In order to keep the thread moist, so that it would not 
break, it was spun in underground rooms. These were 
so dark that artificial light was cast upon the thread, 
which was twisted over a black cloth in order to show 
it, its almost gossamer character causing it to elude 
sight. 

Sometimes the flax was more valuable than the land 
it grew upon, and the real Brussels thread often brought 
£240 ($1,200) a pound. It was said that a pound of 


WA) 

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LATE XXIX.—‘“ Little Princess.” She wears 

an **underpropper” of wire beneath her lawn 
ruff, which is edged with Gothic Point. Cuffs edyed 
with wide needle point. Portrait by Moreelse 
(1571-1638 ). 


F SES USERS aye Eber oN eunennacsseane pT He 
Ss: S At 
BH . petystepsies Se a Bae teas aa 
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ee Dice Dee aed Sorceas gases 


FLEMISH LACE 


flax—that is, before it was made into thread—could 
be manufactured into lace worth £700. 

It is true that there have been no definite written 
records produced to substantiate the claim of Flanders 
that she was first in the field with pillow-made lace. 
There were no pattern-books published before those of 
Wilhelm Vosterman, who died at Antwerp in 1542. 
The patterns are shown on small black squares and are 
of medieval designs. The prevalence of lace-making in 
all classes is shown by the quaint dedication, which 
reads as follows : 

“ A neawe treatys ; as cOcernynge the excellency of the nedle 
worcke spanisshe stitche and weavynge in the frame, very necessary 
to al theym wiche desyre the perfect knowledge of seamstry, quilt- 
inge and brodry worke, coteinynge an cxxxviij figures or tables, so 
playnli made and set tout in’ portrature, the whiche is difficyll ; 
and natoly for crafts mé but also for gentlewemé and ioge damosels 
that therein may obtayne greater conyge delyte and pleasure. 


“ These books be to sell at Andwarp in the golden Unycorne at 
Willm Vorstermans.” 


There were also those of Jean de Glen, who died at 
Liége in 1597. It is also true that none of these books 
contains patterns for bobbin-made laces. 

For the first mention of bobbin lace we are obliged 
to fall back on that old Italian inventory of the Sforza 
sisters, of 1493, in which one item reads : 


“ Binda una lavarata a poncto de doii fuxi per uno lenzuolo.” 
(A band of work done with twelve bobbins to trim a sheet.) 


If the Italians were the first to use the pillow and 
bobbin as well as the needle, the use to which the Dutch 


Aa 
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ESBS a NaS aN ON ER: MBs NST ORS INT Sd Me 
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RUM SICRB ASIN ANIA 
nN ae 
Reena Oates : - 
Seis izae%} put these implements soon caused her to distance all 
Se REN 3 a 
SSS ease competitors. Séguin says: 
B. ee See ie She unremittingly applied herself to this art, and in a short 
a BaP time converted it into a widespread industry, possessing well- 
Rdasesuseg| merited reputation on account of the delicacy and beauty of its 
peer’ PEP productions. All countries turned to her for them, and she be- 
Eeagices4c% came, as it were, the classic country of pillow lace. Credit for 
Sis Ci Bt bi 2 - zs y Pp 5 “ 
Sacgueeaieeen| the invention of the special process was readily given to her, and 
“ei3ceucugue<| no one has since taken the trouble to closely examine her title to 
esgetercnend it.” 
a 
a Setegeers As early as 1554 the commerce between England 
Beth IN WY . . 
Pies and the Low Countries was immense. Antwerp was 
ee veeeeneate the port of greatest trade, and its water-front was 
agers"! a scene of great activity. Guicciardini gives a list of the 
deta rade “Se yan 
TARAnS exports and imports between the two countries: 
igeae PRD “ Antwerp sends to England jewels and precious stones, silver, 
rai bullion, quicksilver, wrought silks, cloth of gold and silver, gold 


and silver thread, camblets, grograms, spices, drugs, sugar, cotton, 
cummin, galls, linen fine and coarse, serges, demi-ostades, tapestry, 
madder, hops in great quantity, glass, salt fish, and merceries of 
all sorts to a great value, arms of all kinds, ammunition for war, 
and household furniture. 

“From England Antwerp receives fine and coarse draperies, 
fringes, the finest wool, saffron, and a great quantity of lead and 


bi tta| tin, sheep and rabbit skins, and other fine peltry and leather, beer 

ESxduans~oun| and cheese, and other sorts of provisions.” 

a ah Pp 

fae. a This list shows that, while Holland exported almost 
vias exclusively manufactured products, she imported chiefly 
471 goods in the raw, while the choicer imports were again 
ae exported to other parts of Europe. 


Pillow lace was made not only in the convents, but in 


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the schools as well, and as early as the time of Charles V BOR 
: ; : Na eke Ne 
it had been part of the education of girls. paoey : 
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LATE XXX.—A. Bobbin-made Flemish lace. 

Sixteenth Century. B. Mechlin, bobbin-made. 

The sprigs made separately and worked in. Seven- 

teenth Century. This is said to have belonged to 
George 1V. 


ae Bes rj (ssi nies 
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To the Dutch is given the credit of inventing many 
things. They claim the invention of the thimble, the 
napkin, pocket-handkerchief, shirt, nightdress, table- 
cloth, and a sack or tick for bedding. Some of these 
articles were in use as early as the thirteenth century. 
Indeed, we can trace so many of our necessaries back to 
this little country behind the dykes that we are almost 
ready to yield to them on any point. 

Dutch weavers had been taken to England as early as 
the middle of the thirteenth century, to instruct in their 
methods of weaving fine cloth. Starch, also a Dutch 
compound, had been first used in England in Queen eae eebee t 
Elizabeth’s time. Great was the sensation its use cre- oh 
ated, and those who did not approve of it did not hesi- 
tate to bestow evil names on it, among the terms being 
that of “ Devil’s broth.” 

The Italian accompaniments of the early laces were 
paint and cosmetics, the very composition of which was 
odious. But in Holland, where flowers bloomed and 
art grew apace, cleanliness was glorified, the simple 
pleasures of home life were extolled, and health and 
comfort followed close in their wake. 

The earliest linen garments were so costly that only 
kings and nobles could possess them. They were dark 
and discoloured, for the art and secret of bleaching had tus 
not been learned. It was the Dutch who worked and jger2ey 
experimented till they succeeded in producing a fabric RE PSs 
white as snow, so that the very term “ Hollands” was a i 
guarantee for its fineness and colour. Eight months of 


2 
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constant sprinkling and bleaching in the sun’s rays were 
needed to bring the linen to the required perfection. 
In 1596, Stephen Gosson writes: 


574 eas 
Ni 


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REPAIR SET 


“These Holland smocks as white as snow, 
And gorgets brave with drawn-work wrought.” 


Evelyn says, in “ Tyrannus; or the Mode,” 1661: 


a NL 


“Twice twelve long smocks of Holland fine, 
With cambric sleeves rich point to join, 
For she despises Colberteen.” 


Sit 
Scene 
ZA 
ane 
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Se KR 
SOR GIST 


a ae a he es 


Long before what we call “lace” was made, Flanders 
as well as Italy had become proficient in the art of 
making cut-work. There are exquisite specimens of 
cut-work and embroidery combined, dating as far back 
as the time of Philip the Good (1419-1467). The writer 
has seen these pieces in a collection which is practically 
priceless, belonging to a collector in Brussels, and having 
specimens of all of the Dutch and Flemish laces from 
ancient to modern times. 

The early Flemish laces, with their geometric patterns, 
are of great beauty, and do not differ essentially from 
the Italian laces of the same period, but the Dutch 
sooner than the Italians made lace with varied and 
intricate grounds, sometimes half a dozen being shown 
on one pattern. All the old pictures of lace-makers by 
the early Flemish artists show the use of bobbins and 
pillow, and from some of these pictures the Dutch base 
their claim to priority of manufacture. 

As early as 1657 Mechlin lace is noted in French 
inventories; Anne of Austria wore it. By 1699 Queen 


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pie surucees 

Nseries} Mary’s Mechlin ruffles are noted in the Wardrobe 
esceqntens Accounts, and “Holland shirts laced with Mechlin 
Pe lace” were in great demand among the élégantes. 


Whether this was the fine, delicately flowered and 
sprigged lace which was known later as Mechlin, or 
only the commercial term under which all Flanders lace 
was known, it would be hard to say. 

Until 1699 a prohibition upon Flemish laces kept those 
fabrics out of England (this being another reason for 
calling one kind of Brussels lace “ Point d Angleterre”), 
but after the ban was removed Mechlin immediately 
sprang into fashion. Mechlin is a pillow lace, made all 
in one piece, each little flower and sprig outlined by a 
me flat thread. It is a rather thin lace, —a “summer lace,” 
the French court beauties termed it, —and it looked its 
best on cravats, full ruffles, borders to caps, or fichus, 
its very delicacy preventing its looking well on the gor- 
geous damasks and brocades of court costume. It early 
declined in manufacture, and, although still made at 
Antwerp, Lierre, and several other places, as well as at 
Mechlin, its place has been almost entirely filled by 
other laces. 

Nor were the thread pillow laces the only bobbin ones 
for which Belgium and Holland were noted. ‘They 
used silk as well as gold and silver. The early pillow 
laces were all narrow, and were made on the pillow with 
all the bobbins at one end. This style was the only 
kind of bobbin lace produced in either France, Italy, 
Spain, or Flanders, but it presented a great variety of 

93 


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THE LACE BOOK 


patterns and had quite as much openwork and as deep 
points as the needle-point laces. Indeed, it is only by 
looking carefully for the buttonhole stitch which dis- 
tinguishes the needle lace that one can tell the difference. 
The cost of the needle points was always far greater, and 
they were always held in higher esteem. Then there 
arose a change in the fashions, and wider laces were de- 
manded. At first this demand was supplied by joining 
a dentated or pointed edge to the flat band. In the 
seventeenth century there were many attempts to make 
wide lace. Italy and France made it in strips and sewed 
them together. But Belgium invented a better way, 
by making the lace in small pieces, following the con- 
volutions of the pattern, similar to the method of joining 
needle-point patterns. It was the skilful manner in 
which these Belgian laces were put together after being 
made in pieces which gave so much success to the 
Flemish industry. The richest and most complicated 
patterns could be made in this way, individual workers 
doing special parts of the design, which, when put to- 
gether, made a splendid whole. 

The Flemish makers did not use such slight patterns, 
with very open grounds, as were common in Italy 
and France, but gave their attention to ornamental 
close parts, with contrasting stitches to bring out the 
elegance of the pattern. The style of these laces, heavy 
and floriated, went admirably with the linen collar, and 
the style passed into France. Until Mazarin died in 
1661, Louis XIV wore these collars, or rabatos, of 


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LATE XXNI.—Portrait of a young man. 
He wears a collar trimmed with Point de 
Flandre. Portrait by Jan de Bray, died 1697. 


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FLEMISH LACE 


pillow-made Guipure lace, and they are shown in several 
of his early portraits. He was fully 25 when the use of 
Venetian needle points came in, and turned the attention 
of the king and his minister to the making of similar laces. 

Brussels lace—Point d Aiguille—was the most beauti- 
ful and costly of all the needle lace made in the Low 
Countries, and its successful manufacture was confined 
to the city of Brussels itself. The grounds could be 
either a réseau or of brides. As in Italian laces, the 
brides were the earliest form of connection between 
different portions of the pattern ; but they were soon 
discarded, and by the end of the seventeenth century the 
ground a réseau was used entirely, except when, in or- 
dering lace made, brides were specified. Sometimes the 
two grounds were used in the same pattern with very 
beautiful effect. 

Just how early one kind of Brussels bobbin lace came 
to have the name Point d Angleterre applied to it is a 
matter of doubt. Enthusiastic collectors of lace, par- 
ticularly if of English birth, claim that English Point 
was first made in England and was successfully copied 
by the facile Dutch. Certain it is that England could not 
begin to supply the demand of the English court alone 
for this lace, and that large quantities of lace were 
bought in Flanders and brought boldly into England, or 
smuggled in, in coffins, by dogs, or in any other manner 
which cupidity and inventiveness could suggest. To 
give some idea of the enormous amount of Flemish lace 
which was smuggled into England, Mrs. Bury Palliser 


95 


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iv 
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MPIEDKS 3 


Siz 


#4] 


quotes the account of the seizure of a vessel by the 
Marquis de Nesmond, bound for England in 1678, 
loaded with Flanders lace. Without counting the [tact 
collars, fichus, handkerchiefs, aprons, petticoats, fans, ans 
and trimmed gloves, there were in addition 744,953 ells 5 
of Brussels lace. 

The earliest Points d Angleterre were made in sep- 
arate pieces, each piece consisting of its appropriate net 
or meshed ground and pattern. Later, however, the 
flowers were made by one set of workers, the meshed 
ground by another, while a third stitched on the flowers 
with needles. 

Madame Du Barry, from whose lace accounts items 
have been already quoted, used Point d Angleterre also. 
In these inventories it is sometimes specified as “ g7ande 
dentelle de Gros Point d Angleterre.” When little 
Philippe, son of the Regent, died in 1723, in his inven- 
tory there is one item of “six peignoirs of fine silk, 
trimmed with old Point d Angleterre a réseau.” 

The groundwork of Brussels lace was sometimes made 
by the needle, in which case the lace was three times as 
expensive as when it was made by pillow. The needle- 
made réseau, however, is much the stronger of the two, 
since the thread of each mesh was twisted by the needle 
four times, while in pillow lace it is not twisted in this 
way at all. The pillow lace is difficult to repair, and 
the part always shows. The needle ground can be 
mended so as to escape detection. 

Within the last eighty years since the invention of 


i 


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LATE XXXII.—Portion of cap. Point 

@ Angleterre « Brides. Bobbin-made lace. 
Seventeenth Century. Photographed by Charles 
Balliard. 


BS Pee Sas Tactics isccwewls sort sspecasnsegersssssitaress 
Sy eS 3 
so ser itis * nS Ne Hae e $s eae Ba 
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as 
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machine-made grounds the needle ground is seldom 
made, on account of its great cost. 

The needle-point Brussels lace was made, as was the 
Alencon, in strips or bits, and then joined together, the 
process of joing being one of great delicacy. The 
flowers and sprigs were and are made separately for 
Brussels lace, and then worked into the ground. These 
needle-point flowers are called “ Point a L’aguille.” 
Those woven on a pillow with bobbins are called “Point 
Plat.” 1n the old pillow laces, flowers and ground were 
wrought at the same time; applied lace was unknown 
to old lace-makers. As in the making of Alengon lace, 
each piece of old Brussels passed through the hands of 
different workers, who did only one thing and then 
passed the bit on to the next worker, who in turn did 
her share. The bits were finally stitched together, and 
the whole, when complete, seemed as if wrought in one 
piece, so carefully were the joins made. 

The making of needle point, even in its infancy, was 
not different from the way in which it is made to-day. 
‘s| The pattern is first drawn on parchment and tacked to 
‘azuer| a Stout piece of linen. The leading lines of the pattern 


7] ST 
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ue have threads laid on them, which are caught down here 
and there by means of stitches. The brides, or bars, or 
the réseau if the work has a grounding, are worked in 
around the pattern by the needle. 

In the eighteenth century pillow-made lace in needle- 
point patterns was made in Flanders in large quantities. 
Much of this lace was called Point d Angleterre. 


97 


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THE LACE BOOK 


So much of the Flanders lace is bobbin lace that the 
question of pins, of which so many are nccessary, was a 
serious one. Metal ones, it is true, were found in the 
tombs of ancient Egypt, made of gold, silver, and 
bronze, yet the pin of modern life was not made in any 
quantity until the fifteenth century. In 1483 their im- 
portation into England had been prohibited, and clumsy 
enough articles they must have been, for sixty years 
later, under Henry VIII, an act of 1543 reads: 

‘No person shall put to sale any pinnes but such only as shall be 
double headed and have the heads soldered fast to the shank of 


the pinne, well smoothed, the shank well shaven, the point well 
and round filed, canted and sharpened.” 


About 1560 the making of pins was much improved, 
and the cost of them was lessened. Catherine Howard 


was said to have first brought brass pins into England 
from France. 
The pillow used in lace-making is stuffed very hard, 


and covered with a clean piece of linen. The shapes of 
the cushions and the way they are held vary more than 
would be deemed possible. They may be square and 
used on a stand, cylindrical or drum-shaped and held on 
the lap, or mounted on a basket or stool and held be- 
tween the feet. In Belgium, besides the large cushions 
on which lace in the strip—either insertion or edging 
—is made, small cushions are used, upon which are 
formed the sprays or bouquets of flowers which are 
appliquéd on a net ground. The Flemish bobbins were 
generally very thin and as light as possible. They were 


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LATE XX NIII.—Francis Henry of Orange. 
Gothic needle point on collar and cuffs. Gold 
face on cloak. Portrait by Mierevelt (1567-1641). 


1: 
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mais Sheets Sits Biche Sites Niel gai sees 
ISLETS wa $ ras Rea Ts es Comes SS 
ate WAS ORI os iat rp Bea A SAY a BAS pr ae he 
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FLEMISH LACE 


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made of different sizes or forms, to indicate quickly to 
the worker the particular thread used on each. For 
such laces as Valenciennes or Mechlin, filmy and deli- 
cate in texture, very light bobbins were used, so as not 
to strain the thread. In the coarser Guipures heavy 
bobbins are used. On the cushion is stretched a piece 
of parchment on which the design is drawn. To form 
the meshes, pins are stuck into the cushion, and the 
threads are woven or twisted round them. The pat- 
tern on the parchment shows the places for the gimp, 
which is interwoven with the fine threads of the fabric. 
The work is begun at the upper side of the cushion by 
tying the threads together in pairs, each pair being at- 
tached to a pin. The threads are twisted, and crossed, 
and secured by the pins which determine the meshes. 

The most important pillow-made lace in Belgium to- 
day is Valenciennes. We are accustomed to consider 
this as a French lace, and so it was originally, but the 
work has long since died out in its native city. In fact, 
by 1656 the Belgians were making Valenciennes lace as 
fine, and as beautiful, and of exactly the same patterns 
as the French fabric. By 1684 there were left in Valen- 
ciennes only threescore lace-workers. 

The seventeenth century was somewhat advanced 
before there was a surfeit of the pointed laces, the later 
styles of which were often called Van Dycks, which had 
varied, from the acute point of the old Gothic laces, 
through the slender and the rounded point. Valen- 
ciennes lace was the first straight-edged lace made, and 


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its appearance was hailed as a great novelty. The lace 
was quite unlike the modern product of this name, and 
had a large, clear mesh. The thread was of exquisite 
fineness and colour. 

The best Valenciennes lace made to-day, as well as for 
a hundred and more years, is that from Ypres, in West 
Flanders. Its fineness is exquisite, and the patterns are 
very elaborate ; some of the fine old pieces two inches 
wide necessitated the use of 200 or 300 bobbins; pat- 
terns wider than this often called for 800 to 1,000 bob- 
bins, all on the same pillow. 

The tedious process required to make this lace 
accounts for its great cost. A lace-maker could hardly 
complete more than a third of an inch of a wide width 
in a week, and it would take one twelve years to com- 
plete enough for a flounce for a dress. Such lace as 
this would sell for $400 a yard. France buys annually 
from Belgium, at the present time, over $4,000,000 
worth of Valenciennes. When this lace was made in 
the city of France, from which it takes its name, the 
fabric made in Belgium was called fausse Valenciennes. 
Bruges and Ghent, as well as Ypres, have long been 
centres for the making of this lace, though the Bruges 
Valenciennes has a groundwork made by two twists of 
the bobbin, while the Ypres ground takes four or five 
twists, making it finer and firmer, the patterns standing 
out much clearer from the grounding. 

A series of treaties concluded at Nimequen in 1678- 
79 made a difference in the nationalities of a number of 


SIZEAs IS 


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LATE XX XIV.—Point d' Angleterre a réseau. 
Part of a lappet. LBighteenth Century. 


Py res PRE ye 


ine sasseisce oe ide ie ios 


: ne SEB s ea 
Ke SNA gees 
ii 
= Seated Ee 


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FLEMISH “LACE 


Si 


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lace-making towns. They put an end to the hostilities 
between Holland and France which had begun six years 
before. The countries engaged in these treaties were 
Holland, France, Spain, and Sweden. Spain ceded 
Valenciennes, Ypres, St. Omer, Cambrai, and many 
other towns back to France, while France ceded Ghent, 
Limburg, Oudenarde, Charleroi, and half a dozen more 
to Spain. 

In 1685 came the Revocation of the Edict of Nantes, 
by which the lace industry of France suffered so se- 
verely ; for the proclamation was followed by the emi- 
gration of about 300,000 persons, artisans of all kinds 
as well as men of letters and science. These refugees 
sought an asylum in Holland, England, and America, 
and spread the making of lace into widely divergent 
places. The value of the gold and silver lace trade of 
the city of Lyons alone was valued at 4,000,000 francs 
yearly, and this was transferred to Genoa. The work- 
men took with them their trade secrets, and France was 
thenceforward obliged to buy the gold lace she needed 
instead of being able to supply the world. 

The American colonies opened quite a promising field, 
notably some of the flourishing southern colonies. In 
New York, Madam Steenwych, a rich, hospitable, and 
several times married Dutch lady, had much household 
gear, and it was of no mean quality, as her inventory 
shows. Among many other chairs are mentioned “two 
easy chairs with silver lace.” And this, too, was as 
early as 1664. In the first half of the eighteenth century, 


Ly 


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Sees D Sic ie Sie ae, 


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a aM ig SAA aS 
A Py yeubzsenzSus a 
N RAR pacts Seo Pa Rae 

Matis Sate Tana ae 


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THE LACE BOOK 


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Governor Montgomery’s effects were offered for sale at 
Fort George, New York. Among them was a bed 
“ined with silk and trimmed with fine lace which came 
from London.” There are in addition “some blue cloth 
lately come from London for liveries, and some broad 
gold lace.” Among the notices in the American news- 
papers of goods offered for sale during the whole of this 
century is much gold and vellum lace. 

Ghent, Binche, Liége, and Antwerp have been and 
still are centres for the manufacture of lace. In some 
of these cities they are reviving the beautiful old laces 
of 200 years since, where the pattern is made with the 
bobbin, and the fanciful fillings are put in with the 
needle. 

Under the two great heads, needle and bobbin, 
come all the varieties of lace: the differences being 
caused by design, size of thread, and arrangement of 
stitches. The ornament or pattern is of the first im- 
portance in making lace, the grounding being added 
either for strength or because the character of the 
design makes it necessary. 

From the very infancy of Flemish art a constant 
intercourse was maintained between Italy and the Low 
Countries. The Flemish designs were somewhat similar 
to the Venetian, but both Flemish and French were 
more floral and flowing than Italian designs of the 
same period. In fact this was so noticeable that Bishop 
Berkeley pointed it out early in the eighteenth century. 


a a 
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p44 TE XXXV.—Rubens’ wife, by Frans Hals 

(1584-1666). Ruff trimmed with fine Gothic 
needle point. Cuffs and cap with Flanders bobbin- 
lace, and stomacher of gold lace. 


* ie 


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FLEMISH LACE 


“How have France and Flanders drawn so much money from 
other countries for figured silk, lace, and tapestry? It is because 
they have their academies of design.” 


Besides their academies they had been further pro- 
tected by a particular stitch called the “ crossing-stitch,” 
the secret of which was guarded as carefully as possible. 
Italian laces were imitated perfectly in Flanders and 
France, while Belgian fabrics, and to some extent English 
laces as well, were made only in the country of their 
birth. The taste for flowers, so largely developed in 
the Flemings and Dutch, found expression in their 
artists, and soon crept into their pattern-books. The 
favourite tulip, the forms of which are so admirably 
adapted for use in geometric patterns, was soon utilised 
in the splendid laces of the period, and when the tulip 
mania was at its height it was reflected in rabato, band, 
and passements. 

From 1589 to 1650, the ruff, with all its eccentric 
convolutions, was gradually superseded by the flat collar 
of Dutch linen, with an insertion and edge of lace, or 
with simply a rich lace border. The fashions of France 
and Italy were adopted in Flanders with certain modi- 
fications which gave them ever an air of quaintness ; and 
while the grand dames of Italy and France were wear- 
ing their hair all a-frizzle, the Dutch dame drew hers 
smoothly back and covered it with an exquisite cap. 
The modest cut of her gown was enhanced by the muslin 
kerchief trimmed with splendid Flanders Point, or the 
finer Gothic Points, the result of many weeks’ labour 


7 SS Ae 
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with the needle. The Dutch ladies and their sedate 
husbands live before us, to-day, in the magnificent por- 
traits of such masters as Rembrandt, Van Dyck, and 
half a dozen others. Never again will such portraits be 
painted, since the era of magnificence in dress, at least 
for men, has taken its departure. 

No less objects of pride to these exquisite house- 
keepers were the many cloths for shelves of dressers, 
mantel-shelves, tables, and other everyday articles. Most 
of these were lace-trimmed, with the rich and heavy 
products of bobbin and pillow, which could be so 
cheaply bought and were so durable. They had a dozen 
uses for lace which were quite peculiar to themselves, 
and some of them seem curious enough. 

In 1807 Sir John Carr wrote his “ Tour Through 
Holland,” and, although a close observer, he has little to 
say about the manufacture of lace save at the Béguinages, 
where it still flourishes, and, curiously enough, also at 
the workhouses. The workhouse at Antwerp particu- 
larly claimed his attention, and he notes that its inmates 
were employed at making many varieties of the fabric. 
As some of the residents of this institution come from 
the best families, and are sent there for disobedience 
or insubordination of some sort, the choicest as well as 
the coarsest laces are made within its walls. 

He also remarked at Leyden a curious use to which 
lace was put: 


“As I was one day roving in this city, I was struck with 
the appearance of a small board ornamented with a considerable 


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LATE XX XVI.—A. ‘*Fausse Valenciennes,” 

bobbin lace. Belgium, Eighteenth Century. 
B. Fausse Valenciennes, edged with Trolly lace. 
Belgium, Seventeenth Century. 


yee: 


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FLEMISH LACE 


quantity of lace, having an inscription on it, fastened on a house. 
Upon inquiry I found that the lady of the mansion where I saw it 
had lately lain in, and was then much indisposed, and that it was 
the custom of the country to expose this board, which contained an 
account of the state of the invalid’s health, for the satisfaction of 
her inquiring friends, who were by this excellent plan informed of 
her situation without disturbing her by knocking at the door or 
by personal inquiries. The lace I found was never displayed but 
in lying-in cases. Without it this sort of bulletin is frequently 
used in cases of indisposition amongst persons of consequence.” 

The making of lace seems so natural to the people of 
the Low Countries that it appears to attract little atten- 
tion from travellers who visited that country and re- 
corded their impressions. No doubt the fact that it 
was largely made in homes has something to do with 
this neglect ; for, while Flanders was undoubtedly the 
second lace-making country in the world, the written 
records of her achievements in this line are few and far 
between. 


Reference List of Flemish Lace 


Otp FianpeErs Point is the only original Belgian 
lace. All the other productions are imitations of the 
laces of other countries, some of them bettered, and all 
of them more cheaply made than in their native homes. 
The original Flanders lace was the variety known as 
Trolle Kant, a bobbin lace no longer made in its 
original pattern. The name “Trolly lace” has been 
transferred to England, and is given to a class of laces 
with grounds which resemble the Flemish Trolle Kant 
grounds, and which have a thick thread cordonnet. 


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There were also Brussels, Point d Angleterre, Point 
Gaze (one of the earliest laces made and still manu- 
factured), Mechlin, Valenciennes, Lille, Binche, and 
mszexss| the black lace of Grammont. 

ang $2)  Brussets Lace. The needle-point lace of Brussels 
i. 


NICREOSIEATNIT ONAN IS 
a as 9 aS a NP a a NP Ma Ns 


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Tap rand ca 


eeazeen aes is called “ Point Gaze,” or Point d Aiguille. The 
bobbin-made Brussels is called “ Flat Point” or Point 
Plat, the word “ point” referring entirely to the quality 


‘I 
of the lace. There is an appliqué lace, in which bobbin- ae x 
Le INCY 


made sprigs are applied with the needle to machine- jBisgrieer 
made ground: this is called Point Plat Appliqué. 


ar Point Dd’ ANGLETERRE, a rich bobbin-made Brussels 
LY . . 

soul. sures lace, attained an enormous vogue during the seven- 
RS Saaee teenth and eighteenth centuries. One reason why the jsasae 
2 gis’ PNA % a A ATS 
aah tS DRS old Brussels lace was such a beautiful fabric was on be 
eee 4 e ° : 
paeceed account of the delicacy of the thread. The flax which 


made it was grown in Brabant, and the city of Courtrai 
was particularly famous for its flax, which was steeped 
in the water of the river Lys. The thread now used is 
machine-made in England from Belgian flax, which is 
sometimes blemished by the addition of cotton. This 
thread cannot compare with the hand-spun flax thread 
of a couple of centuries ago, and the lace suffers in con- 
sequence. The hand-spun thread was made in lengths 
of about 20 inches and then knotted, and this style of 
thread was in use till about the nineteenth century, 
when machine-made thread was first used. With hand- 
spun thread the spinner could draw only a length of 
about 20 inches from the distaff, so then it had to be 


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FLEMISH LACE 


joined and begun again. In fact these knotted threads 
form one of the tests for antique hand-made lace, and 
are of quite as much value in dating a specimen as the 
structure of the brides or the angularity of the outline. 

When Charles IT sat on the throne of England, 1660—- 
1685, Point d’ Angleterre was much worn. Much of 
this kind of lace was made by applying the needle-made 
flowers to bobbin-made net, made separately. 'The most 
elegant and becoming laces were made in this way, the 
softness of the pillow-made ground, with the exquisite | 
beauty of the needle-made flowers, giving this lace a 
superiority over either the French or Italian Point 
laces, which were firmer in texture and less flowing. 

Very beautiful lappets for head-dresses were made of 
Point d Angleterre, and were held in much favour by 
ladies in arranging their court costumes, when Point 
lace only was allowed to be worn. These lappets hung 
down behind, and were of regulation lengths for re- 
spective degrees of nobility. The privilege of wearing 
full-length lappets was allowed only to princesses of the 
blood. 

Some interesting pieces of Brussels lace have recently 
been sold at Christie’s in London. Among them was a 
fine flounce of Brussels needle point, made for some of 
the christening garments of the little King of Rome. 
The design was most elaborate, and part of the pattern 
consisted of the Napoleonic “ N” upheld by cherubs. 
This piece brought £120 ($600). A very fine court 
train was sold at the same time for £140 ($700),—a 


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THE LACE BOOK 


small price considering its beauty and perfect condition. 
It measured 3 yards and 32 inches by 3 yards and 4 
inches; the centre was filled with a design of leaves, and 
the border was composed of pansy and morning-glory 
flowers. A pair of old Brussels lappets reached £10 
($50) and a small old veil with Prince of Wales feathers 
in the pattern brought £8 ($40). 

BincHE Lace of the old make resembles the old 
Valenciennes very closely. Both the towns of Binche 
and Valenciennes are situated in the province of 
Hainault, and it was conquest at the end of the seven- 
teenth century which gave the town of Valenciennes to 
France. Modern Binche lace is machine-made net 
with bobbin sprigs applied. In the old lace, which was 
called Guipure de Binche, the favourite grounds were 
the spider and rosette forms. Laces were made at 
Binche prior to 1686, since in that year they were sub- 
ject to a royal edict. They were esteemed in France, 
where not only were there bedspreads, night-robes, and 
skirts of Dentelle de Binche, but “ cuffs of three ranges,” 
fichus and garnitures of the same lace. The designs are 
floral, covering well the whole extent of the pattern, 
and the groundwork is delicate and pretty, with more 
variety than the later Valenciennes patterns. 

Mecuurw Lace has a place all its own, and at one 
time was so popular that it gave its name to all varieties 
of Flanders lace. After 1685 the laces from the different 
towns became known by their appropriate names, and 
the real “* Mechlin, the finest lace of all,” was often called 


108 


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LATE XXXVII.—Portrait of his daughter, 
by Albert Cuyp. Corsage trimmed with 
Flanders Point (1605-1691). 


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“the Queen of Lace.” It is a more transparent and 
delicate lace than Valenciennes, the flowers and orna- 
ments being exquisitely filmy. It is charming when 
mounted on silks or satins of pale shades, and it was for 
such uses that it was esteemed. Before the meshed 
ground was decided on as the most desirable, the “snowy 
ground,” or fond de neige, was sometimes used. The 
ground ultimately used, a small hexagonal mesh with 
short and finely twisted sides, was very clear and 
pretty. This lace at the time of the Regency and 
Louis XV revelled in rococo designs. These sobered 
down later, and while the borders retained their ornate 
character, with interlacing and delicate sprays which 
contained a variety of pretty fillings (a jour), the mesh 
body had little flowers, sprays, and sprigs scattered 
over it. 

This pretty, graceful lace was much esteemed for 
trimmings and head-dresses. Many afternoon caps were 
carried gingerly about in boxes and baskets when our 
great-great-grandmothers went out for a social afternoon, 
and the lace most in vogue was old Mechlin. It achieved 
its greatest vogue before 1755, when its place for delicate 
trimmings was largely taken, at least in France, by silk 
Blonde. 

Antwerp Lace. When the rage for Mechlin lace 
was at its height, all the neighbourhood near Mechlin, 
Antwerp, and Louvain took to making it. As early as 
the seventeenth century the industry was started, and 
while Mechlin was the chief lace made there, a style 


109 


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called Potten Kant was also made. This was essentially 
a Dutch lace, and, while in the several centuries of its 
manufacture it has undergone modifications, it still bears 
some of the symbols it originally had. This pot lace was 
an elaborate design figuring the Annunciation, with 
figures and flowers. Late in the seventeenth century the 
figures were omitted, and to-day all that remains is the 
two-handled flower-pot with floral devices straying over {% 
from each side. Owing to the symbolism, this lace was Bee, HD 
at one time in great demand in Spain, whither much of {B#sa3432° 
it was sent. But with the destruction of the monasteries 
it was no longer needed, and now is chiefly made for 
peasant wear. 

FLemisH Gurpure, and Tare Laces. Guipure lace 
was made either with the needle or with bobbins, the 
heavy parts of the patterns being held together by bars 
worked with a needle, or by the twisting of the bobbin 
threads. This old Guipure was very costly, made as it 
was of gold, silver, or silk threads only, and could con- 
sequently be worn only by the royal or rich. Later the 
name was applied to thread laces and those formed with 
bobbin-made tapes, in which style of fabric the Flemish 
easily excelled. The patterns were very bold and striking, 
the thick portions being varied by different jowrs and 
merely held together by twisted thread bars making 
meshes of an approximately round shape, sometimes 
further embellished with picots or loops. The modern 
tape laces are being very successfully made, the beautiful 
old fillings being carefully copied. 


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These modern tape laces follow, as did the ancient 
ones, a style of work which was confined to the Nether- 
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pentose us| acteristics—the use of the fine Flanders thread and the pee 
Raveaegs rae close and regular weaving of the tape—have never been bee a8 
E *\ copied. Flemish bobbin lace used frequently to be called j¥zus 
nee Guipure de Flandre, to distinguish it from the needle- ate 
Eieneg gees point laces. Ae 
Runs Gms ae Litte Lace. About the middle of the sixteenth 


century Lille was not behind her sister cities of the 
Netherlands in making fine lace. Like so much of the 
other Flemish lace, her chief product was bobbin-made, 
and its most marked peculiarity was the ground, a clear 
simple network upon which the pattern, outlined witha 
2831 heavy thread, stood out in good contrast. The Lille lace 
haat was similar to that of Arras, and the grounds of both were 
4:7¢%| formed by crossing the threads of two sides of the hex- 
based way agonal mesh and twisting together the two threads on 


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feue-t4| the other four sides. The clear ground of the Lille and [E% 
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Arras laces made them admirable for trimmings when jz 
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oN gathered or ruffled up on fichus, kerchiefs, or nightcaps. [ge™ 
#341 The more modern laces, however, had grounds powdered Bes 
4 with dots or little sprigs, and, while formerly made in a 
#-s| both black and white, are now made in white only. ira 

Be By the Peace of Aix-la-Chapelle Lille was transferred }% 

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xsi} to France, and then, after being retaken by Prince 
us28%| Kugene and enjoying a period of Flemish rule once 
3| more, it was again ceded to France by the Peace of 
| Utrecht. These changes in government had caused 


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many of the lace-makers to seek refuge in Ghent. Still 
this industry was carried on there, and in 1713, when the 
French Governor was to be married, the magistrates 
presented him with costly laces. Madame D’Abrantés, 
in describing her trousseau, says that the only lace she 
knew of not to be found there was Lille, which was used 
only by “ordinary women.” Notwithstanding the stric- 
tures of the Duchesse D’ Abrantés, very exquisite dresses 
were made entirely of Lillelace. The writer has seen an 
Empire gown, perhaps worn by some beauty at the court 
of Napoleon, made entirely of this lace, with the hand- 
made net closely powdered with open rings instead of 
solid dots. A wide band of flat-edged insertion is let 
into the front, and meets a wide band which edges the 
bottom, and which is composed of five different patterns 
of insertion fastened together to make the border. There 
are no sleeves, only little bands crossing the shoulders. 
The waist is just 5 inches deep in front, and the skirt 44. 
The garment is perfect, not the least fine thread being 
broken. It was a “find,” being sold by the dealer who 
had it as an “infant’s robe,” but the size of the waist and 
of the armholes showed the error. 

Lille, Arras, Mechlin, and Bayeux laces all have a 
strong resemblance to each other, and have the softness 
and charm which is always to be found in pillow lace. 
On account of this very quality it is sometimes preferred 
to the more costly needle point, which has a crispness, 
owing to the method of making it, which causes it to 
fall in less easy folds. 


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LATE XXXVIII.—Duchesse de Nemours. 
Flounces of Point Appliqué. Portrait by 
Winterhalter. 


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GutrPurE DE BrvucEs is what is now known as Duchesse 
lace, and is a thread bobbin lace of varying degrees of 
fineness. The pattern is made in sprigs, since it is gen- 
erally floral, and united by brides or bars. It is popular, 
as it is a “real lace,” and not very expensive in its coarser 
qualities. Its greatest drawback is that it thickens and 
draws up when washed. The religious communities of 
Bruges make most of the Duchesse lace, and a similar 
lace is made in Venice, where it is called “‘ Mosaic lace,” 
since it is built up of small sprigs and pieces. 


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“ Ttem, five handkerchiefs worked with gold, silver, and silk, 
valued at one hundred crowns. 

“ Item, two towels, also worked with gold and silver, and ap- 
praised at one hundred crowns. 

“ Item, three towels of white drawn-work, valued altogether at 
thirty crowns. 

“ Ttem, one pair of cuffs of cut-work enriched with silver, valued 
at twenty crowns. 

“ Item, two white handkerchiefs of cut-work, valued together at 
twenty crowns. 

«All these towels and handkerchiefs, which were found in the 
little coffer which the said defunct lady usually carried with her to 
Court, are remaining in the hands of Sieur de Beringhen, according 
to the command of His Majesty, to whom she had promised these 


things should be returned.” 
—Inventory After the Death of Gabrielle d'Estrées, 1599. 


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Part IV — French and Spanish 


Laces 


is to France what the Mines of Peru are 
to Spain,”— and then he proceeded to 
make good the saying. 

While it remains true that for years 
rose and years Italy was the arbiter of 
fashions, France under the Medicis and Valois sparkled 
with gold and jewels and rippled in costly laces. Cloth 
of gold and cloth of silver, further enriched by embroid- 
ery, jewels, and the richest lace to be had, were not too 
elegant for both men’s and women’s wear. Clouet’s 
portraits show how very insignificant the early laces 
were, mere edgings of little beauty. They were mounted 
on starched and plaited linen ruffs, called retondes. 
Spanish capes and collets montés, as well as chemisettes, 
called gorgias, that covered neck and shoulders, were 

also worn in the time of Catherine de Medici. 

The drawn-work was handsome, and in that or lacis 
or darned netting the workers of the period excelled. 
Catherine de Medici herself was an indefatigable worker 
in embroideries and cut-work, and passed many an 


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THE LACE BOOK 


evening at this pleasant labour. She was a strange 
character, and one thinks of her more naturally as brew- 
ing poisons and planning conspiracies than as peacefully 
working with a needle. After the death of her husband, 
who was laid out “dressed in a Holland shirt most 
excellently broidered about the collar and the cuffs,” 
she arranged for herself a mourning costume which she 
always afterward wore. It was elegant and luxurious, 
and, most important of all, becoming. It was the cus- 
tom for widows of high rank, for a certain period after 
their bereavement, to wear veils when they went out of 
doors, with high gowns, and turnover linen collars with- 
out any lace. They were further expected to remain in 
absolute seclusion for forty days. Catherine de Medici 
was the first queen to ignore these customs. She carried 
the outward mourning, however, into her surroundings, 
and had a mourning-bed of black velvet embroidered 
with pearls and powdered with crescents and suns, with 
all the bed furniture to correspond. She had still an- 
other bed draped with darned netting or lacis, and she 
not only worked this lacis herself, but kept many girls 
and her servants employed on it also. This lacis was 
commonly made in squares, as being easy to handle, and 
a single pattern filled each square. ‘These squares were 
joined together by an ornamental pattern of stitches, 
and made very beautiful bed-covers and ornaments for 
all kinds of household effects. 

In the inventory of Catherine de Medici, recorded 
after her death in 1589, in which the bed already 


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mentioned is carefully described, there are also enumer- Pakus tates 
ated two coffers, in one of which were 381 of these lacis 
squares, unmounted, and in the “ other were 538 squares, 
some worked with rosettes or with blossoms, and others 
with nosegays.” 

In 1559, when Margaret of Savoy was married, her 
trousseau contained gold-embroidered dresses and quan- 
tities of jewels and lace. The bridal dress was yellow 
satin, with the bodice embroidered in jewels and gold. 
Her mantle was trimmed with lace a foot wide, and she 
had in addition a cloak of cloth of silver trimmed with 
lynx fur. 

By 1579 the ruffs worn at the French court had be- 
come preposterous, so large that the simple function of 
eating was almost an impossibility, and so full that 
twelve lengths or yards of material were easily tortured 
into one of them. They were worn by men and women 
alike, and the grotesque effect presented by a company 
wearing these monstrosities is shown in many pictures of 
the period, but they were pleasing to both Catholic and 
‘| Huguenot alike. The court ladies not only wore what 
laces there were,— Point Coupé, Drawn Work and 
Darned Net, but they made it also. 

Fashion usually holds her sway undisputed, no matter 
what political upheavals take place. There was an ex- 
ception to this rule in 1583, immediately after the 
murder of the Duc de Guise at the Etats de Blois. 
Deep mourning only was worn, no gay or fashionable 
costume was tolerated. If a demoiselle was seen wearing 


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THE LACE BOOK 


a ruff, or even a simple vabat trimmed with lace, it was 
torn from her neck and trampled under foot. But this 
emotion soon passed, and all was once more caprice and 
folly. 

In 1594 Gabrielle d’Estrées wore a “ cotte of Turkish 
cloth of gold with flowers embroidered in carnation, 
white, green, and silver.” With this was worn a gown 
of flowered green velvet lined with cloth of silver and 
trimmed with gold and silver lace. Thread lace of the 
finest point was lavished on the neck and sleeves, and 
even on the back of the gown. 

As the Venetians advanced in the art and produced 
more beautiful lace, the French court demanded it, and 
were eager to squander such fabulous sums on it that 
the government thought it time to interfere. 

One of the strictest edicts against excessive ornamen- 
tation of clothing ever promulgated in any country was 
issued by Louis XIII in 1629. The chief interest it 
now has is the enumeration of the ornaments and trim- 
mings then worn. That it was seriously enforced seems 
hardly probable in view of the pictures of the day, 
which show splendid costumes for both men and women, 
decorated with the very articles prohibited. The edict 
was called “ Regulation of Superfluity in Clothes.” In 
Article 133 of the document is the following : 

“We forbid men and women to wear in any way whatsoever 
embroidery on cloth or flax, imitations of embroidery, of border- 
ing made up with cloth and thread, and of cut-work for rebatos, 


capes, sleeves, done upon quintain and other linens, laces, passa- 
maynes, and other thread work made with bobbins. 


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FRENCH AND SPANISH LACES 


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“And we forbid the use of all other ornaments upon capes, 
sleeves, and other linen garments, save trimmings, cut-work, and 
laces manufactured in this country which do not exceed at most the 
price of 75 livres the ell, that is, for the band and its trimming to- 
gether, without evasion ; upon pain of confiscation of the aforesaid 
capes, chainworks, collars, hats, and mantles which may be found 
upon offending persons ; as well as the coaches and horses which 
may be found similarly bedecked.” 


Under this same monarch lace handkerchiefs and 
lace-trimmed garments were prohibited to all classes be- 
low the nobles. Those under the ban dared not openly 
defy the decree, so they wore bunches of ribbons and 
streamers to supply the deficiency. These streamers 
became known as galants. 

Scarfs trimmed with lace came into fashion in 1656, 
and formed a very graceful adjunct to ladies’ attire. 
They did not meet with the approval of all classes, 
however, for some disbanded soldiers roaming through 
the streets of Paris amused themselves by snatching 
these scarfs from the ladies’ shoulders, claiming that it 
was against the law to wear them. After half a dozen efssesis 
of these offenders had been hanged by the police, the 
nuisance abated, and scarfs were once more worn in 
peace. During the carnival of 1659, we are told by 
Mdlle de Montpensier, — 


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—‘ the court masqueraded in delightful fashion. On one occasion 
Monsieur, Mdlle de Villeroy, Mdlle de Gourden, and I wore cloth 
of silver with rose-coloured braid, black-velvet aprons, and stom- 
achers trimmed with gold and silver lace. Our dresses were cut 
like those of the Bresse peasants, with collars and cuffs of yellow 
oo in the same style, but of finer quality and edged with Venetian 
ace.” 


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THE LACE BOOK 


When Colbert came on the scene he profited by the 
knowledge that the edicts issued by the Valois kings had 
been evaded in every way, and that the prohibitions of 
Louis XIII had met with small effect. So, to gain his 
object of preserving to France her own revenues, he set 
about the matter in quite a different fashion. To be 
sure he was at first much hampered by Mazarin, who 
was not so deeply concerned in stimulating the industries 
of France but that he could buy and wear both Flanders 
and Italian laces. But in 1661 Mazarin died, and after 
this the Minister of Finance was able to take the place 
he desired in the administration. 

Our interest is chiefly concerned in his attitude 
toward the lace industry, but this was only one of the 
objects he had in his active mind. Other new industries 
were started, workmen skilled in every branch of labour 
were invited to settle in France, inventors were encour- 
aged and protected, and French workmen were abso- 
lutely prohibited from emigrating. 

He conceived the idea of bringing to France skilled 
workwomen, so that French lace should rival that of 
Italy and Flanders, reporting to the King that “ there 
will always be found fools enough to purchase the manu- 
factures of France, though France should be prohibited 
from purchasing those of other countries.” 

To learn how best to accomplish his object he applied 
to the French Ambassador at Venice, Monseigneur de 
Bonzy, Bishop of Beziero. This prelate recommended 
sending some women from Venice, where “ all the poor 


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EDGED 
PL Tis 


LATE XL.—Claudia (1547-1575 ), daughter 

of Henry II and Catherine de Medici. Luff 
and chemisette of drawn-work edged with purling. 
One of the earliest French portraits showing luce. 
Painted by Clouet. 


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Se ne 


FRENCH AND SPANISH LACES 


families and all the convents make a living out of this 
lace-making,” to teach the girls of France. 

The experiment succeeded, and a few years later 
Colbert wrote to M. le Conte d’Avaux, the successor at 
Venice of Mgr de Bonzy, as follows: 

“T have gladly received the collar of needle-point lace worked in 
relief that you have sent me, and I find it very beautiful. I shall 
have it compared with these new laces being made by our own lace- 


makers, although I may tell you beforehand that as good specimens 
are now made in this Kingdom.” 


The town of Alencon had long been a centre for the 
manufacture of Point Coupé and needle-point lace. 
In 1665, when Colbert was considering where best to 
place his colony of imported lace-workers, he received 
a letter from Favier Duboulay, saying: 

“It is a fact that for many years the town of Alencon subsists 


only by means of these small works of lace that the people make 
and sell.” 


So what more natural than that this little lace-making 
town should be chosen? Curiously enough, the greatest 
opposition Colbert received was from the old French 
lace-makers themselves, who were so wedded to making 
the old style of laces that it was almost impossible to 
teach them the new. However, the minister persisted 
and was ably assisted by his forewoman, Mme Gilbert, 
or Mme La Perriére, — authorities differ on this point, 
— and they soon produced such beautiful pieces that not 
only was the great Louis himself satisfied, but his 
courtiers eagerly seized the laces which were exhibited 


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as samples, and Alencon was decided to be “the only 538 
wear.” Not only was Point de France (as the new lace {§ 
was called) the fashion, but the wearing of it was com- 
pulsory. All those who were either attached to the 
royal household or received at Versailles, “could only 
3 appear, the ladies in trimmings and head-dresses, the 
zea gentlemen in ruffles and cravats of the royal manu- 
$ facture.” 

The “ Mercure Galant” of 1664 contains the follow- 
ing instructions on the fashions, addressed to a lady 
living in the country : 


PANY NC see ets 


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see 


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“Network coifs were at first dotted, and afterward open-worked. 


eeuens , = cone : see 

rete! This last is quite a novelty, as are also skirts of Point d’ Angleterre 
SEtdhaeasacs| printed on linen and mounted on silk with raised ornaments. 
SUT AIS a 
iaeygudseeze| Every woman has bought some.” 
Beach ISIC hI a) 
i : 


At a féte given at Vaux by the superb Fouquet, 
Mdlle de la Valliére wore a white gown— 


Toes! 
ty 
= Foe 

a 

By 


— with gold stars and leaves in Persian stitch, and a pale blue sash 
tied in a large knot below the bosom. In her fair waving hair 
were flowers and pearls mixed together. Two large emeralds 
shone in her ears. Her arms were bare and encircled above the 
elbow with gold open-work bracelets set with opals. She wore 
gloves of cream-coloured Brussels lace.” 


oh 


ys 
ae 


On August 15, 1665, a company was founded by 
royal ordinance, with an exclusive privilege for ten 
years, to manufacture Point de France upon a large 
scale, and made enormous profits during the period of 


Ese 


mel ; ; ; : 

e its existence, which ceased in 1675. The state furnished 
aN RS a fund of 36,000 francs in aid of this company ; the im- 
ee eras portation of foreign lace was forbidden; and it was 


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PPV NSB AIS 
SEC ECL. Se eee eS ee eee. Ee SS. 
FRENCH AND SPANISH LACES 


specified that all the laces of Venice, Genoa, and Ragusa 
should be copied in France. In 1671 the Italian 
Ambassador at Paris wrote home that Colbert was on 
the way to bring the making of thread lace to perfec- 
tion. Never was protection more beneficently extended 
over an infant industry. On November 17, 1667, there 
appeared still another edict, prohibiting not only the 
wearing but the selling of passements, lace, and other 
works in thread of Venice, Genoa, and other foreign 
countries. On March 17, 1668, this was followed by 
still another prohibition, declaring that the wearing of 
these foreign laces was injurious to the country, since 
the manufacture of lace gave subsistence to many 
persons living in the kingdom. The last edict regard- 
ing feminine attire, which was published in France, was 
dated 1704. 


“'Transparents,” as they were called, came into 


fashion in 1676. 


“ Have you heard of transparents? They are complete dresses 
of the very finest gold or azure brocade, and over them is worn a 
transparent black gown, or a gown of beautiful Point d’ Angleterre, 
or of Chenille velvet like that winter lace you saw. These form a 
‘transparent’ which is a black dress, and gold, silver, or coloured 
dress beneath, just as one likes, and this is the fashion.” 

When Mme de Montespan was at the height of 
favour she is described as wearing “ Point de France, 
and her hair in numberless curls, one on each side of 
the temples falling low on her cheeks.” 

Little fancy capes made of Point d Angleterre or 


French lace were called Palatines after Charlotte Eliza- 


Mme de Sévigné writes : 


roe 


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CRECECOSALES CSS SESS SSS, 
THE LACE BOOK 


beth, daughter of the Elector Palatine. She invented 
them to cover her neck and shoulders, and in winter 
wore them of miniver. 

In 1679 Louis XIV gave a féte at Marly, and, in order 
to encourage the new manufacture, gave orders that 
each lady of the court, on retiring to her room to change 
her costume, should find placed ready for her use a costly 
dress of lace. Even the austere Mme de Maintenon, 
while sparing in the use of jewels, was very partial to 
elegant lace, and kept the young girls at St. Cyr busy 
making it for her. 

Nor were the churchmen more abstemious in their 
use of this rich ornament. Fénelon, the pious Arch- 
bishop of Cambrai, had four dozen pairs of costly ruffles. 
The sleeve ruffles were a more important portion of the 
costume than one would consider possible. They were 
arranged in layers as early as 1688, and were known by 
the name of engagéants. These were not the ones which 
turned back over the sleeve of the dress, but hung over 
the wrist. By 1688 they had reached their highest 
expression in France, and so popular were they that by 
1690 all England had copied the fashion and was wear- 
ing them too. Their proper arrangement was a matter 
of deep consideration. “I have been told,” writes 
Furetiére, “that the wife of President Tambonneau 
takes a whole hour to put on her cuffs.” 

The “ Fontange,” a style of head-dress originated by 
Mlle Fontanges’ tying a lace handkerchief over her 
disordered tresses, immediately became the mode in 


Ta See 
rat 
Ra 


: Sache 


PRL ANS 
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PA TE XLI.—James Stuart (1688-1766 ), and 

his sister Louisa. He wears a cravat of Point 
de France. The Sront of her gown, sleeve ruffles, 
and cap, called a **Fontange,” are of the same lace. 
Portrait by Largilhiére. 


oh shvdle i Meas 
a ay A ’ be : | 
G ra re 
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i 
. Je iy 7 Gey, 
Pe Pr 6 


EEE OF BEEN OOCY BRO ARIE 


ON wins Fs NES rata S STs z 
ra SLANE a aie TSS Nits AT Te RTS 
ahi Ns SEDI Dic ss-Did ie Nic =e: Bice Bic eerie 


ty 
el 
YJ 


OOOH IORI ML 


CeCe Se CLEA ES ee eS See See Se 


« na [ 
xy 
eee 

Let 

Bao 


ete ces FRENCH AND SPANISH LACES 
Eoirerinerass 
Pearce aes ie 
ERiseeas tex=2] England as well as in France. It held its position for 
Eeerzsatascs| ten years, till 1699, and from its modest beginnings 
Ewe Stee grew to be an immense tower. In its perfected state it 
eS ueebeceses| was composed of pieces of gummed linen rolled into cir- 
i N 


sargeceas2! cular bands and used for keeping in place the bows, 
shal ribbons, feathers, lace, and jewelled ornaments of which 
viv 


KS 
Rie cetecey this head-dress, also called the commode, was composed. 
Snare Even little girls, who both at this and subsequent 
scans periods were but miniature copies of their mothers, had 
Peeks these huge structures mounted on their heads. < 
: toda Neat The earliest of the Points de France were merely rep- 
acy licas of the Italian laces, and many of the pictures of 
Tees Colbert himself show him in a cravat which closely 
sae resembles Point de Venise. 
: PRPS: The old Burano laces and early Alencon resemble 
éssry| each other very closely, but little by little France created re 
afabric of her own. Point d’ Alencon soon became known ra 
as the variety of lace produced at that town. The de- a 


signs used under Louis XIV are flowing, ornamented 
with flowers and garlands, horns of plenty, and sheaves. 
: Under the reign of Louis XV they remained much the 
A ake same, with garlands curiously interwoven, into which {f 
Sxszeug, Were worked patterns of different stitches, the whole 
Shite: presenting a wreathed and garlanded effect of great 
3eaeae| beauty. 
gd or ae At about the same time that the manufacture of 
Enea | Point de France was begun at Alencon there was estab- 
lished at Argentan a similar bureau. These two laces 
were long rivals, and the struggle among the workers at 


D 
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WECCSCECESLCS LSS OS SUNS S SELLS SSS: 
THE LACE BOOK 


Argentan, who preferred old methods also, seems to 
have been similar to that at Alencon. The directress, 
Mme Raffy, writes to Colbert thanking him for the 
notice, publicly announced at Argentan to the sound of 
the trumpet, that the lace-makers of that town are to 
work for the Bureau de la Manufacture Royale, only. 

Point d’Argentan has long been considered to be 
especially distinguished by its hexagonal brides, but 
there are also Venetian laces which have this same 
peculiarity. These brides, or really background, are a 
large six-sided mesh worked over with buttonhole stitch, 
each side of the hexagon being covered with eight 
or nine buttonhole stitches, although only about one 

tenth of an inch long. This gives some idea of the 
minute ground, which is also very strong. 

The towns of Alencon and Argentan were but ten 
miles apart. Communication was constant. Some 
authorities, like Mr. Dupont, declare that Argentan was 
but a branch of Alencon, and that both styles of lace 
were made in both places. It is quite certain that the 
two grounds were often combined in one lace, and both 
laces were made with the same material. 

The manufacture of lace at Argentan had become 
practically extinct by 1701, so fickle is fashion, but 
Mathieu Guyard, a merchant of Paris, sought to revive 
it. He claimed that his ancestors and himself, for 120 
years, had made laces both black and white in the envi- 
rons of Paris. hat his efforts to revive the industry 
were successful is very evident, since in 1708 he applied 


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¥ewwesese4 sum unless his profits were in proportion, so it seems 
i: Nye Hews 
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ESjoxeuenses| safe to say that probably as much as 8,000 pounds of 
ee Ooo) 
Be RCE iF i F h Th 
Eassaeaszeasr| lace came into France that year. ere was a pro- 
fees Nis Ny "Te.e . . . 
Es sae hibition against the Points of both Venice and Genoa, 
Bicgseauseex| SO their laces could not be declared in the receipts. 
Eicbcarss Undoubtedly many pounds of them were introduced, 
Bhs Sita Nice) : : 
suas however, under other names, or by smuggling. 
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FRENCH AND SPANISH LACES z 


EPRI E 
6. TSI) 


for permission to employ 600 lace-workers, re-establish 
the factory at Argentan, have the royal arms over his 
door, and be exempt from lodging soldiery. Through- 
out the whole eighteenth century, and until the storm 
of the Revolution swept over France, Argentan lace- 
works flourished. Guyard’s children succeeded him, and 
his successors and a rival house had many battles over 
royal patronage, which became very acrimonious at the 
preparations for the marriage of the Dauphin in 1744. 
Workwomen were enticed from one factory to another, 
the controller-general was appealed to, and after much 
fuss and feathers the matter was happily compromised {gs 
by both firms making all the lace they could, which was [53 
not more than enough to supply the royal demand. {rt 

The collecting of taxes on various commodities was 
let out by the farmer-general to various subordinates. 
In 1707 the collection of the taxes on lace was farmed 
out to one Etienne Nicholas for the annual sum of 
201,000 livres ($40,200). The duties were 50 livres for 
each pound of lace, so it would have taken over 4,000 
pounds of lace to reimburse Nicholas for his outlay. 
Of course he would not be content to pay this large 


i) 


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SRW ROW Oo ee ew ow 
THE LACE BOOK 


On all sides were courtiers and attendants waiting 
for perquisites by means of which they hoped to eke 
out an income which would cover the immense outlay 
to which they were subjected on account of the elegance 
and luxury demanded, and for which the court set the 
standard. The ladies wore their berthas and sleeves 
trimmed with Alengon or Argentan. When the 
sleeves were short, these ruffles were called engagéantes; 
when long, pagodes. The lace trimmings on skirts 
were volantes, or flounces, which were called touwrnantes 
when they were applied horizontally, and quilles when 
put on vertically. The edge of lace (when not insertion, 
in which both edges are finished alike) is ornamented 
on one side and plain on the other. To the plain edge 
is lightly attached a strip of lace called engrélure, or 
footing. This, in the old laces, was made of flax 
thread, like the lace itself; in modern lace it is made of 
cotton thread. 

The patterns for Points de France, when not copied 
from Italian models, had a regularity of arrangement 
which was not to be found in Italian laces of the same 
period. It was this very regularity which led little by 
little to the doing away with the brides or bars and the 
substitution of a regular réseaw or meshed background. 
There are still to be found, in collections, flounces made 
for the court dames of the ancien régime, in which are 
figures and emblems of the time of the Great Louis. 

When the Prince de Conti married Mlle de Blois, 
the King’s wedding gift was a set of toilette hangings 


oS 
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LATE XLII.—Point @’ Alencon. 
7 Century. Style of Louis XIV. Needle point. 


Seventeenth 


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COO 
FRENCH AND SPANISH LACES 


made entirely of Points de France, while other members 
of the royal family gave her a bedspread and valance 
of the same costly material. It was this same Mlle 
de Blois of whom Mme de Sévigné writes in 1674, 
saying : “ She was as beautiful as an angel, with a tablier 
and bavette of Point de France.” 

The prodigality in dress at this period in France is 
scarcely conceivable. Neither men nor women hesitated 
to beggar themselves to shine in laces and diamonds, 
and then, when they had squandered everything, still 
kept on the same wild pace till merchants refused to 
supply them any longer. On the occasion of the 
betrothal of the daughter of Monsieur with the Duc de 
Lorraine, the festivities lasted for several days. Each 
day for a week Mdlle de Blois appeared in a different 
costume. Once she wore a coat of Gros de Tours 
richly embroidered in gold touched with flame colour. 
She had on a splendid set of diamonds, and a mantle of 
gold Point d Espagne six yards and a half long, which 
was carried behind her by a Duchess. On another 
occasion her coat and skirt were cloth of silver trimmed 
with silver lace. 

It was at the end of the seventeenth century that the 
Steinkirk came in,— a necktie of the finest muslin edged 
with lace. This was passed about the neck and tied 
once, the long ends being twisted and drawn through a 
buttonhole. The legend is that this fashion of wearing 
these cravats came about as the French princes were 
hurrying to battle in 1692, in the engagement between 


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THE LACE BOOK 


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Marshal Luxembourg and William of Orange. How- 
ever this may be, the hit was a happy and becoming 
one; the style was followed, and women, too, seized on 
it. Indeed, it became quite general in England as well 
as in France, and it even crossed the water to America, 
where in the “court circle” at New York we hear of 
both Steinkirks and Fontanges. The feminine fashion of 
fastening these laced cravats was not by passing them 
through a buttonhole, but by pinning them on one side 
of the corsage by a long bar pin. In the prologue to 
“Don Quixote” we find: “The modish spark wears a 
huge Steinkirk twisted to the waist.” Sir Walter Scott, 
correct in small as well as large details, speaks of Frank 
Osbaldiston in “ Rob Roy” as having his cravat, “a 
richly laced Steinkirk,” taken from him by the High- 
landers. 

With the advent of Louis XV the wearied nation 
wanted something new. The Points de France under 
Louis XIV had been chiefly remarkable for their meshed 
grounds, often large in size, the bars being ornamented 
with little loops or picots of thread. The lace mesh was 
now much reduced in size, a form in which the picot 
could not be used. ‘To counteract this plainness, mesh 
grounds of different patterns were happily contrasted in 
the same piece. With the prominence of the ground we 
may date the falling off of the elegance in design which 
had distinguished the previous reign. More and more 
attention was paid to the jours or fancy stitches intro- 
duced into the filling of the pattern, and this epoch in 


Leni 
ers 


au 


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FRENCH AND SPANISH LACES 


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RSE CRRA Y 


lace-making produced a variety of exquisite stitches 

which had never before been attempted. Such fillings 

were inserted like little jewels in the centre of flowers ; 

they extended into medallions, along the edges ; they 

spread into fans and shells infinite in variety, wonderful 

in beauty. So exquisite were some of these fillings that 

in small and costly bits of lace they filled the whole 
background, making a product infinitely richer than &% 

when the ground was a simple mesh. Saas Ras 

The use of finery which seemed excessive under Louis |& 

XIV went even farther under Louis XV. Everything 
possible was trimmed with lace. The perquisites col- 
lected by those connected with the court often rose to 
immense sums. The ladies of the court attached to the 
Queen’s chamber were nominally paid 150 livres a year, 
but they were able to sell for their own use the candles 
which had been once lighted. This item would not seem 
to be a large one, yet it brought in an income of 5,000 
tngusapeaas| livres. The profit on wax candles was so great that it 
was shared among many. ‘Those candles which were 
unconsumed when the play was ended went to the garde- 
meuble, while those that remained after lighting the 
King’s meals were apportioned among others. Every 
three years the linens and laces of the Queen were re- 
newed in order that the lady of honour and the royal 
nurse might sell the supply on hand. When the 
Dauphine died, Mme Brancas at once asserted her 
rights to all that pertained to her toilette, and this 
brought no less than 50,000 crowns. The profits of her 


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wardrobe brought 82,000 livres. In 1738 the Duc de 
Luynes writes: 


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“To-day Madame de Luynes brought the furnishings which she 

had chosen for the Queen, and which were shown to the ladies of 
honor. They were bedspreads for the great and small beds, and 
pillow-cases trimmed with Point d@ Angleterre of the same pattern. 
These furnishings cost 30,000 livres, for Madame Luynes did not 
renew the handsomest bedspreads for the Queen.” 
The old “furnishings” were the perquisite of Madame 
de Luynes, and she seems to have shown unusual con- 
sideration for the royal coffers in not renewing the beaux 
couvrepieds. 

Even Point d Argentan was not too costly for the 
trimming of sheets, the lace alone for such a purpose 
amounting to 40,000 crowns. Aprons were often made 
of this charming lace, and even children had such with 
caps and sleeve ruffles to match. 


During this period still another use was found for lace, aes 
to fall from the edges of the masks used by ladies when |S*#k= 
riding or driving. In fact some of these dainty articles Res 
were entirely of the finest black Chantilly, though the |#°%# 
ordinary mask was of black velvet with merely a fall of [zee 


lace, since these answered better both as a protection to 
the complexion and as a disguise. Louis XV no longer 
took such an interest as Louis XIV, stimulated by 
Colbert, had evinced in the industries of France. The 
pre-eminence of Alencon was disputed, and Point 
d’ Angleterre and Malines became equally esteemed. 
The favourites of the period set the fashions in laces as in 
most other details of dress, and the Wardrobe Accounts 


' 134 


\ 
PRED kp ee 


AS a AN Oa PZ 0 a TAN a 


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LATE XLIIT.—*Unknown Princesses.” They 
wear aprons, fronts, sleeve ruffles, and caps of 
Point d Argentan. Attributed to Belle (1674-1734). 


4 


ee Shobinetatg hie 
estes 
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FRENCH AND SPANISH LACES 


Taw ap 
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of Madame Du Barry are fairly preposterous with the 
sums spent for Brussels and Point d Angleterre. In 
these accounts is also mentioned India muslin so fine 
that a length sufficient to make four dresses weighed 
but 15 ounces. 

While the French laces with which we are most PRR 
familiar, and which were the most costly and beautiful, seen 
were made with the needle, France also had her bobbin 
laces. Colbert directed that “all sorts of threadwork, 
both with the needle and with bobbin on the pillow” 
should be made in the lace-works he established, but the 
bobbin laces had a later start. The towns where bobbin 
laces were made under Colbert’s administration were 
Arras, Le Quesnoy, Loudon, and Aurillac. They were 
soon overshadowed, however, by their better known 
neighbour, Valenciennes, the place where the most 
esteemed of bobbin laces were made. 

Valenciennes lace attracted but little attention when 

‘| it was first made. It was not till the eighteenth century 
“| that it became esteemed and accepted as one of the 
laces demanded by fashion. Indeed, none of the pillow- 
made laces, Mechlin, Valenciennes, or Chantilly, enjoyed 
the reputation at first which caused the needle points of 
Venice and Alencon to occupy so prominent a position. 
Still, the love for lace had been implanted, and the 
noble work done by Colbert in establishing works all 
over the Kingdom bore fruit later. While needle-point 
laces may be said to have reached their supreme heights 
in the seventeenth century, bobbin-made lace came to 


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its fullest expression in the eighteenth century and has 
never since been excelled. 

Under Louis XV fashion demanded soft and filmy 
laces, which were bobbin-made, the very materials and 
mode of manufacture making needle point stiffer. The 
earliest French bobbin laces, like those of other coun- 
tries at this period (the sixteenth century), were of gold 
and silver threads, — Passements or Guipures as they 
were called. Le Puy and Mirecourt were the best- 
known places of their manufacture, and these laces are 
made there yet. The patterns have changed little, 
being geometric, with formal floral forms and star-like 
centres. 

The making of these laces at the present time is one 
of the chief industries of Auvergne, where nearly 200,000 
women, living simple lives in the mountains, add to 
their meagre incomes by lace-making. They are able 
quickly to follow the dictates of fashion, since they can 
vary the materials with which they work : silk, worsted, 
and goat’s or even rabbit’s hair being employed with 
equal facility. The most popular lace of the last century 
upon which they have been employed is a black silk 
Guipure. Cluny lace, a new name for the old-fashioned 
passement, was also a favourite for a period, the name 
being derived from the famous Cluny Museum in Paris, 
where examples of ancient laces are preserved. 

The old gold and silver laces are still made, but of 
course in greatly diminished quantities, since this form 
of the fabric is no longer used on men’s dresses. 


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FRENCH AND SPANISH LACES 


The fancy for laces with fine grounds, which was so 
marked in the eighteenth century, was a great misfortune 
to the Guipure-making centres. 

Point de Milan, another pillow-made lace, suffered 
also, since it was a lace of scrolls and large effects, the 
gimp being rather heavy. 

The dress of the élégantes of the period of Louis XV 
abounded in every description of sumptuous negligées. 
Many of these gowns were of the finest lawn and mus- 
lin, very richly bedecked with lace, which had to com- 
bine the qualities of a filmy lightness and a capability 
of “doing up” well. Valenciennes lace seemed most 
happily to combine these qualities. By this time it had 
passed through the various stages of different ground- 
works, and the clear square or diamond-shaped mesh 
had been adopted, its regularity displaying the floral 
ornament of the pattern to the best advantage. 

For elegant dress, when silk lace was demanded, 
Chantilly, after a period devoted to experiment and 
struggle, suddenly sprang to the fore. The material 
employed for the black laces is a silk thread called 
Grenadine d Alais, and the patterns of the old Chantilly, 
whether of black or white silk, are distinguished by the 
introduction of vases and baskets to hold the flowers 
which form the design. Black laces, however, never 
had the vogue of white, and were chiefly used by elderly 
ladies, for shawls, scarfs, and any outdoor garments, 
or for mounting over a brilliant colour. It is much 
more in demand now than in either the seventeenth 


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or eighteenth centuries, and more workers are engaged 
in its manufacture. 

When Marie Antoinette came to the throne, the 
heavier laces, except on regulation court robes, were laid 
aside, and the light pillow-made Blondes substituted. 
The term Blonde arose from the fact that the lace was 
first made with unbleached silk of a pale straw-colour. 
Two sizes of thread were used: one very fine for the 
ground, and a coarser one for the pattern. The cream- 
coloured silk is no longer used, but white and black 
only. The predilection of Marie Antoinette for this par- 
ticular make of lace is evident not only from her portraits 
by Mme Le Brun, but also from the accounts left by 
her dressmaker, Mme Eloffe, who records dress after 
dress trimmed with it. Mdlle Bertin, on the other 
hand, furnishes but one gown trimmed with Blonde. 
The patterns she liked best were with sparsely covered 
grounds, merely the edge bearing a floral design. The 
sprigs, dots, spots, and oval-shaped dots called “tears ” 
(most appropriately for the poor Queen), now came in 
vogue. 

Two styles of lace called Tulle and “ Marli,” to be 
distinguished only by the different shaped mesh, also 
became popular during the time of Louis XVI. By 
1775 there is mention made of a family of lace-makers 
named Gantes, living in the town of Tulle. The early 
lace of this character was merely a net ground without 
ornament. The samenamehas been given tothe machine- 
made net of later days, and there is enough variety 


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LATE XLIV.—Charles de France (1757- 

1836) and Marie Adélaide de France. The 

lace apron, sleeve ruffles, cap and cravat and ruffs 
are Argentan. Portrait by Drouais. 


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among these manufactured products to have given them 
definite names, such as Brussels Tulle, Bobbin Tulle, 
Tulle Point d Esprit, and many others. 

The Marli lace takes its name from the famous chdteau 
of Louis XIV which stands between Versailles and St. 
Germain. Marli lace was often thickly strewn with 
tiny square dots (like modern Point d’ Esprit) and was 
very diaphanous and exceedingly becoming in ruches 
and frills. 

Marie Antoinette’s accounts abound with mention,of 
both Tulle and Marli. So great was the demand for 
these laces prior to the Revolution that statistics show 
that over 100,000 workwomen were employed in mak- 
ing them. During the last few months of the Queen’s 
life, before she left Versailles, she wore black laces only. 
When she finally left for Paris, on October 6, 1789, she 
gave away to her ladies what were left of her laces and 
fans. 

Ladies still occupied themselves in working at this 
pretty art, with simple patterns; and Rousseau, in his 
book “ Emile,” speaking of one of the characters being 
a good needlewoman, says, — 


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—* but that work which she prefers above all others is lace-making, 
because it necessitates a pretty attitude, and provides an exercise 
for the fingers which involves more grace and lightness of touch.” 


te 


meas 


eee The Revolution was as much a death-blow to bobbin 
Bemus2E4 as to needle-point lace. Valenciennes never recovered, 
and Chantilly languished for many years, finally taking 
a new start at Bayeux, where the styles of lace formerly 


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made at Chantilly were revived with great success. 
Mrs. Palliser says that lace was never more in vogue 
than in the early days of the first Empire, and the 
orders given by Napoleon and the members of his family 
and court were the richest ever received by the French 
lace-workers. His sister Pauline, Princess Borghese, 
says herself that she is “ passionately fond of lace,” and 
her portraits show that it was always used in some 
fashion or other on her gowns. The bed-coverings 
ordered for Marie Louise by Napoleon were made of 
Alencon, and, besides the bedspread, consisted of tester, 
valance, pillow-cases, and curtains. 

The Empress Eugénie was also fond of lace, and 
much Alencon was bought for her. She had one 
flounce of Alencon of such exquisite quality that its 
manufacture occupied thirty-six women for a year and 
a half. Marie Antoinette and the Empress Eugénie 
were, however, equally fond of Blonde lace, and in the 
celebrated portrait by Winterhalter the Empress wears 
a gown trimmed with it. This piece of Blonde, 3 
yards in length and 20 inches wide, was sold in London 
in April, 1902, for 48 guineas ($252),— not a large price 
considering its history. 

Even before her marriage, while Mlle Montijo, she 
delighted in visiting the lace shops and hunting out 
choice pieces. In 1865 she organised a competition 
among the lace-workers of Chantilly and Alengon for 
two dresses, one of each style, and when they were 
completed, dressed in the Alengon gown, she distributed 


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LATE XLV.—A. * Vrai Valenciennes,” 

showing a bit of fond de neige, or snowy back- 
ground. Bobbin lace. Early Lighteenth Century. 
B. Old black chantilly, with double ground. 
Bobbin lace. Early Lighteenth Century. 


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the prizes. The price given for the gown she chose was 
£3,000 ($15,000). 

The layette of the Prince Imperial was quite as rich 
as that of his predecessors, the King of Rome, or the 
“Grand¢ Bébé,” as Louis XIV was called. The chris- 
tening-robe, with its cap and mantle, was composed of 
Alencon, while the same lace was used for the coverlet 
of the cradle, the curtains of which were of finest old 
Mechlin. His frocks, of which there were twelve 
dozen, were either trimmed or largely composed of this 
same costly lace, and the caps and aprons of his nurses 
were also trimmed with it. 

There was another bobbin lace often mentioned in 
the contemporary literature of the day during the six- 
teenth and succeeding centuries, called Mignonette, 
which was a light, inexpensive trimming and popular 
among the lower and middle classes. ‘The farmer’s wife 
generally managed to have enough Mignonette to trim 
her best caps, its lightness rendering it admirable for 
this use. The lace was made from thread bleached and 
spun at Antwerp, and was never more than two or 
three inches wide. It was largely exported, and was 
made not only in Paris, but in Lorraine, Auvergne, 
Normandy, and Switzerland. This is one of the laces 
of which an old writer speaks as being exported in large 
quantities to the “islands of America.” 

Paris herself was long a lace-making centre, records 
existing as far back as early in the seventeenth century. 
The more common laces like Mignonette, Bisette, and 


141 


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PTAC > SA NG 
Be A a oe Pd 
Rass ai SARS ; 
EBC RS R es ne St 

a Fa AS a IAN oe PENS Ha EG AS Ig AS IE CaM AY Ce RG AP aN AT eR Ge 
i Fa NI 3 NAS a STH DIP REDE PRR DR DR NS Fa 


7, 
YS 


Fa 


Tee e eC eC SECC SSO SEES CS ES 
THE LACE BOOK 


t 


re 


LAR 


Point de Paris were those earliest made by the Hugue- 
nots who settled there. As finer laces were required these 
Paris laces improved and became fine and delicate in 
3} quality. Gold lace was made in Paris long before the 
time of Colbert, and was known as Point d Espagne. 
3 It was often enriched with pearls and jewels and was 
mueze4 renowned all over Kurope for its fine workmanship and 
: beauty. The revocation of the Edict of Nantes broke 
up its manufacture. These makers of gold and silver 
lace in the time of Louis XIV had their own particular 
quarter in the Rue Sainte-Honoré and Rue des Bour- 
donnais, while the thread-lace shops were confined to 
the Rue Bétizy. 

In 1704 a report made to the Chamber of Commerce 
of Paris estimated that one-fourth of the population, 
varying in age from six to seventy years and of many 
conditions of life, supported themselves either wholly 


no 
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or in part by the making of lace. The number fell off a ; 
greatly, so that in 1850 there were but 250,000 workers. [3 
ay In 1903 there were barely 120,000, and these cannot Fas 
aot make a living, as the work is poorly paid, the most ks 
a skilful earning about two franes for twelve hours’ work, 
ESueaszcns| While the ordinary workers receive but from 60 to 80 
Sie m3 centimes. 
aN Naa But Paris, as several times before, has awakened to 
ase the folly of letting such a valuable industry die. On 
ERs aes June 16, 1903, the Chamber of Deputies passed two 
eset: short clauses which were appended to the Code of 


gus} Education, enacting that in the lace-making departments 


ie! NAS € 
Sse 142 


aT aS I au Ms 


Bae eas seas ores <a cee 


MAS A aS Os IS 
Ky D >, 2, 


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STORING 
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paras Sa AS a3 Ce A A a a a RS > a 
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it NT ATS AO oR era aR PG 


ND RUAINIS aT Bit Rs Ne as OU 8 a PSETS 


Fas 
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ata 


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PRAT asi ee) 
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CRD ¥ 


SEeeeCeeeeeeeeeecee ee ce 0 5 2508 


FRENCH AND SPANISH LACES 


oftao 


Fs 


and centres of France special instruction “should be 
given in lace making and designing, with the object of 
developing and perfecting the artistic education of the 
workers.” 


REY 


“ Hitherto a child has been compelled to attend the primary 
schools until the age of thirteen. Now, such laces as the Alencgon 
and the exquisite and rare Rose Point require an apprenticeship 
of at least five years. Therefore it follows that a girl will be an 
expense and a burden upon her parents for nineteen years, and at jeasaearr 
the end of that time, according to present rates of payment, she |S%#urtms 
will be capable of earning only from 60 to 80 centimes at first, |F3S2r¥r% 
reaching 2 frances a day when she has attained great proficiency. 
Naturally, parents prefer farm labour or domestic service for 
their daughters, and hence there is a constant drainage from the 
country districts to the large towns.” 


nS OB 
Ss 
Sits 


ano, 
Ae Sage ae 


VALS 


Sora 
Ce 3 
Be ait 


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rs 
a Fa TN a 
IS 


ae 


Fa 8 Natal Fas 
aS fa 
ous 


Sia Sob TS 


If the new clauses be intelligently administered, the 

“#zies, new schools of lace design and lace-making will have 
feet the very desirable effect of stemming the tide which is 
rapidly depopulating the country districts, by providing 
the girls with a means of livelihood at a still early age. 
The principal centres of lace-making to-day are 
Paris, with her revived interest in the art, and the 
Le Puy district, which, earliest in the field, still holds 
her own as to quality and quantity of lace made there. 
The 100,000 lace-makers are scattered along the Haute 
Loire, and in the Puy de Dome, where the women 
meet at the house of one whom they call the “ béate.” 
This woman, for a small sum, provides a fire and light, 
and, to help pass the long day, either reads or tells 
stories. It is in Normandy that the lace-workers, as 
their ancestors did centuries ago, take their pillows to 

143 


at AMM 
At Ait 
4 oa 


was 
Ps ke ah EC) oes 
aS NG AY 


ReDIeen 


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a we 


Fa oko Fa a 
Sas 
BE 


obeded 
DES 


as 


Sat 


bh 


ees" 


Ape ta 
cna ras 


Nia Ni 
anes 

BBN Gi Bt 
$4, LS e 
as 


5 ’ 
: BD es & 3 > i b as ea “is 
ace & oe! he a dt iS f Da? | 
a : y ; ra “ae 
= 


o Se os 
De Des 


erat 
Fa MANS My PNAS Us 
a Qed a 


AL eA ‘ 
SASS hs Ss SSIES SSIS IAT Gc ISIAToS ISI aT sab 
ous a v PRC VRISPI Sans, tort 


Ce eeeeeeeeees £ ae 2 ee ee eS 


THE LACE BOOK 


a7) WT ‘evs bes! bt 


the lofts over the cow-houses, gaining a slight warmth 
from the beasts beneath them, which obviates the smoke 
and expense of a fire. These Normandy peasant 
workers still use the patterns handed down by previous 
generations, their strong artistic sense enabling them to 
improve them and give them great grace and delicacy. 

Machine-made lace is not so great a rival as one might 
fear. Real lace always has been and always will be an 
article of luxury within the reach only of the few, and 
these will always buy it. In many old French families 
there are pieces of lace which have been heirlooms for 
generations, and which have a value to persons of taste 
and culture beyond even that of the family jewels. We 
have quoted from the expense account of the Duc de 
Penthiévre for the year 1738, when his ruffles and sets 
of lace embraced ells of the most costly makes. That 
these precious fabrics have been carefully preserved is 
most certain, since the present Duc de Penthiévre, in 
April, 1903, presented to his ward, on her marriage with 
the Marquis Gouy d’Arsy, some priceless old laces. 
The Comtesse de Chateaubriand is another holder of 
quantities of antique lace treasures, and interest in re- 
viving this industry is felt not only in France, but in 
Italy and England as well. 


pegecsgse cence 


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Reference List of French Lace 


vy 


SIRS teen acne 


a 


PoINTs DE France. This was the name given during 
sats the reign of Louis XIV to those rich laces made in 
0 i 5 : so lis 
Nae France which were almost exact copies of the Venice 


ie 
ro 

AF eS Te 
RIA ers 


ss ip RIEL fe SIE " 
aN Bas te 3 Misa. 
< 


Ma CaaS Pa RY 
BONS 
at A AT 
BABU 


Or 
4 Fa & 


LATE XLVI. — Queen Marie Antoinette 
(1755-1793). The lace on skirt, corsage, and 
sleeves is Blonde. Portrait by Mme Lebrun. 


at aees eee pce 
. 


es ARS ea 
Nx 
oa Bis re bse SPA = 
SF bas 4 
Be 
S38 a4 


LT =| 
eeateenee ae 


Raat ”s Comte 
a x st 
See a8 Reps Kok 
PRP eI tse 
7a a Basis KEN oberg 4 SA) 
Fa KE RUE UPI oT 
ee} 


as KD Ki 5 BOT ZN 


CC CCCLO SSS CSS £488 2 88 28S S88 8 8 tS 
FRENCH AND SPANISH LACES 


TST 


Sis 


and Milan laces of the same period. These home-made 
laces were intended to take the places of Italian and 
Flemish laces, and they did. Their cost, however, was 
extreme, so that their wear was confined to the wealthy. 
The mode of making these laces was similar to that 
employed in the Gros Point de Venise, and it was 
under the superintendence of Mme Gilbert that the 
French and Italian workers evolved the beautiful fabric 
which became known a little later as Point d Alengon. 
During the time of Louis XIV the groundwork of 
Points de France had been rather regular meshes, which 
were ornamented by loops or picots. Little by little 
these meshes were reduced in size, and grew to the 
ground called petit réseau, or small mesh. The hand- 
somest of the Points de France at the commencement 
of the eighteenth century was known as— 

Point DE Sepan. The city of Sedan was selected 
by Colbert as one of his lace centres, and this large- 
meshed lace, with bold springing patterns, was success- 
fully made there. The lace has a varied thickness 
imparted to it by different stitches which give high relief 
in some parts of the pattern. Much of this lace was 
used on the splendid rochets of the bishops of that time. 
It closely resembles Gros Point de Venise. The use of 
lace during the reign of Louis XIV was prodigious. 
Even such visitors as came to the court were presented 
with cravats, collars, and cuffs by the magnificent Louis. 

Pornt p’ALENGON. The final evolution of this lace peste ce 


was completed by about 1678, and from this time was eases 
10 rst See 
as args 


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Mos het 
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daar steias as DSA NS PEEPS SRE PS Pa 
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ae 
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a5 


gavwnece 


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EIS 3 
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peepee ier? 
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OAS NIA Sa INIA oars Se Siaa Nictoa. 

ig aaa SS a Pt a 0 Rana ry 

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SRR Ese Varma a pa ESR SEC RS EONS ae 

i) Toa TS AD a BRAS Fa AS OY a a a 

5 NP 8 Fas a Fs NPA a Se 28s aS a DM e pig it 


ECC CCEESEEL SS CCELS £388 2 8 308, 
THE LACE BOOK 


called by the distinctive title of Alencon. The quality 
of this lace, which is a needle point, is its crisp firmness, 
due to the character of the cordonnet, or outline, to the 
edge of the pattern, which is made of horsehair, giving 
it a peculiar wiry feeling, as well as a firmness to which 
is due the preservation of much of this perishable fabric. 
Louis XIV and Louis XV were its two greatest patrons, 
and with the Revolution in 1794 it suffered greatly and 
has never again assumed the place it once held. 

The process of making Alencgon is tedious in the 
extreme. After the grounds became small, the button- 
hole stitch was too thick and clumsy, and a lighter and 
clearer mesh was found to be necessary. After much 
experimenting this grew to be the hexagonal mesh 
known as the distinctive Alencon ground. The lace is 
made in sections, each part by a different worker, and 
the sections are afterward joined by nearly invisible 
stitches. The pattern is printed on bits of parchment 
about ten inches long, green being the colour commonly 
used, as showing up the lace better. The pattern is 
then pricked, and the parchment is stitched to a piece 
of coarse linen. The outline of the pattern is then laid 
on the parchment in two flat threads held in place by 
tiny stitches which go through the holes in the parch- 
ment. ‘This is the first stage, and is the only part of 
the work done by this particular workwoman. The 
laid outline is then given to another worker, who fills in 
the ground, or 7¢seau. The worker of the flowers uses 
a long needle, and her task is to make the buttonhole 


Be 
— 


SEs] ESE vr . ‘ : a a 
X cM v Y ci as 
PASM 


SNe Re 

PA Yas) 

Tans BMY "a a eT 
LAN AN 
= as aA 

NA AZ 

oT 

Par 

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S775 
i 
$25 


a a 
Pa as 
A Fa a a 


By 
eas 
or 


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NS 
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CAPO Ts Fe, a 
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Rts ¢ 
<5 Sie Riis Wise Auouses 
> Bit : ae 
s ois" Nee Fa a at Poa C8 


OO AROS x SS $38 8 8 850%, 
FRENCH AND SPANISH LACES 


stitch, worked from left to right, giving an evenness 
which is one of the greatest beauties of this lace. Then 
come the special workers of the various fillings or jowrs, 
which give so much variety, and then, this section 
being complete, a sharp knife is used to separate the 
lace from the parchment, and the final and trying work 
of uniting all the bits into one perfect piece is all that 
remains. 

When the groundwork was a “bride” ground, of a 
large six-sided mesh, the labour was even greater, as 
each of the six sides was worked over with seven or 
eight buttonhole stitches. This firm ground and the 
horsehair introduced into the border made this lace par- 
ticularly desirable for those towering head-dresses worn 
by French women for so many years. The chief draw- 
back to this lace was that it washed badly, since the 
horsehair thickened and spoiled the shape of the lace. 

The wedding dress of the Empress Eugénie consisted 
of four flounces of Alengon which completely covered 
the white satin skirt, and the same lace was also used on 
the high-necked corsage and on the sleeves. 

The prices paid for these laces in auctions to-day 
compare favourably with what they brought in the hey- 
day of their fame. Within the past year, at Christie’s, 
in London, an Alencon panel for a dress front, 44 
inches deep and 17 inches wide, brought £43 ($215). 
A length of 23 yards of flouncing 14 inches deep, show- 
ing a charming design of flowers tied up with ribbons, 
sold for £46 ($230). 


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ALAS eee Se aki tae nots 
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ABT NN RSI CNC Oar 


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See ee eS CSET See. S Cee eS ee SS SSS 
THE LACE BOOK 


Rana 
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LPS RT ES TN PES 


AREY NETS 


PET! 


A famous English collector of fine old laces was Sir 
William R. Drake, and, by the way, it is chiefly men 
whom the collecting fever strikes most deeply. Not 
only to such subjects as books and furniture do they 
confine themselves, but to such feminine subjects as 
china and lace are they ardently devoted. Mr. Paige 
bequeathed to the Boston Museum of Fine Arts his 
splendid collection, which it took him years to gather. 
Sir William Drake’s, unfortunately, came under the 
hammer, and some of the specimens were sold at 
Christie’s, April 24, 1902. The prices of some of the 
choicest of these pieces are given to serve as a criterion 
to owners and buyers, although it was acknowledged 
that the prices brought on this occasion were unusually 
high, but the quality and condition of the pieces must 
be taken into account. The highest price paid was 
£460 ($2,300) for a flounce of Point d Argentan, 4 yards 
long and 25 inches deep. The pattern was a bold and 
graceful one with scrolls and arabesques appearing 
among the flowers. A length of Pont de Venise, 58 
inches long, and 24 inches deep, with conventional flower 
pattern, brought £360 ($1,800). ‘There was a third piece 
of lace, 4 yards of the finest old Italian Rose Point, 
which, although but 11} inches deep, brought the large 
sum of £420 ($2,100), making the cost $525 a yard. 
The exquisite workmanship and nearly perfect condition 
of this piece brought out many competitors. 

White lace is always more in demand than black, for 
at this same sale some fine black Chantilly, 23 inches 


148 


3-5 ESSE : ¥ eS Sa, ; - s] ae ay y 
207 RSs Oa y a ir. eas 4 SAN 3S 
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RONEN 


Bp res ter ts ; 


LATE XLVII. — La Duchesse dd umale. 
Flounces of black chantilly lace. Nineteenth 
Century. Portrait by Winterhalter. 


IR 


Las OIG Oh 


2 


ee ‘ & »®, ; 
FRENCH AND SPANISH LACES 


Pan aee 
CRISES 


ie 
Mace Sieh a. 


wide, brought but £2 ($10) a yard, while 3} yards of 
8-inch width fetched but a guinea ($5.25). 

At the present time Alencon lace is made in Alencon, 
Bayeux, and even in Venice. It is being imported in 
fair quantities to America, since each year there is a 
slowly increasing demand for “real lace,” as it is called 
in distinction from that which is machine-made. It 
does not take the rank it once did: Brussels, Mechlin, 
and Valenciennes taking precedence over it. 

Point p’Arcentan. Like Alencon, Argentan is 
also a needle-point lace, these two being the only needle- 
point laces of France with a net ground. The name 
Alengon is a much more familiar one than Argentan, 
although the two laces were originated at about the 
same time; yet the output from Argentan never 
reached the amount made at Alencon. In 1744, when 
the manufacture of lace was progressing briskly, there 
were at Argentan about 1,200 workers, while at 
Alengon and its neighbourhood the number was close 
to 8,000. This was the period when, in order to supply 
the demand, work-people were enticed from one town 
to the other,—to the great uneasiness of the super- 
intendents who had large orders to fill. 

In 1788, according to that indefatigable traveller, 
Arthur Young, the industry at Argentan was very 
flourishing, since the value of the lace made there ; 
exceeded 500,000 livres ($100,000). The Revolution mists 
killed the manufacture of this lace, which was revived 
in 1808, but failed in 1810. By 1874 it was once again 


a 
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Paty Y a 2 ma Fal VF, a, Seen 7, Snohenes 37, 
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DIDEROT DRT atta tad, Key SOME MAB OAS EO 
aS 5S aa Ca FE a SO a a AA aT OP 

P shacenecsnsuchs 

a os Si e E74 a x y aT a BEA NM a My 

Mohs seta tatae 2 rest a Pee POSES PSS eS ics 

CREA Nit Tacos OK rae ara DK 
Na RA Seen Leib f 


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SP Fa MBE BF Na I a i SS Cs ORI Ss Rs eS a PR SS a 
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COCCSUSCCLCLR SS eSLS ELS S SS 28S 2 8 8 2 


THE LACE BOOK 


PEPE 
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re-established, and the lace is still made in small quan- 
tities. The difference between the two laces is chiefly 
a matter of grounds, that of Alencon being a réseaw or 
small-mesh ground, while that of Argentan was coarse 
enough to be called a “bride” or bar ground. The 
patterns are larger, bolder, and more scroll-like, the 
relief higher, and the workmanship coarser and more 
effective, from its close patterns and clear bride ground, 
than the more minutely worked Alencgon. The hex- 
agonal bride, the great characteristic of Argentan lace, 
has sometimes worked within each mesh a small six-sided 
solid dot. This particular style of ground was called PS 
réseau rosacé. Another famous ground was the bride |ist 
picotée, or bride bouclée, as it was called, since each 
bride or bar was ornamented with four or five little 
loops or picots of thread which gave it a very ornate 
appearance. The style of manufacture is similar to 
that of Alengon. 

The other well-known laces of France—Valenciennes, 
Chantilly, Blonde, and Tulle—are all bobbin laces. 
The first province in France to establish the making of 
pillow lace was Auvergne, and its earliest product, the 
precious gold and silver laces, was largely exported to 
Spain, since the consumption of these rich trimmings in 
that country largely exceeded the home manufacture. 
Even in the face of the fact that many of the inhabitants 
of France depended on this industry for their support, 
they were harassed by sumptuary edicts of the most 
stringent character. 


iy 
PASSES 


ae 
CISETSS Sicha: SIZRA. IS 
Neneecpasczmetancca 
a BE ae ATS 
P fg Qehasa Geb Os a eases 
f os 


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PBS ETS 
Dae seta] 
PRET! 


ON At 
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SONDRA 


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"ae Pee a0! 
ms aomtae 

eT Tae 


ok i ors 
" LAY 


LATE XLVIII. Spanish needle point. Six- 
teenth Century. Photograph by Charles 
Balliard. 


2 
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Tee T TT PORN 
FRENCH AND 


SPANISH LACES 


In 1639 the Parliament of Toulouse issued a decree 
which the seneschal of Le Puy made known to the 
inhabitants throughout the town at the sound of the 
trumpet. This decree prohibited, under penalty of a 
large fine, “everybody of either sex, quality, or con- 
dition from wearing any sort of lace, whether of silk or 
white thread with glittering passement of gold or silver, 
real or false.” 

It can be imagined into what a desperate condition 
such a foolish move threw the lace-makers of the 
region. They were rescued by the eloquence of a 
Jesuit priest, who prevailed on the Parliament in 1640 
to revoke the decree, and for his good offices the lace- 
makers chose him as their patron saint, and St. 
Francois Régis is still invoked by the lace-workers of 
Auvergne. 

The Aurillac laces of gold and silver were in demand 
at court. A mantle of “Point d Aurillac gold and 
silver ” belonged to the Prince de Conti, and it was also 
used for veils, sleeves, and guards or bands bordering 
garments. 

Cruny Lacr. The Guipure made at Le Puy and 
an old variety of lace has of late years been called 
Cluny lace. It is a coarse lace with brides or bars, and 
is very effective, particularly when made in black. The 
old patterns were fine and graceful, both in scrolls and 
in floral forms, and there is a certain rich elegance to 
the black lace which makes it seem strange that it has not 
become more popular. The earliest history of this style 


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ae of lace is entirely lost. It was the trimming called Opus 538 

. . ° ° . a0 

serene Filatorium in ancient times, and then was Opus Arach- Vx 

4 ils . . . VIN 

ED Rehiee neum, or Spider Work, in the Middle Ages. Patterns He 

att PT : 5 : 

aa mizeeees| for this work filled the pattern-books of the sixteenth ey 

os aan pd po is . . . . . 

eaeetiectne| century, and it was superior to darned netting in having isu 

he aa fae . - ° - - : fy 
nach wheels, circles, and raised stitches to give it variety. 
9 GS . : : * Py 
assze4| While this was a needle lace, its modern namesake is a [ER 
STAN 4 . 5 . he 
a Ht bobbin lace, geometric in character, and following the ja 
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egzacsie antique patterns more or less closely. 2 
eRe DAE VALENCIENNES. The name Valenciennes was not { 
SEAT : : . : 
srei¢| applied to this lace until the eighteenth century. Its 
as a ABA 5 - 
wsies| first home, at the period when Colbert was superintend- 
[No : 
rosae”] ing the lace industry of France, was Le Quesnoy. 
CUTS : 
“#228 The lace produced there, however, was very unlike that 
PRN ae : : 
73831 into which it ultimately grew, the details of ornamenta- 
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dusera| tion and of ground passing through different phases. 
ase"! ace has been made in this region, with bobbins, since 
#} the fifteenth century, when it is said that a worker 
named Chauvin started lace-making. The early styles, 


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Li “i23) with small bars or ties, were replaced by different 
ou grounds, one of the most famous being the “ fond de 
ast an neige” or snowy ground, formed by little dots regularly 
Buses sg made between the twisted meshes. T he clear open 
Re ground with the diamond-shaped mesh is of perfect 
agita regularity. The pattern and mesh are made by the % 
Sloane neue same threads, passing through the hands of one worker noes 
aguwsrus“ty) only. There is no heavier thread for outline as in the ey 
Bea te val case of Mechlin and some other Flanders lace, and the ren 
ne beautiful and durable quality of this lace is one of its aes 
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great merits. When the desire for choice laces was at 
its height, the making of this lace in its perfection 
was carried on in the town of Valenciennes, so this 
name was bestowed upon it. Only the lace made 
actually within the town limits was called vrai Valen- 
ctennes; that made outside, whether in France or Belgium, 
was called fausse Valenciennes. The Revolution was 
responsible for the disappearance of this industry from 
the town of Valenciennes, and what was French loss 
was Flemish gain. ised 

The modern Valenciennes is much less ornate and [R328 
elaborate than the old. The French lace owed its 
superiority to the greater number of times the bobbin 
was twisted in forming the mesh, and it was this 
frequent twisting which caused the lace to be so 
costly, since it required so much time to complete 
even one inch. 

Arthur Young, whom we have quoted before, says that 
in 1788 Valenciennes lace about three inches wide, for 
gentlemen’s ruffles, cost about 216 livres ($43) an ell 
(48 inches). Some lace-workers could make but half an 
ell (24 inches) in a year, and the wages were but 20 to 
30 sous a day. Even at such starvation prices there 
were 3,600 workers in the city alone, carrying on their 
labour in dark, damp cellars, since under such conditions 
the thread worked more smoothly. No wonder that 
the trimming of one of Mme Du Barry’s pillow-cases 
cost 487 francs ($97), and that a pair of lappets were 
priced at 1,030 francs ($206). 


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A piece of lace made throughout by the same hand 
was more valuable, when this could be certified, than that 
made by several workers. It is to be conceived how 
great the extravagance was when it is taken into 
account that this was never a “dress” lace, and never 
appeared on grande toilette of either men or women. 

CHANTILLY Lace, a bobbin lace made of silk, was 
first made early in the eighteenth century at a lace 
school founded by the Duchesse de Longueville. It 
was here that the double ground which characterises 
this lace was evolved and made, in the form of narrow 
edging laces. The second epoch was that of Guipures 
of silk, both white and black, the latter being the black 
silk Blonde lace which made Chantilly famous. They 
were not highly esteemed at first, but after they received 
the sanction of the court they became very popular. 
The old patterns, in either black or white, are quite 
remarkable for the presence of vases or baskets which 
hold flowers, and which are similar to the forms of 
Chantilly pottery made at the same period. Sprays, 
branches, and vines spring from the vases and show to 
admirable advantage upon the clear ground. The 
grenadine silk thread used for the black laces sometimes 
loses its brilliancy in the constant twisting of the 
bobbins, and this has given rise to the idea that this 
lace is sometimes made with an admixture of flax 
thread. 

The ground or mesh is lozenge-shaped, crossed at 
opposite ends by horizontal threads. This forms what 


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was called the double ground. Many charming fillings 
are introduced into the flowers, and are called by a 
variety of fanciful names, such as vitré, mariage or 
cing trous. 

The disappearance of a lace from the town of its 
birth, and its reappearance in another quarter or even 
in another country, is one of the strange features of 
this industry. During the nineteenth century the 
making of black lace was revived at those busy lace 
centres, Caen and Bayeux, where many thousand 
workers are engaged in making Chantilly, which far 
exceeds in beauty and delicacy the old laces. A large 
variety of textures is the great feature of this modern 
lace, many grounds being introduced into each piece, 
with proportionate variety in the pattern or toilé. The 
French black silk laces greatly excel in beauty those 
made in Belgium, the latter being less varied in their 
gradations, and less rich in the beautiful openwork 
which outlines leaves, flowers, and scrolls in the Nor- 
mandy laces. 

BionpeE Lace. Under the general heading of Blonde 
will be included Blonde de Caen, as well as Blonde net. 
White silk bobbin lace was first made at Caen about 
1745, taking the place of the flax laces previously made 
there. The early laces were creamy in colour, and were 
sometimes called Nankin, as the silk of which they were 
made was imported from China. Gradually they im- 
proved in colour, as the preparation of the silk was also 
improved, and these delicate white silk laces were much 


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sought on account of their beauty and becoming 
quality. 

Two sizes of thread are used, one for the mesh and 
another for the pattern, and both pattern and mesh 
are made by one worker. It was not till about 1840 
that black laces in the white lace patterns were made, 
and became almost as much the vogue as the white. 

BLonbDE NET was a silk bobbin lace with a fine net 
groundand a heavy pattern. The ground is clear and fine, 
and the pattern or tot/é is worked with a broad flat strand 
which glistens prettily, and to this rather showy quality 
it owes its success, since it is not distinguished by 
beauty of pattern or by any particular artistic merit. 

MicNoneEtTE Lace, or Blonde de Fil, is another fine 
light bobbin lace, early in use and much esteemed even 
before the great Colbert took in hand the lace industries 
nexeve, Of France. Before the middle of the sixteenth century 
EDK ae : “ae ES 
gysceyer| It was an important trimming, and was made from fine 

| flax bleached and spun in Flanders. It was never made 
more than an inch or two in width, and so light and 
delicate was it that it was a favourite trimming for 
caps. It has survived where costlier laces went down, 
and is still made in large quantities. The spelling of 
it varies greatly, from “ mennuet ” to “ minuit,” accord- 
ing to the nationality and taste of the speller. 

CoLBERTEEN, so often mentioned in English satires 
of the seventeenth century, was a coarse network lace 
with a large open mesh, used only for edging towels, 
sheets, ete. It is curious that only this third-rate lace 


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FRENCH AND SPANISH LACES 


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should have been named after the great minister who 
did so much for the industry in France. 

DENTELLE is the French term for lace. It was not 
applied, however, till the end of the sixteenth century ; 
before that time laces were called passements. 

DENTELLE FuseEau is bobbin lace. 

DENTELLE DE FI is a term covering several varieties 
of simple thread laces like Torchon, or Dentelle a la 
Vierge. 

DieprE Pornt, as lace made at this town was called, 
in its finer varieties is of the same nature as Valen- 
ciennes, but much simpler, so that fewer bobbins are 
used. This kind of lace has been used since the six- 
teenth century by the peasant women of Normandy for 
trimming those marvellous caps with long lappets which 
are so esteemed in prosperous families and handed 
down from one generation to another. Flemish thread 
was used for this lace, both black and white, and the 
most elaborate patterns did not cost over 30 francs an 
ell. A school was re-established at Dieppe in 1826, by 
some sisters from a convent, for even this simple product 
has suffered from the throes of the Revolution, as well 
as by the demand for costlier laces by the aristocracy. 

There are several small inexpensive laces which have 
been, and to some extent still are, made in France. 

CamPaNE Lace was an ancient lace, now unknown. 
Much mention is made of it in the contemporary 
literature of the times, and it was frequently used as an 
edging, sewed upon muslin ruffles, or even upon narrow 


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THE LACE BOOK 


laces to increase their width. As early as 1690 we find 
it called “ the King of narrow pricked lace.” It was a 
bobbin lace, and the word “ pricked” referred to the 
fact that the pattern was pricked upon parchment. 
This lace was made not only of flax for those who 
desired it, but also of gay coloured silks and even of 
gold. These latter laces were for trimming doublets and 
mantles. 

GrEUsE or Beggar’s lace was another simple trim- 
ming, bobbin-made, and rather resembling modern 
Torchon. It was called “ beggar’s lace” on account of its 
coarse quality. 


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Spanish Laces 


Spain has always been a lace-wearing country, her 
grandees ruffling it superbly in velvets and gold lace, 
while with her ladies the national dress is largely com- 
posed of this rich fabric. Though consuming great 
quantities of lace in its most costly form, gold and silver, 
Spain has never made it in great quantities, but relied on 
her exports to furnish her with the amount needed. 
Curiously enough, the Spaniards obtained their laces 
from France, while the laces most used in France came 
from Flanders, but this was in 1634, before Colbert came 
on the scene. 

Later, in the eighteenth century, Spain acted upon the 
policy that foreign superfluities should be prohibited. 
Her sumptuary law of 1723 “has taken away all pretence 
for importing all sorts of point and lace of white and 
black silk.” Being a Catholic country, her convents 
made drawn- and cut-work in great quantities for use in 
the churches and on ecclesiastical garments, following the 
development of lace in Italy, Flanders, and France, and 
copying with more or less success the fine old Points of 
Venice. 

The most famous lace, Point d’Espagne, was a gold or 
silver lace, and the name is thought by most experts to 
have been given to it on account of the vast quantities 
required by great Spanish nobles, with whom it was a 
favourite decoration. Yet this lace was also made in 


159 


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THE LACE BOOK 


Spain, largely by the Jews, and after their expulsion in 
1492 the manufacture decreased greatly, while the de- 
mand still continued. As much of these splendid laces 
were sent from Italy and Flanders, and so great were the 
sums spent for them, the importation of them was finally 
prohibited by the government, save such as were neces- 
sary for ecclesiastical purposes. 

Lord Tyrawley, writing from Lisbon to the Duke of 
Montague in the first half of the eighteenth century, 
describes his meeting with the Patriarch on his way to 
court in his litter, — 


—“ which was of crimson velvet, laid all over with gold lace; 
followed by his body coach of the same. He had ten led horses, 
richly caparisoned, and attended by six-and-thirty footmen in 
crimson velvet clothes finely laced with gold, every servant having 
a laced cravat and ruffles, with red silk stockings.” 


The history of lace in Portugal is approximately the 
same as it was in Spain, and the dress and equipages of 
the Portuguese nobles were as extravagant, in the eight- 
eenth century, as those of the Spanish grandees. 

During the sixteenth century, when Flanders was 
Spanish territory, the Spaniards learned all that the 
Flemings had to teach in the art of bobbin laces, and of 
twisting and plaiting gold threads. 

The convent laces were, however, chiefly made of 
thread, rich and heavy, and resembling the Gros Points 
de Venise from which they were copied. There were 
finer laces made, too, like the choice French and Italian 
laces, and at the dissolution of the monasteries, about the 


160 


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a aX 

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CRPCCCESOOESSS 2S OS 8S eS SSS SSS S88: 
FRENCH AND SPANISH LACES 


middle of the nineteenth century, many of these laces 
were released and sold. Now were revealed for the first 
time specimens of those rich fabrics on which many a 
nun spent her eyesight and her life, and unfinished pieces 
of lace still stitched on their bits of parchment, marked 
with the name of the sister who was expected to make it, 
are parts of the property preserved in the convents. They 
followed the plan of working separate small bits, the 
pieces being afterward joined by a superior worker, but 
the laces are in no way distinctive. These delicate 
laces are not, however, those which suited Spanish 
taste. After the gold and silver laces, which were 
sometimes further enriched by embroideries in colour, 
came the silk lace, both white and black, made in heavy 
patterns on a net ground. 

The gala dress of the Spanish signora calls for a white 
lace mantilla, which is not in the least becoming to her 
dark style of beauty. This is made of very heavy silk 
embroidery on net, or is a heavy bobbin lace with a net 
ground. The black lace mantilla, and lace flounces, two 
of which were often mounted upon a skirt of brilliant 
satin, composed the dress of the rich Spanish beauty, 
and were of this same heavy lace. The simplest mantilla 
for ordinary occasions was of silk, but this was embel- 
lished by a flounce all around it of hand-wide lace. 

The earliest sumptuary laws of Spain make no 
reference to lace, but Philip III, in 1623, required the 
wearing of simple rebatos, without cut-work or lace, for 
men, and collars and cuffs for women, neither sex being 


+} 
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THE LACE BOOK 


Fa a 
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allowed the use of starch. Gold and silver lace was 
especially prohibited, but this prohibition was repealed 
for the period of Prince Charles's visit. Spain was 
long celebrated, and with justice, for the elegance of her 
silk fabrics and her gold and silver lace, mention of all 
of which is numerous in the French and English inven- 
tories and Wardrobe Accounts of the period. During 
Queen Elizabeth’s time she had a mantle, in the year 
1587, trimmed with “bobbin lace of Spanish silk,” and 
from this date downward, coats, mantles, petticoats, 
and beds were trimmed with it. A Spaniard, writing 
of Barcelona in 1683, says that not only are gold 
and silver edgings made there, but also those of silk, 
thread, and aloe, “with greater perfection than in 
Flanders.” 

By 1667 so much thread lace was brought into Spain 
from France as well as from Flanders that the duty was 
raised from 25 to 250 reals per pound. This necessitated 
much smuggling, and quantities of lace, under the name 
of “mosquito net,” were brought into Spain via Cadiz, 
and there are records of the seizure of many vessels. 

The gold and silver lace was used for other purposes 
besides cloaks, gowns, and mantles. Banners were 
edged with it; hats were laced with it for servants as 
well as for their masters ; shoes were trimmed with it, as 
also carriages and furniture; and, most curious of all, 
sheets were embellished with it to the depth of several 
inches. The most famous of these metal laces were 
made at Seville, Barcelona, and Valencia. 


STS i 
AST ORY 1 


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LATE LI.— Henrietta Anna, Duchesse 

@ Orléans (1644-1670). Showing a bertha of 
straight-edged lace. An carly representation of 
Point de France. 


at 
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ae vail x 
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SS 88S S88 8S eee Se eee eS ee eS SS 88 te 
FRENCH AND SPANISH LACES 


The silk Blonde lace, which we call to-day “ Spanish 
lace,” and which is made in scarfs, mantillas, flounces, 
etc., was made at Catalonia and Barcelona, and its char- 
acteristic is a heavy pattern on a fine net ground. This 
ground is not nearly so durable as that made at Bayeux 
or Chantilly, where this lace, with patterns in “ Spanish 
taste” are made to suit the Spanish market. 

There are no lace manufactories of any note in Spain, 
the custom always having been for the women and 
children to work at the lace in their own homes. Many 
people are employed in silk bobbin lace-work now and 
the patterns and workmanship are constantly improving. 
Children do much of the work, beginning as early as 
four years of age, and after a little practice are able to 
handle with skill six or seven dozen bobbins. 

A curious custom prevails in Spain, and in Portugal as 
well, of trimming coffins with lace. This fashion has been 
followed for hundreds of years, and as the coffins them- 
selves are generally pink, blue, or white, and overlaid with 
gold or silver lace, they present a very tawdry appearance. 

The chief claim which Spain and Portugal have for 
modern lace is for their imitation Chantilly lace, which is 
exported in considerable quantities. The black silk lace 
enriched with coloured silks and gold threads is no longer 
made, and but small quantities of the metal laces, which 
once made Spain so famous in the world of fashion. 


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sa Te va (sh ae jd henh AGT Pays sited. Barat ers ae ae oe 
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Part V—English and Irish Lace 


COO 608 


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SH 


HE real good of a piece of lace, then, 
you will find, is that it should show, first, 
that the designer of it had a pretty fancy; 

newt, that the maker of it had fine fingers; 
lastly, that the wearer of it has worthiness 
or dignity enough to obtain what is difficult 
to obtain, and common sense enough not to 
wear it on all occasions.” 


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xO of makes and styles that it is quite 
bewildering for the novice to determine whether her bit 
shall come from “ Bedford, Bucks, Dorset, or Devon.” 

In the making of lace, England was not in the field 
as early as either Italy or Flanders, and the Italians 
took advantage of their forwardness in the craft to send 
to England lace of “ Venys gold,” as well as that of 
Genoa, Lucca, and Florence. 

The term “lace,” often used in the expense accounts 
of sovereigns from the time of Edward IV (1460), has 
always been supposed to mean the trimming, instead 
of which it refers to the strings or ties by which various 
parts of the garments were kept together, pins not then 
being incommon use. The statute of the third year of 
Edward IV’s reign enumerates the following wrought 
goods not to be imported, and ladies were to rely on 
home manufactures for “laces, corsets, ribbands, fringes, 


at 


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PRU O AN 


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Bie BES DIE Dice Bid te Dic Bic DK DE pics| 


Appt, Pipl ip hipt 


KeaaQealegalelodarolelalelea lee eo a eee eee eel elacy 
THE LACE BOOK 


twined silk, embroidered silk, laces of gold, points, 
bodkins, scissors, pins, purses, and patterns,” also “ cards 
and dice.” During the incarceration of the unfortunate 
Henry VI in the Tower of London in 1471, various 
sums were paid at the Exchequer for his maintenance, 
and among the items given was one of “£9 10s. 11d. for 
twenty-eight ells of linen cloth of Holland and ex- 
penses,” which refers probably to the making of it into 
shirts. 

The writers of the period being chiefly men, poems 
and satirical essays were directed against the gentler 
sex, even though the prevailing modes prescribed equal 
elegance for both men and women. Sir Richard Maitland 
(1496-1586), a noted Scotch jurist, amused himself 
when off duty by writing poems, one of which, called 
« Satire on the Town Ladies,” has the following lines : 

“Their wilicoats maun weel be hewit, 
Broudred richt braid, with pasments sewit.” 

The earliest English records of the fifteenth and six- 
teenth centuries call this trimming passement and 
dentelle. Mrs. Palliser says that the first mention of 
the word “lace” in any English inventory is in that of 
Sir Thomas L’Estrange of Hunstanton, county of Nor- 
folk, in 1519. There was but a single yard, and it was 
valued at eightpence, “to trim a shirt for hym.” 

All during the first half of the sixteenth century lace 
appears but sparsely in the inventories and accounts. 
Gold lace was increasing in amount, and by the time 
Queen Elizabeth sat on the throne the edicts against 


Tan EAT AT 
teuctnnents 
Ag TG a ETAT a 
UNA A 
aa S 


re 


ae ee maa Pies De 
aa eeas, 


Si 


PK EDK 


& 
Beasne 


"a evict wa! 


de Bie eC 


LATE LII.—Old Honiton, with needle-made 
ground and carnation sprigs. Early Digh- 
teenth Century. 


xat a, 
a ia BOR Fa WAN % 
eel PRS I ny Pid <b 
2 cotta Se 1a Ss pseeeclsiskgs 
eaas cas : DIRE atts BSeBe PS 
‘a Pass gs ae Bias Pes Ag Soe HS eas te Pat NAS 


PR ot DRMPDIK epics Siass amsta she 
CEST COLEEERCOCT ET SER CCCEET EAN OCIS. 
ENGLISH AND IRISH LACE 


cut-work and lace, framed by Henry VIII and renewed 
by Queen Mary, were no longer enforced, since the 
Virgin Queen loved too well the gewgaws from France, 
Italy, and Flanders, to deny herself the use of them. 

By this time there were resident in London many 
rich and powerful merchants from both Italy and 
Flanders. One of the most famous was Messer 
Leonardo Frescobaldi, the well-known “ Master Friski- 
ball” of Shakespeare. He was one of the merchant 
princes of the day, and supplied to royalty “damask 
gold,” gilt axes, hand guns, and other merchandise. ~ 

Cardinal Wolsey, who turned to advantage every 
instrument that came to his hand, besides buying the 
rich Venetian goods, used these merchants in various 
ways, as news-gatherers, messengers, etc. Some of 
them married English women and became English 
apdeeas having thus exceptional advantages for selling 
the “ Venys laces of riche gold,” and those also jewelled. 

Rich dresses were worn on all occasions. When the 
unfortunate Earl of Arundel, who was tried for high 
treason in 1589 because he expressed his joy “ when the 
i. Armada entered the Channel,” appeared before 
the jury of twenty-five peers at Westminster, he was 
clad in a “wrought velvet gown, furred with martins, 
laid about with gold lace, and fastened with gold 
buttons.” Another prisoner of the Tower, the Earl of 
Essex, went to the block in 1597 in a wrought velvet 
gown and a small ruff, which latter he put off before 
kneeling to receive the fatal stroke. 


ea 
sa 
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ean ab E 


4 at 
Ma Ws 


Lf 
Mage 
rh 
en 


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vat 4 


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ras MAS 
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Pr 
Sith Si 


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Si 


Fa al 


aS oe See Ma" 

5 SR Cee IS WBE Keep 
3 a 7% 374 Sai Om 
PlA 


senzckecae aes 
so a a s 

at oe ra ram SPE eee WAST PP, & Teng 
eee eee eee: y 5 eps ae] See anaes 
sas spurring Papen ce cece aerate: hiaes 


NG 
PP Portal suet 
oS aS APEC He RT 

SRS eet poe is Vo- es 

NAS NI Nits 

> 


ae telsiss? 
Te Sie 

Nee 
PRD EPIC ea San oes 


Fa hae ot 
Pas IAS aera 
es ts as NT 
<7 A Si a3 
RS) Os 


TS 


Ma sha S pe <2 as - 
Eg eras Spe ie cobs cobs ces cee: come aes oa 
os = co v . a 
aR eNae PP GL RAL AL ALD LOS OL CS OS OSS es aya a ay nay a yaaa tea LED 
See Baa te Xx. XO. PLL L LLLP MPS Wu PPP OGG OBL MPH YP & fh Css 
, ¥ TY 4 ” 
weep es THE LACE BOOK i 
wens a % 
pate DK et : é : Gg 
StS «Bone lace,” so often mentioned in the inventory of 44 
ee . : NINES 
ae Queen Elizabeth, and even in that of her predecessor, {¥% 
of fa = . . . . . v 
Esthetics signified a bobbin lace, since bits of bones from various ie 
: 7 E49 % : . . . fh 
: peeiearizs animals and birds were used as bobbins and as pins 3 
a Sebel around which the lace was woven. 
Behe Nitsa NIT = : . 
BEN DRS The fashion of garments during the period of Henry 
aa eo ; 
E@caeccasszen! VIII andof Mary precluded the useof much lace even if 
mca 20 


7] 


beara 


it could be obtained, since they were so slashed and cut, 
puffed and jagged, and covered with flat braids of metal 
or silk, that there was little room for anything else. 
The Elizabethan ruff, which was introduced from CDK: 
France about 1560, was made of the finest drawn-work gas PES 
and edged with lace of geometric pattern but of great 
beauty. 


er 
ce 


Ts) 


OF 

CN NS 
Ra Fa SY a 
26 Vor Oa 


fi 
PK 


cr 


DIZ 


Fa 


33, | About ten years later the Wardrobe Accounts fairly 
PK bristle with mention of cut-works, passements, drawn- 


work, chain lace, petticoat lace, and a dozen other 
varieties which have now become nothing but names, 


“| but which show that the English Queen sought every 

“| means to add to her appearance by the richness of her 

vy 

ae” “appryl.” 
% as) . . . e 
BaD ereDk Ty Chain-stitch was one of the forms of trimming of 
4 vay . . . 

Hgayeseee4e3| which there are many early entries in the Great Ward- 
RRERIA SINS NY A 2 ; 
E ees robe Accounts. Spanish stitch, which had been intro- 
SQ ae TAT} . . 
Qswyeze| duced by Queen Catherine, was much used on linen 
SS NIA NIA] ° 
find skews underwear, and, as it was easy to make and stout to 
REIN SS Tay ; , t é 
aD aap wear, many PE entices and young tradesmen had it on 
Recap cae their collars. This did not suit the Queen at all, and 
Bi Nha Ia : : 
para she put a quick stop to all such borrowing of fashions 
BRN TSA nN 
G8 
epee 
ran OW SH PRA rs as 
Bo aay | ON iaa Biel 
eaten Beene 
ed fo 
ERS KD 
PEAS ae 


eT A Nd aN 
age ADC OBS 
pre 


POR Da 
se yn aR ama oe 
NRTA 


SU obs 


SER 


ae! 
Sue 
a 
aa 
Fa 


Co - 
i 


Be tSiey 
ay 


ra wd Yay 
oe 
a 


rete 
Sues 


sae 


PO OSS 


PODER 
6 
i] 7] 


sat Fa NMA a 


auc 


a 


a 
VNR 
wails 


pores 
main 


“ 
AG Cha 
ean He 5 beat _ Le 
TSI Si 2 rane 
rene gan eeaes ESIC RK EAC It So Rickie Fas) Gnngs Ear 
¥ ral pr 4 IY ie > t oie 
a zs ees 
pemacace rave a os DIRE DIK aeDie epics De > 
aS hy a | 


. 
oS eT 
— 


Fra PR ePIC e Dy She c 


4 8 Ss SI SS pra Tas IST AF a BENG aD Ce Be 
Rekr RDG SDE DIC DCS Dic Dic epi eS I Smse oma Skat 


OOOO IIE OAL 0 80 Doe ol oe ek 
ENGLISH AND IRISH LACE 


Ph 


iz 


from their betters by ordering that the next apprentice 
so caught should be publicly whipped in the hall of the 
Guild to which he belonged. 

A contemporary, speaking of the gowns of the period, 
says of them: 


Si 


“Some are of silk, some of velvet, some of grograin, some of 
taffeta, some of scarlet, and some of fine cloth of 10, 20 or 40 
shillings the yard. But if the whole garment be not of silk or velvet, 
then the same must be layed with lace two or three fingers broad 
all over the gown; or if lace is not fine enough for them, he says, 
they must be decorated with broad gardes of velvet edged with 
lace.” S 


So much for feminine attire. 

By 1595 the peasecod-bellied doublet was quilted and 
stuffed with four, five, or six pounds of bombast, the 
exterior being of satin, silk, velvet, camlet, gold, or silver 
stuff, “slashed, jagged, cut, carved, pinched, and laced 
with all kinds of costly lace of divers and sundry colours.” 

Gascoigne, who about 1570 wrote his “ Satire on the 
Court Ladies,” gives them credit for unbridled folly in 
copying men’s clothes : 


5 


“4 
a 


* Women masking in men’s weeds, 
With Dutchkin doublets, and with jerkins jagged, 
With Spanish spangs and ruffles set out of France, 
With high-copt hats and feathers flaunt-a-flaunt,”— 


SITE 
oa Bag 


—and many other extravagances beside. 

Jasper Mayne, who wrote some comedies illustrative 
of city manners in the time of Charles I, also wrote 
some poems. He was archdeacon of Chichester, and, as 
might be expected, had little sympathy with the 


Ticats Meas nan sek 
Sw oH 


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a 
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aN aan 


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wee SOR ASN 

hs ho 4 a RM a Kh 

aa ry Maria cAI Ai 
x Py See aa 4 

Doreen Ra REIN ERLE SRLS ot a Sa ee Soe A 


Fa ha 


Sy < PY Sra 
Pic ee Sicleeic ee DI 
A NA 


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Puritans and their tenets of faith. One of his satirical 
poems, written about 1650, was called “ The Puritanical 
Waiting-Maid,” and her mistress thus describes the 
maid’s foibles : 


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‘She works religious petticoats ; for flowers 
She'll make church histories. Her needle doth 
So sanctify my cushionets! Besides 
My smock-sleeves have such holy embroideries, 
And are so learned, that I fear in time, 

All my apparel will be quoted by 


Some pure instructor.” 


saan 


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Dhl eas 


The cloaks of both sexes were faced with costly lace 
of silver, gold, or silk, and with members of the court 
the wearing of rich clothes was a positive necessity. 

Arabella Stuart, that unfortunate princess whose 
debts and matrimonial difficulties caused her to pass 
many weary years in the Tower, never lost her taste for 
fine clothes. Her last appearance at court was June 4, 
1610, when her cousin was created Prince of Wales. 
The Queen gave a grand masque called “ Tethys’ Fes- 
tival; or, the Queen’s Masque.” The dresses were 
designed by Inigo Jones in honour of the occasion, and 
the Lady Arabella took a leading part. She was 
“Nymph of the Trent,” all the ladies representing 
different rivers. She wore one of those elaborate and 
costly costumes which added so much to her money 
difficulties. Her “head tire was composed of shells 
and coral. The long skirt of her gown was wrought 
with lace waved round about like a river, and on the 
edges sedge and seaweed, all of gold.” 


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ENGLISH AND IRISH LACE 


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Aprons were an article of feminine attire upon which 
lavish work was employed, drawn-work alternating with 
strips of sheer muslin, and the whole bordered by wide 
needle lace of the finest patterns. 

The apron was used by the highest and lowest rank 
alike, and was so much a part of stately dress that even 
the poets noted them. In 1596 Stephen Gosson wrote 
of them thus: 


“These aprons white of finest thread, 
So choicelie tide, so dearlie bought, 
So finelie fringed, so nicely spred, 
So quaintly cut, so richly wrought ; 
Were they in worke to save their cotes, 
They need not cost so many grotes.” 


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Quite a number of the effigies in Westminster Abbey, 
which give such a good idea of contemporary costumes, 
show beautiful aprons edged and guarded with lace, some 
dated from 1641, showing how many years this fashion 
continued. 

During the reign of William III they became quite an [% 
indispensable article of dress. They were at that time | 
small and very short, and trimmed all around with edg- 
ing lace. The lady’s apron at the time of Queen Anne 
was exceedingly rich, since besides being largely com- 
posed of needlework it was also decorated with gold lace 
and spangles. 

Besides the personal use of lace it was used for bed 
and table linen, and in the accounts of the Darrell family 
(1589) mention is made of curtains of “ Wedmoll lace, 
rings, curtain-rods, and making, 18s.” 


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THE LACE BOO 


There is still to be seen in Anne Hathaway’s cottage 
at Stratford-on-Avon a linen chest containing, among 
other things, a linen sheet with a strip of cut-work down 
the middle, with pillow-cases to match. These are 
marked “ K. H.,” and are said always to have been used 
by the Hathaway family on special occasions, such as 
births, deaths, and marriages. Many of the old English 
families are proud of similar linen which has been in use 
two or three centuries and carefully preserved. 

Laces were sold in England, as well as on the Con- 
tinent, by travelling merchants who went from one town 
to another. They were also sold at the various fairs, 
which were such important occasions in the early history 
of England. At one of these fairs, held in the chapel of 
St. Etheldreda (or St. Audrey, as she was more often 
called), daughter of King Auna, who established the 
Abbey of Ely, lace of a coarse quality was sold which 
became known as “'Tawdry lace.” Shakespeare mentions 
itin “Twelfth Night,” and from it has no doubt come 
our word “tawdry,” signifying something showy and 
coarse. 

In an old play written in 1607, called “ Lingua ; or, 
the Combat of the Tongue and the Five Senses for 
Superiority,” is given a list of many of the articles of a 
lady’s wardrobe. So many things made or trimmed 
with lace are enumerated that we give anextract. One 
of the characters says : 


“Five hours ago I set a dozen maids to attire a boy like a nice 
gentlewoman, but there is such a doing with their looking-glasses, 


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Sul piece of bobhin-made Buckinghamshire lace. 
Bighteenth Century. 


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ENGLISH AND IRISH LACE 


pinning, unpinning; setting, unsetting ; formings and conformings ; 
painting of blue veins and cheeks. Such a stir with sticks, combs, 
cascanets, dressings, purls, fall-squares, busks, bodices, scarfs, neck- 
laces, carcanets, rabatoes, borders, tires, fans, palisadoes, pufts, cuffs, 
ruffs, muffs, pusles, fusles, partlets, fringlets, bandlets, fillets, cors- 
lets, pendulets, amulets, annulets, bracelets, and so many lets [i.e. 
stops], that she is scarce dressed to the girdle, and now there is 
such a calling for fardingales, kirtles, busk-points, shoe-ties, and 
the like, that seven peddlers’ shops, nay, all Stourbridge fair, will 
scarcely furnish her.” 


In a comedy of the same period, called “ Eastward 
Hoe!” one character says to her sister : 
“Do you wear your quoif with a London ticket, your stamen 


peticoat with two guards, the buffen gown with tuftaffetie cap and 
velvet lace.” 


By 1640 the hood and fardingale appear, and dress for 
both men and women is distinguished by its rich ornate 


sleeves and elegant falling collar. 

The wearing of the periwig crossed the water from 
France about 1645, as the Grand Monarch had started 
the fashion, and the lace collar gave place to the jabot, or 
laced band. The English term for this article was neck- 
cloth or cravat, and the edging was rich Brussels or 
Flanders lace. 

The ceremonial life of English royalty was always a 
subject of grave moment. The procession through the 
city to Westminster at the coronation of a monarch has 
always been, even down to our own day, a spectacle 
where the greatest magnificence and taste were displayed. 
We have the words of a contemporary to describe that 
procession when Charles II was crowned on April 23, 


175 


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1661. After giving the order of the procession, the 
positions of the nobility, the great officers of state, the 
royal household, the principal gentry of the kingdom, 
etc., he goes on to say : 


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“It were in vain to attempt to describe this solemnity; it was so 
far from being utterable that it was almost inconceivable ; and much 
wonder it caused to outlandish persons, who were acquainted with 
our late troubles and confusions, how it was possible for the English 
to appear in so rich and stately a manner, for it is incredible to 
think what costly clothes were worn that day; the cloaks could 
hardly be seen what silk or satin they were made of, for the gold and 
silver laces and embroidery that were laid upon them: besides the 
inestimable value and treasure of diamonds, pearls, and other jewels, 
worn upon their backs and in their hats; to omit the sumptuous 
and rich liveries of their pages and foot-men; the numerousness of 
these liveries and their orderly march; as also the stately equipage 
of the esquires attending each earl by his horse’s side; so that all 
the world that saw it could not but confess that what they had seen 
before was but solemn mummery to the most august, noble, and true 
glories of this great day. Even the vaunting French confessed 
their pomps of the late marriage with the Infanta of Spain, at 
their Majesties’ entrance into Paris, to be inferior in state, gallan- 
try, and riches to this most glorious cavalcade from the Tower.” 


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Charles II himself on this auspicious occasion wore a 
robe or sort of surplice of fine lawn trimmed with 
Flanders lace at eighteen shillings the yard. This, too, 
in face of the fact that he had issued a proclamation 
enforcing an act of his father prohibiting the entry into 
the Kingdom of foreign bone lace. 

The next year, 1662, another Act was passed, pro- 
hibiting bone lace cut-work and passements; all foreign 
bone lace being forfeited, and a penalty of £100 ($500) 
to be paid by the offender. 


176 


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ENGLISH AND IRISH LACE 


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The King, however, and the royal family seem to 
have considered themselves exempt from such stringent 
laws, and the curious Latin of the Great Wardrobe 
Accounts are rich in items of lace both from Flanders 
and Venice, to trim the King’s cravats, shirts, pillow- 
beres, tooth and toilet cloths. 

The dignity of the nation was upheld by its ambas- 
sadors abroad, whose dress, as well as that of their 
household, was very magnificent. Lady Fanshawe 
gives the following description of her husband’s costume 
on a state occasion at Madrid in October, 1644, when 
he was ambassador. She says that he was— 


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—“ dressed in a very rich suit of clothes of a dark fillemonte 
brocade, laced with silver and gold lace, nine laces, every one 
as broad as my hand, and a little silver and gold laid between 
them, both of very curious workmanship. His suit was trimmed 
with scarlet taffety ribbon, his stockings of white silk upon long 
scarlet silk ones; his shoes black with scarlet shoe-strings and 
garters ; his linen very fine laced with very rich Flanders lace; a 
black beaver buttoned on the left side with a jewel valued at 
£1,200.” 

The comparative moderation of the Commonwealth 
produced, as was natural, a revulsion in favour of 
unlimited extravagance, and no one chronicles it more 
pleasingly than Pepys. His diary for 1662 records the 
laces worn by the ladies of the court, his own expendi- 
tures, and what Mrs. Pepys was able to get from him 
for her own wear, and many other references to the 
modes as, for example : 


“Went with my wife, by coach, to the New Exchange, to buy 
her some things; where we saw some new fashion pettycoats of 


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LACE BOOK 


sarcenett, with a black broad lace printed round the bottom and 
before, very handsome.” 


He has for himself a “ white suit with silver lace to his 
coat.” Pepys was never quite satisfied if his things did 
not show for their full value, and one of the entries in 
his diary, recording that he and his wife went to church, 
says: 


AS a EN 
eR Steasa o 


“My wife had on her new petticoat that she bought yesterday, 
which indeed is a very fine cloth and a very fine lace; but that 
being of a light colour and the lace all silver, it makes no great 
show.” 


He heard that the King (Charles II) rode in the Park, 
so he went to see him. 


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“By and by the King and Queene, who looked in this dress, a 
white laced waistcoate and a crimson short petticoat, and her hair 
dressed a la negligence, mighty pretty ; and the King rode hand in 
hand with her.” 


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On another occasion he takes his wife to drive in the 
2<4°| Park for the first time in a coach of their own: 


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“My wife extraordinary fine, with her flowered tabby gown 
that she made two years ago, now laced exceeding pretty.” 


With this desire for lace reaching through all classes, 
of course many women, Mrs. Pepys among the number, 
made it with more or less success for themselves. 
Pattern-books were scarce and came high, and from this 
need of patterns for domestic work came the samplers, 
or “Sam cloths,” as they were called. Fifty years before 
the time of Mrs. Pepys there is mention of samplers. 
In Chappell’s “ Popular Music of the Olden Time” it is 


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ENGLISH AND IRISH LACE 


stated that there was a collection of songs entitled : 
“The Crown Garland of Golden Roses” (1612), and 
among them was “A Short and Sweet Sonnet Made by 
One of the Maides of Honour upon the Death of Queen 
Elizabeth, Which She Sewed upon a Sampler in Red 
Silk ; to a New Tune, or Phillida Flouts Me.” 

The ordinary sampler was not so elaborate a work of 
art as this, but a strip of linen, occasionally mounted 
upon a little roller, on which strip were embroidered 
patterns, samples of drawn-work and lace, which could 
be kept for reference or lent to friends. 

The earliest known English sampler that is dated is a 
small bit of linen six and a half inches long by six 
inches wide, dated 1643. It consists of two strips of 
very beautiful lace, one in conventional design, and the 
other having two figures, a Cupid drawing his bow at a 
lady who holds up her hand in protest. The foundation 
is a coarse brown linen, and, in addition to the date, 
Elizabeth Hinde, the maker, has worked her name on a 
little strip of finer linen which is sewed to the bottom. 
This is in the South Kensington Museum, London. 
Most of these early samplers, many fine examples of 
which are preserved in London, were long and narrow 
bits of linen with a variety of embroidery patterns 
worked on them in silk, and with only one or two bits 
of cut-work or lace work. 

In the eighteenth century the fashion for embroider- 
ing quaint verses prevailed, and such good moral 
mottoes as the following are by no means uncommon : 


179 


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* Look well to what you take in hand, 
For larnin is better than house or land, 
When land is gone and money spent, 
Then larnin is most excellent.” 


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A sampler made by Mary Saunders was “ wrought in 
the ninth year of her age, one thousand seven hundred 
and seventeen,’—the above in the finest stitchery, 
and with a quantity of patterns, also with a “magic 
square” filled with numbers. 

Like most old things, samplers have had a remarkable 
rise in price during the past few years. Very large 
sums have been given for even mediocre examples. At 
a recent sale at Sotheby’s £8 ($40) was given for a 
sampler in good condition, dated 1679, while one less 
perfect brought £6 4s ($31). 

While it is true that lace was made in England, 
indeed in London itself, during the sixteenth and seven- 
teenth centuries, and that the manufacture extended 
over an area which included the counties of Dorset, 
Hampshire, Hertfordshire, Buckinghamshire, Bedford- 
shire, Oxford, and Devon, it was only foreign laces 
which were worn at court and by men and women 
alike. The making of lace never seems to have become 
an important staple in any part of England, and in 
many counties where once the industry flourished there 
are now no traces left of it. 

The laces of England, chiefly bobbin-made, are said 
to have been taught to English workers by the in- 
dustrious Flemings. Certain it is that the old patterns 


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ENGLISH AND IRISH LACE 


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were of the graceful flowing designs which are dis- 
tinctly Flemish. English Trolly lace, an early make, 
closely resembles the same named lace of Flemish 
make. Many ofthe Flemings who fled from the per- 
secutions of Alva settled in the neighbouring counties of 
Bedford, Bucks, and Northampton, and pursued their 
craft, soit is no wonder that the lace of these three counties 
is practically similar ; and is worked in the same fashion, 
with a net ground and flat pattern, as are many Flemish 
bobbin laces. The women and children were not the 
only workers at lace. Berkeley, in his “ Word to the 
Wise,” reads a reproof to Irish labourers by drawing 
pictures of English thrift : 


“They meet at one another’s houses [the men], a jolly crew, 
where they merrily and frugally pass the long dark winter's jfgs "ras 
evenings working at their different manufactures of wool, flax, or [S3%ys2e 
hemp.” ; La 

“Tn other parts you can see him of an evening, each at his own 
door with a cushion before him, making bone-lace.” 


OOF ESRI LAS 
er y 
BAL 


ROA 


se poanaD 


SOs 
stir 


Leis 


ania 


Sassoon o 


uae 


Fe 


Sanne cent ivessces ees” 


Lo 


ae 
IE a: 
a a 

Fa Naat Fa 


Pa a0 a a 
Tay 
a Kee! 


By 
Hl 


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LS) 


NS 
Lh 


EAS ORS aR 
oe 


The peasant might weave the lace, but it can be 
imagined that the fabric made by the toil-worn fingers 
of labourers could not be comparable with that woven 
by the trained and delicate fingers of women. So the 
court still wore foreign lace. 

In the reign of William and Mary, about 1702, there 
were several changes in costume. The full ornamental 
sleeve gave place to a tight one, but at the elbow there 
was a full fall of lace in the form of ruffles or lappets. 
The hair was built up on cushions and surmounted 
by an erection of lace and ribbons arranged in tiers, and 


= 
: 


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Fa SN a Fea oP ra tha Dict seephctexe ict Dic oie eb RD Didi 

PRIA NIA BSI SIC ste SI SRS Fe Sic tet> Dic eats es DS 

DR RUBY a a aS Fs WN 8 8 ed Ie ds hes Shad 
Sean = a gS AN A A AY a Pw a a BE Man) a NIG Ca 
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SIS Ion ht Nisa Nien. Ninisa, NIG ONIN Wag ISIIgg 
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Pp Papen Ppt ae Ppt Dy Lp Pp Sg Dra Pg Me Pip PB pp ip Np tip Prep top Drip Pig trip Dp trip tp Org PN pen, 
LEO OOO OO OOOO OOO OOOO OTEK 
THE LACE BOOK 


of NP, 


called atower, or commode. Streamers of lace fell down 
on either side, and are spoken of as “ pimners edged with 
Colberteen,” a name often given to French lace in 
English records. 

In the manufacture of bone lace the county of Buck- 
inghamshire surpassed her sister counties in receiving 
recognition for this fabric, which, however, was accounted 
inferior to that of Flanders make. Before 1623 there 
had been less made here, since in that year we read that 
owing to the monopolies of James I the people suffered 
great distress, owing to “the bone lace-making being 
much discayed.” 

The southern part of Buckinghamshire was justly 
celebrated for the lace produced, contemporary writers 
calling it of the finest quality, and some of it was cer- 
tainly very beautiful. By 1680 the lace from High 
Wycombe was in great esteem, and, beside edging, 
was made in veils and other piece lace. 

The “baby laces” of Northamptonshire, while not 
appearing particularly early, are very pretty. Of 
course the earliest are quite frank copies of Flanders 
lace, with bright clear grounds, and simple little 
patterns, generally floral, running along the edge. 
While these laces are all bobbin-made they are called 
“point,” a term usually applied to needle laces, and 
their fineness and beauty bring them well into com- 
petition with early Mechlin and Brussels. These narrow 
laces remained in fashion many years as the trimming 
for infants’ caps. When the style had become obsolete 


Eacoks 
a Fa aS Fa) 
PRS SET 
Saad Ea 
ra 
OG, 
a 


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REDK 


Be 


whe 


FAS <7 
a ao 
Les Me cs 


LATE LV.—<A. English bobbin-made lace. 
Seventeenth Century. B. Honiton. Bobbin- 
made. Middle of the Nineteenth Century. 


mS 


rea tip 


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OOOO OAL OL LO 
ENGLISH AND IRISH LACE 


in England, it still remained in America, and a great 
quantity of these laces were exported till about the 
middle of the nineteenth century. 

Not only are these laces charming in quality and 
pattern, but the reasonable price at which they were 
sold made them very desirable. Very choice designs 
could be bought at $1 a yard, few coming higher than 
$1.50. Many of these laces were made by children, 
chiefly girls, beginning with those only eight years old. 
They worked from 6 a. M. to6 P. M. in summer, with two 
hours taken out for meals. In winter the hours were from 
8 a. M. to 8 P. M., so it is not a wonder that lace-makers 
lose their sight early, since the insufficient light furnished 
must have rendered the work most trying. A candle- 
stand with one solitary candle was placed in the centre of 
the room. Around the candle in hollow wooden cups 
were set bottles of very thin glass filled with water. These 
concentrated the light, and there were three girls to 
each bottle, one candle being deemed sufficient for 
eighteen girls, seated on stools of varied heights. The 
pillows were exceeding hard and covered with blue 
butcher’s linen. There were various cloths in addition 
for the lace to lie on, to cover the pillow with when not 
in use, and to keep the lace in as it was made. The 
pins were of very slender brass wire made on purpose 
for this work, some with larger heads than others. The 
bobbins, as in other lace-making countries, were gen- 
erally of turned wood, made of the requisite weight by 
the addition of bright-coloured beads, which made a 


a AM aM A 
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BU iP Ss tater eee cee eee ne se Seca ase ae ace naepactasctios 
eps cauecamepaeescens “Eee Bepaecaeencne = 
BOPP Pht Pt aS K DIR DIRE ict os She eee oe a eee Si ote vac 
DDI DEAD SDR DOCK aKa DIR DIC Se DIC SDP De epi DC DEPP SES 
NI NA - SIG 
PRETTY Be 
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eh zap RP LLL L LOL LOL LS LY BLL LQ LP LX LDS PPX XO Os Sid 
. s a 
By 4S 4 THE LACE BOOK 3 
RS oK BS 
5 y as 71 
Bap Sa Ys 
ERueaeeneeNal dressed pillow” with, say, 300 or 400 bobbins, a ver = 
BOHR RN P 7 : f y ee 
2 | at | " Ld = 
ne gay affair. — 
Bake eS 0 339 : ° : ON 
Saal The wedding trousseau of Queen Victoria was zx 
if 


PR 


f : 3) sae . . . . \) 
aus zeeazs| trimmed with English laces only, and this set such a ff, 
aes Ni Ni : 3 
ae sarase| fashion for their use that the market could not be 
peste RLY ARO Fag . . : 
Eewuaseszce supplied, and the prices paid were fabulous. The 
equi jealously guarded, and ill 
eusauszey patterns were most jealously guarded, and each village 
NIN 2 caaali - 
eases and sometimes separate families were noted for their 
b Hale particular designs, which could not be obtained else- 
0 AS 
"1 are where. Such laces as these were what were used on 
INT : * 5 . : 
tsscisneea| Queen Victoria’s body linen. Her coronation gown 
Ta . . . . 
gepestsis was of white satin with a deep flounce of Honiton lace, 
Sts vic ° . . 
sx-e2°%1 and with trimmings of the same lace on elbow sleeves 
WNIT ANC 
ee PR and about the low neck. Her mantle was of cloth of 
BEAN DNDN : : : é : - 
Baas CEES aw gold trimmed with bullion fringe and enriched with 
SANA i ‘ ; 
by a the rose, the thistle, and other significant emblems. 
9 ORB Ma F a a : teas 
azcee.a, This cloth of gold is woven in one town in England. f% 


™ 


Pa The present Queen’s mantle was made there also. Queen 
Victoria’s wedding dress was composed entirely of 
Honiton lace, and was made in the small fishing village 
of Beers. It cost £1,000 ($5,000) and after the dress 
was made the patterns were destroyed. Royalty has 
done all it could to promote the use of this lace, and the 
wedding dresses of the Princess Alice and of Queen 
Alexandra were of Honiton also, the pattern of the 
latter showing the design of the Prince of Wales’s 
feathers and ferns. 


SI77s5 


Di 

tA 

Bad ra cahead 
o% 
Se 
pr] 

bid 


SI 
cr 


S77 
Fa 


a Pe RO ae ss 
The county of Devon is the seat of the handsomest jar Eee 


and most important of all English laces. Before the 
184 


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NOE RD RY a Ss, 
Be + 54 Bt -SE # 


hess eae 
oi bos" 57 
kD 
, acts 
abs 


eB 
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iy TA) 
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Mas 7 Be) 


‘Ae 
oa UT RS 2 4 
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SP ie iy te te 
epee peed cittt 
RA as GY SBN Ue BE 
SRO CS PS vote 9 


Ses he A ote ST 
a PRS RAK ¥ 
is 
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TSostSicises Puich 


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- ee a a ani PP l™. al pt ne PI PD I PAA, 
Lomededoielie oho eho Melee tele eCel erleler ooo eo eletes 


RM PEAS AAS wee — oe, 


ENGLISH AND IRISH LACE 


making of bone lace, which is so frequently mentioned 
in early lace records, laces made with the needle had 
been fabricated. It is a matter of legend rather than 
of history that bobbin lace was introduced into England 
by Dutch refugees somewhere about 1568. Be this as 
it may, there are no traces, in Queen Elizabeth's volum- 
inous records, of Honiton lace, and the earliest mention 
of it is in 1620, by Westcote, who wrote a pamphlet RET 
called “ View of Devon,” and speaks of “bone lace bas ee 
much in request, being made at Honiton and Brad- 
ninch.” ; 

Forty years later English lace was more in demand. 
Foreign as well as the home markets bought it, and in 
1660 an ordinance was issued in France that some mark 
should be attached to thread lace made in England, as 
well as to that made in Flanders. 

England was very well pleased that her thread lace 
should be a staple in the market, since it cost but a 
little to buy the necessary material, and children and 
weakly persons could be ultilized in its manufacture. 
The importation of foreign laces was never encouraged, 
pes but in 1698 it was proposed to repeal some of the 
iS 3| prohibitions against them. This aroused those in- 
ES terested in the buying and selling of English lace, and 
they drew up and sent to the House of Commons a 
petition which gives a very clear idea as to how important 
the manufacture of home laces had become. 

After speaking of the manufacture of bone lace as 
“ancient ” the petition goes on to say that heretofore 


185 


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FTA Mig BHM OS Ma vy, Oc TOATS 
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THE LACE BOOK 


Parliament had considered it wise to prohibit the im- 
portation of lace from foreign ports. 


“This has revived the said Languishing Manufacture, and there 
are now above one hundred thousand in England who get their 
living by it, and earn by mere Labour £500,000 a year according 
to the lowest computation that can be made; and the Persons 
employed on it are for the most part, women and children who 
have no other means of Subsistance. The English are now arrived 
to make as good lace in Fineness and all other respects as any that 
is wrought in Flanders, and particularly since the last Act, so 
great an improvement is made that way that in Buckinghamshire, 
the highest prized lace they used to make was about eight shillings 
per yard, and now they make lace there of above thirty shillings 
per yard, and in Dorsetshire and Devonshire they now make lace 
worth six pound per yard.” 

““The Lace Manufacture in England is the greatest, next to 
the woollen, and maintains a multitude of People which otherwise 
the Parishes must, and that would soon prove a heavy burthen, even to 
those concerned in the Woollen Manufacture. On the Resolution 
which shall be taken in this affair depends the Well-being, or ruin 
of numerous families in this Country.” 


The number of people quoted as getting their living 
in Honiton by this industry was 1,341. The little town 
of Honiton was twice destroyed by fire, first in the year 
1756, and again in 1767. The first of these two fires 
was the more disastrous, and was always known in the 
annals of the town as the “Great Fire.” Three years 
before this, in 1753, a Mrs. Lydia Maynard won a prize 
of fifteen guineas offered by the Anti-Gallican Society 
for the encouragement of lace-makers. She exhibited 
six pairs of ladies’ lappets, which were said to be of 
“unprecedented beauty.” The Honiton lace was also 
the widest lace made in England. 


ee 
Vuela 
J 


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be] Ex Bitten 
iit 


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Ni 
RD ESP 
we Peel 


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Ba mars 


DIDI 
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ae] 
IS) 


LATE LVI.—Irish crochet lace. Nineteenth 
Century. 


pie 33S ay ae V5 ae 2 
oe Seas secebe be seh ase 
aa SD 
aos Zs} PSR Scees ) SA et 
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ma ass > bc] a oe 
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nas 7 Sea e3 SR Se OFS, 
ra a Re Sit | SS eee 456Rr5 
A 


ORES OOO Oe ohee eee ee eCelel eo el ee OleOle 
ENGLISH AND IRISH LACE 


While the earlier Devonshire laces followed those of 
other countries in their gradual development, they took 
as models the beautiful pattern of the Gros Points of 
Venice and made an imitation of them with bobbins. 
Honiton lace as we know it, is, however, a direct 
growth from Brussels lace, where the sprigs were 
made separately and then woven into the net ground. 
England could not produce the exquisite thread that 
was necessary to make this lace of required fineness, and Sasi 
was indebted to Flanders for this precious flax. CER 

The ground of the Honiton Guipure is formed of 
brides, while in the finest old Honiton the ground is 
worked with a needle, which of course greatly increases 
the cost. 

The bobbin Honiton net was also extremely costly, 
being made of Flanders thread costing as much as £90 
($450) a pound, and in strips about two inches wide. 
The way this net was paid for was curious, since the 
worker laid it out on a counter and received for pay- 
ment as many shillings as would cover it. This was 
the ground alone, so that a Honiton veil or large piece 
like a shawl would be valued at a hundred guineas 
or more. A favourite pattern was the butterfly and 
acorn, which was copied from a very popular design of 
Point d Angleterre. 

The French Revolution, besides paralyzing the 
making of lace in France had a disastrous effect on 
its manufacture in England. The two wars with 
America still further worked havoc, and the revival 


SS 


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PERE Seer Retest oad Ree 
7 MA a ORS Ma ERAS a Ree PYG AS Pa BFR 0 a BS 
ee Da at 
a BTA a MAS So Se 
Ties ee seprge rene sae: 
ip aeane IRN: Beee Saas AREY IPA Ya 
Botan omar shataoe Ds aS See nee 
Foie Talal oa a om sas Nests se aauxe On 
7 thas a 9 MN M 
PRIA IP OR 


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OCH OOOO LOO OOOO VO 


THE LACE BOOK 


LORS 
Wa dd Fos AN} 


PRPS 


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of the classic style in dress was also against it. But 
the worst blow of all was the invention of machinery 
to make net, which dates from 1768. In the years 
1808 and 1809 an Englishman named John Heathcoat, 
of Nottingham, obtained patents for machines to make 
bobbin net, which laid the foundation for the successful 
making of machine-made lace. A few years later 
(1813), John Leavers still further improved these 
machines, and his inventions are still in use. 

Joseph Marie Jacquard, a Frenchman of Lyons, in- 
vented a marvellous machine for the weaving of silk, 
for which he finally obtained recognition, and before he 
died, in 1834, he had the satisfaction of seeing it in 
general use. Part of his apparatus applied to lace net 
machines has enabled manufacturers to weave all sorts 
«1 of patterns in imitation of hand-made lace. Still 
ge further improvement by another Frenchman has re- 
mesteets, sulted in an even more perfect machine, known as the 
dentelliére, the use of which is at present restricted, 
since the product of this machine is more costly than 
hand-made lace. 

Every day the rich and elegant appreciate more 
clearly that lace, like gems, should be the “real thing,” 
to be that ornament for which its beauty intended it. 
Ruskin says : 


ne 
Dae t 


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AS 


“The whole value of lace as a possession depends on the fact of 
its having a beauty which has been the reward of industry and 
attention. That the thing is itself a price—a thing everybody 
cannot have. That it proves, by the look of it, the ability of the 
maker; that it proves, by the rarity of it, the dignity of its wearer. 


TY 


oh 
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Pik ee icieaeDiclte Miata 
Seis AAS a BGS a 
PFT yo de en ae Po Pe 

Ss Shao NIA SiS Ne a 

BAS en eR eS eS 
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DIES DIS Dike Seep Se Ne OG 


oa 
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ANWR TAN Mig 


CeCe 890 CeCe DA REE eC aC eae eee eC eCe ets 
ENGLISH AND IRISH LACE 


. . . If they all chose to have lace, too, if it ceases to bea price, 
it becomes, does it not, only a cobweb ?” 


Varieties of English Lace 


Honiton Lace. Of all English laces this has been 
the most esteemed and the most costly, as well as the 
most beautiful. It is a bobbin lace, with a bride bobbin 
ground, or with a net bobbin ground or, in rare cases, 
with a net needle ground. 

From the early days of lace-making in England, about 
Queen Elizabeth’s time, lace was made in Honiton, the 
coarse bone or bobbin laces as well as the more expensive 
laces of gold and silver. Not only were there the original 
English workers with their primitive methods and pat- 
terns, but in the sixteenth century there came many 
Flemish refugees, bringing with them superior facility 
and new patterns of sprigs and fillings which their 
neighbours soon learned to copy. The name “ Honiton” 
had not then been applied to the laces from this place ; 
but they were called Bath Brussels lace, no doubt on 
account of the Flemish workers and because the method 
of manufacture is similar. 

It has been mentioned elsewhere that the making of 
the Honiton pillow-made ground, once so famous, has 
become a lost art, and the beautiful sprigs which were 
once applied to it, either by being worked or sewed into 
it, are now put on machine-made net or connected by 
needle or bobbin brides. 

Modern Honiton is not so beautiful as the old, 


189 


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although there has been a revival of interest in the 
making of this lace, and a finer variety of sprigs are 
now made. Fifty or sixty years ago the patterns used 
were commonplace and lacking entirely in grace and 
beauty, as the workers became discouraged from the 
lack of appreciation and the poor sale for their wares. 
Honiton Gurrvr: is the name applied to the modern 
product, and its manufacture is somewhat on the old eareage re 


plan. After the sprigs are made, on a pillow with bob- reas a 
bins, of course, they are basted on coloured parchment S" 
paper to suit the shape of the piece of lace desired, and |e 


the space between is filled in with needle stitches, or 
“purlings,” which are bobbin-made extremely narrow 
braids or tapes with little loops on oneedge. The effect 
is very delicate and pretty. 

Honiton Appiiaut, like that of Brussels, consists of 
sprigs applied to net, formerly hand-made, now made by 
machine. The most common of the Honiton Appliqué 
was, of course, white thread sprigs mounted on thread 
net; but black silk laces were also made in Devonshire, 
the. best of them coming from Honiton. The usual 
sprigs were made on the pillow with black silk, and were 
transferred to a fine, machine-made silk net. This made 
an exceedingly beautiful lace, not so heavy as that we 
know as Spanish lace, and yet of more body than Chan- 
tilly. It was made in wide flounces, in shawls, and in 
large pieces, and for a while was very popular. 

Black silk sprigs were also made into narrower pieces 
and bits like barbes and lappets by the same method as 


190 


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the white thread sprigs; that is, they were sewed on 
paper, and brides or bars were used to fill in the spaces 
around them and connect the sprigs. No black silk 
laces have been made in Honiton for the last quarter of 
a century, the workers that are left confining themselves 
to the making of the white thread laces. 

DevonsHirE Laces. Next to Honiton, Trolly lace 
was the best known of all the laces made in Devonshire. 
None of the lace made here seems to have been an 
original growth, except Honiton, since the Trolly lace 
was copied from Flemish lace of the same name, and 
Point d Angleterre, as a certain variety of Brussels lace 
was called, was also successfully copied in Devon. In : 
this, as in the Honiton, the sprigs were made first, and Senate : 
the bobbin-net ground worked in around them. Bythe jegisee 
middle of the eighteenth century the Devonshire workers 


could rival their Flemish instructors, and present as PS 
beautiful specimens of this lace, with as great variety in |¥% 


fillings of fancy stitchings, as if it had been made by 
nimble Flemish fingers in Brussels itself. 

Beside these expensive laces, quantities of narrow and 
coarser laces were made in Devon also, something in 
character like the modern Torchon. 

The Trolly lace is distinguished by having a heavier 
looking thread in various parts of the pattern. This is 
always made by twisting the threads of the bobbins to- 
gether, never by the introduction of a coarser thread. 
The making of this lace has seriously declined, cheap 
machine laces taking its place. 


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THE LACE BOOK 


BEDFORDSHIRE Lace. Like the Devonshire lace, the 
Bedfordshire also drew its inspiration from the Flemings, 
who literally spread all over the world the art of making 
bobbin lace. The lace of “ Beds” is very different from 
that of Devon, resembling the work of Lille, which has 
a clear ground with a dainty little close pattern on the 
edge. One particular pattern of lace made early in the 
nineteenth century was known as “ Regency Point.” 
It had a clear, delicate ground, made of twisted instead 
of plaited threads, and with a heavy edge, quite elaborate 
in design. It is no longer made, since the elaboration of 
the ground took so long that the more quickly plaited 
réseau was found more profitable. Much “ Baby Lace,” 
narrow in width, is made here and sold all over England 
by peddlers. It is a pretty and inexpensive trimming, 
and its durable quality has always kept it alive, though 
unfortunately less is made each year, and only in the 
coarser patterns. 

BuckmNGHAMSHIRE Lace. Many lovers of lace con- 
sider a fine piece of lace from “ Bucks” almost superior 
to Honiton. The peculiarity of this lace, which is made 
with bobbins, is that the pattern or sprig is made at the 
same time as the ground. Lace-making was an old 
industry in Great Marlow; it flourished long before 
1623, and in 1626 a school was founded by a generous 
patron called the “Free School of Great Marlow,” 
where boys were taught to read and write, and girls 
“to knit, spin, and make bone lace.” 

The ground of this lace is always pretty, being clear 


192 
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and open, and in itare introduced sprigs, leaves, and dots, 
not unlike those of old Mechlin, while the patterns them- 
selves are flowers, scrolls, and medallions ornamented 
with numerous different fillings and grounds. The soft- 
ness of the lace is one of its chief charms ; and, although 
the lace suffered a decline, by 1884 a number of fine 
specimens made from old patterns were exhibited in 
London, and there is enough demand to occupy a limited 
number of workers. 

NorTHAMPTONSHIRE Lace. In this county the laces 
chosen for reproduction were of the type known as 
Valenciennes, made now chiefly in Holland and Eng- 
land. The oldest laces made here, besides the fausse 
Valenciennes, were copies of the old Flemish designs, 
some of them even having the fine old Brussels ground, 
which was known as “point” ground. This referred 
only to the fineness and clearness of the ground, not 
to the fact that it was made with a needle, since, like 
all other English laces, that of Northamptonshire was 
made with bobbins. Sometimes the ground was made 
by men, the delicate pattern with its twisted bobbin ks 
cordonnet being worked in by the more skilful fingers 
of women. 

At one time about the middle of the nineteenth cen- 
tury all these laces found a good market in America and 
England’s colonies. The market has declined with the 
advent of pretty and durable machine laces, and it is only 
by constant encouragement that the workers at hand- 
made laces can be kept at their pillows. 


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Fo.tow1nc as closely as she was able upon the heels 
of England, Ireland passed through the various stages 
of drawn- and cut-work before she finally emerged into |g2g455 
the making of lace. That her women were ever devoted ma ua ou 
to fine works with the needle is a matter of history, ear atae 
while this oracle is dumb as to how much lace was 
actually made in Ireland. 

Indeed, the lace history of that unfortunate country 
is directly the reverse of most other nations, since the 
fame for making this ornamental fabric is of recent 
growth, and has been acquired while the skill gained by 
centuries of effort in other lands slowly died for lack of 
appreciation. 

About the middle of the eighteenth century the Irish 
were able to make very excellent imitations of Brussels 
lace, and her ardent patriots encouraged in every way 
both the making and wearing of this fabric. Bone lace 
was made in greater or less quantities, little being ex- 
ported from England, and the children in the work- 
houses were set to work upon the simpler forms of it. 

Gold and silver lace in limited quantities was also made, 
but it was not till nearly the middle of the nineteenth 
century that Ireland awoke to her possibilities in this di- 
rection. Then, too, it was the convents that first found in 
this industry relief for some of the misery of her people. 

Not only is lace now made with considerable success, 
#sue'.%3} of both needle and bobbin varieties, but it is also 


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crocheted in beautiful patterns with thread of either 
cream-colour or white, showing knotted as well as raised 
Guipure, in Greek and Spanish patterns. 

Drawn- and cut-work are also made in different coun- 
ties, and at the beginning of the twentieth century 
Ireland is successfully making seven kinds of lace, 
namely: crochet, flat needle point, raised needle point, 
embroidery on net, cut-work, drawn-work in old Italian eee ey 
style, and bobbin laces. PRD 

Unfortunately some of the choicest of these laces lose 
in effect from the poor quality of the thread used, since it 
is almost impossible to get it of pure flax, and an admix- 
ture of cotton makes it work up thick and fluffy. Flax 
is grown in Ireland in considerable quantity, and the 
spinning of the thread has long been a matter of ma- 
chinery, so that with encouragement we may expect to 
see Ireland assume a place in this industry which she 
never held in earlier times, while richer countries lose 
their dearly bought pre-eminence. The choicest lace is 
that made at Youghal, and half a dozen other places, in 
imitation of Brussels lace. It is called — 

Irish Pornr. This lace is made entirely with the 
needle in many cases, the different sprigs being united 
by needle-point bars. Sometimes the sprigs are mounted 
upon machine-made net, being carefully sewed to it so 
that the net can be cut away behind the pattern, giving 
a light and delicate appearance. In Kenmare, County 
Kerry, much of this lace is made at the Convent of the 
“a sae Poor Clares, and it is somewhat superior in quality to 

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that made at Youghal, since great care is taken to have 
the thread entirely flax. The Guipure from this county 
is particularly fine. 

An imitation of the old Venetian Point is made very 
successfully at New Ross, the heavy old Rose-Point 
patterns being copied with the greatest care. Indeed, 
some of these designs are reproduced in a marvellous 
manner with the crochet-needle, the nuns of the Car- 
melite Convent at New Ross being very proficient. 

Carrickmacross Lace is also an adaptation from 
another country, and is made in both Guipure and ap- 
plied patterns. The Guipure is almost cut-work upon 
fine lawn, in which the pattern is traced and worked 
around or closely overcast, the intermediate bits of cloth 
cut away, and the spaces filled in with various fancy 
stitches. This work has not the solidity of the old cut- 
work made on coarse linen with heavy threads or silk. 
To compete with the machine-made trimmings, it must 
be sold at not too great a price, and so too much time 
cannot be spent upon it. The Appliqué is made on net, 
as previously described. 

Limerick Lace is a combination, too, of cut-work 
and embroidery, and hardly comes under our definition 
of lace. Since 1829 this work has been made, though 
it has suffered at various times from loss of workers by 
emigration and other causes. As Lady Vere and Lady 
Arabella Denny were patron saints to the lace-workers 
of other counties, Charles Walker was the good genius 
who brought Limerick lace to perfection. There are 


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LATE LVII.—A. Point de Gaze. Modern 

Brussels needle point. Nineteenth Century. 
B. Point d’Alencon. Nineteenth Century. Made 
in Venice. 


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three styles of this trimming made, the most beautiful 
being Tambour, in which the patterns are embroidered 
and worked upon machine-made net. 

There is also a revival of the old-time Lacis, in which 
the pattern is run with a heavy thread into a coarse 
net, and which is called “run lace.” 

Appliqué is a fine cambric laid over lace, with the 
pattern of the design run or stitched down, and the 
background then cut away so as to show the lace net 
through. 


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Index 


ALENGON, 1; 32, 30, 3D, 30, 31, 38, 
39, 76, 83, 97, 123, 124, 127, 128, 
134, 135, 140, 141, 145, 146, 147, 
148, 149, 150. 

Aloe lace, 84. 

Amboise, 74. 

Anne of Austria, 92. 

Anne, Queen, 19, 24, 25, 173. 

Antwerp lace, 109. 

Appliqué, 196, 197. 

Aprons, 173. 

Argentan, 7, 35, 36, 83, 127, 128, 
129, 130, 134, 148, 149, 150. 

Argentella, 83. 


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** BABY LACES,” 182, 183, 192. 
“ Band strings,” 21. 

“ Bars,’ 60. 

Bath Brussels lace, 189. 

“ Bath sets,” 35. 

Beaufort, Duchess of, 30. 
Bedfordshire lace, 191, 192. 
Beggar’s lace, 158. 
Béguinages, 104. 

Belgium, 94, 99. 

Berkeley, Bishop, 102. 
Binche lace, 108. 

Bisette, 141. 

Blonde, 109, 138, 140, 154, 155, 156. 
Blonde tulle, 37. 

Bobbins, 14, 98, 99, 183, 193. 


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Bobbin lace, 14, 15, 102, 180, 181, 
182, 185, 188, 195. 

Bone lace, 14, 19, 23, 170, 176, 182, 
185, 192, 194. 

Bonzy, Mgr de, 122. 

“ Boot tops,” 23. 

Borgia, Lucretia, 73. 

Boston Museum of Fine Arts, 148. 

Botticelli, 63. 

Brantome, 74. 

“ Brides,” 60. 

Bruges, 100. 

Brussels lace, 25, 38, 39, 95, 96, 97, 
124, 135, 175, 187, 194. 

Buckingham, Duke of, 19, 20. 

Buckinghamshire lace, 182, 192, 193. 

Burano, 7, 8, 127. 


CaMoRA, 73. 

Campane, 157, 158. 

Cannons, 32. 

Canterbury, Archbishop of, 27. 

Carignan, Francis, 75. 

Carnival lace, 83. 

Caroline, Queen, 26. 

Carr, Sir John, 104. 

Carrickmacross lace, 196. 

Chain-stitch, 170. 

Chandos, Duke and Duchess, 27. 

Chantilly lace, 38, 134, 135, 139, 140, 
148, 154, 155, 163. 


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Charles II, 107, 175, 176, 178. Drake, Sir Wm., 78, 148. 


Charles V, 90. 

Charles, Prince, 19, 21, 22, 23. 
Charlotte, Queen, 27. 
Chesterfield, Lady, 28. 

China, 87. 


Christie’s, 77, 78, 107, 108, 147, 148. 


Church of Rome, 6, 7, 8, 9. 
Cing-Mars, 30. 
Clement XIII, 8. 


Drawn-work, 58, 194, 195. 

Du Barry, Mdme, 36, 96, 135, 153. 
Dueat, 73. 

Duchesse lace, 113. 

Dutch, 5. 


ECCLESIASTICAL GARMENTS, 6, 7, 8, 9. 
Edict of Nantes, Revocation of, 100, 
142. 


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Cloaks, 19, 25. 
Clouet, J., 74, 117. 
Cluny lace, 136, 151. 


Edward IV, 12. 
Elizabethan ruff, 170. 8. 
Elizabeth, Queen, 9, 10, 12, 13, 14, rs 
Colbert, 32, 33, 117, 122, 123, 125, 15, 16, 17, 19, 91, 162. aX 
127, 128, 134, 135, 142, 152, 156, Encaje, 5. 
159. Engagéants, 126. 
Colberteen, 156, 157, 182. England, 9, 10, 12, 18, 21, 26, 28, 35, 
Commode, 182. 60, 90, 95, 96. 
Cordonnet, 61, 146, 193. English and Irish lace, 167-197. 
Couronnes, 61. “English thread,” 167. 
“ Courriers de la Mode,” 35. Engrélure, 130. 
Courtot, Baroness de, 40. Eugénie, Empress, 140, 147. 
Coventry blue, 10. d’Este, Beatrice, 65, 73. 
Cravats, 23, 24, 175. d’Este, Isabella, 35. 
Crochet, 195. W@W Estrées, Gabrielle, 116, 120. 


“ = ” . 
Crown lace,” 14. “‘ Extraordinary expenses,” 19. 
“ Crowns,” 61. 


Cromwell, 23. 

Cuffs, 126. 

“ Curiosities of Literature,” 20. 
Cut-work, 23, 59, 69, 195. 


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“ PALLING BANDS,” 20, 21, 22. 

Ferrara, 73. 

Flanders, 5, 9, 15, 23, 24, 25, 30, 31, 
32, 33, 35, 60, 81, 89, 91, 93, 97, 
98, 103, 160, 162, 175, 176, 182. 


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D’Abrantés, Duchesse, 112. 
Dentelle, 5, 157, 168. 
Dentelliére, 188. 

Dentelle Fuseau, 157. 
Dentelle de Fil, 157. 
Devonshire lace, 187, 191. 


Flanders’ Point, 105. 
Flat needle point, 195. 
Flax, 88. 

Flemish lace, 87-113. 
Fleur volantes, 61. 
Florence, 63, 65, 67, 74. 


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Dieppe Point, 157. 
D’Israeli, 20. 


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Foelix, O., 68. 


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INDEX 


“ Fontange,” 126, 127, 132. 

France, 5, 9, 17, 28, 32, 33, 35, 38, 
60, 68, 69, 70, 74, 75, 82, 93, 100, 
103, 117, 122, 162. 

Francis II, 74. 

French laces, 117-158. 

Frescobaldi, Messer, 169. 


GALANTS, 121. 

George III, 26, 27, 28. 

Geneva bands, 22. 

Genoa, 5, 32, 63, 74, 129. 

Genoa lace, 82. 

Germany, 60. 

Ghent, 100. 

Ghirlandajo, 63. 

Gilbert, Mdme, 32, 122, 145. 

Glen, Jean de, 89. 

Gold lace, 12, 17, 18, 24,.25, 31, 32, 
62, 63, 64, 65, 72, 74, 136, 142, 150, 
151, 162, 163, 194. 

Gorgias, 117. 

Gothic period, 6. 

Great Marlow, 192. 

Greece, 60, 83. 

Greek lace, 59, 60. 

Gros Point de Venise, 9, 61, 75, 145, 
160, 161, 187. 

Guyard, Mathieu, 128, 129. 

Guicciardini, 90. 

Guipure, 5, 12, 17, 27, 62, 63, 80, 81, 
95, 99, 111, 113, 136, 137, 195, 196. 

Guise, Duc de, 119. 


Haye, de la, 68. 

Heathcoat, John, 188. 

Hebrew ceremonial, 9. 

Henry III, 28, 29, 68. 

Henry VI, 168. 

Henry VII, 12. 

Henry VIII, 10, 11, 12, 16, 22, 98, 


Hercules I, 64. 

“ History of Lace,” 13, 36. 

Holland, 13, 24, 90. 

“ Hollands,” 16, 27, 91, 92. 

* Hollow lace,” 14. 

Honiton, 185, 186. 

Honiton appliqué, 190. 

Honiton guipure, 187, 190. 

Honiton lace, 184, 186, 187, 189-191, 
192. 

Honiton net, 187. 

Howell, James, 19, 20. 


Inventory, 18, 56. 

Ionian Isles, 60. 

Trish lace, 194-197. 

Irish Point, 195. 

Italy, 5, 28, 31, 32, 35, 60, 63, 68, 72, 
75, 84, 87, 92, 117. 

Italian lace, 57, 75, 123, 130. 


Jabot, 175. 

Jacquard, J. M., 188. 

James I, 18, 21, 23. 

James II, 24. 

Jonson, Ben, 21. 

Josephine, Empress, 38, 39, 40. 
“ Jours,” 132, 133, 147. 
Jupiter Capitolinus, 7. 


KANTEN, 5. 
Kénigsmarck, Aurora von, 27. 


LACE-MAKING (English), 167. 
Lace-making (Modern), 143. 
Lacier, 5. 

Lacis, 61, 69, 80, 118, 119, 197. 
Leavers, J., 188. 

Leicester, Earl of, 10. 

Leyden, 104. 

Lille lace, 111. 


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Limerick lace, 196. 
London, 13, 15. 
Lonrai, 32. 


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134, 136, 137, 146. 
Lowis XVI, 9, 138. 
Louvre, 28. 

Lucea, 15, 63. 


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Macramé, 61. 


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Maintenon, Mdme de, 126. 


Mantua, 35, 65. 


Marie Antoinette, 37, 92, 138, 139, 


140. 
Maric Louise, 39. 


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Marli, 37, 138, 139. 
Mazarin, 94, 122. 


Mechlin, 7, 25, 27, 39, 92, 93, 108, 


109, 134. 


Medici, Catherine de, 28, 74, 117, 118. 
Medici, Marie de, 30, 31, 32, 82. 
Meiningen, Due de, 40. 


Merletto, 5. 


Milan, 63, 65, 74. 
Milan Point, 79. 
Mocenigo, Doge, 72. 


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“ Modes,” 6. 


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NORA NI a 
SUN ELS 
SDraAG : 


Louis XIII, 30, 120, 122. 
Louis XIV, 5, 33, 81, 94, 128, 126, 
127, 130, 132, 133, 134, 139, 141, 


Louis XV, 35, 36, 109, 127, 132, 133, 


Luynes, Duc de, 27, 134. 


MACHINE-MADE GROUNDS, 97. 
Machine-made lace, 144, 188. 


Mary, Queen, 12, 93. 
Mary Stuart, 4, 17, 18, 74. 
Margherita, Queen, 8. 


Mignonette, 141, 156. 


Mocenigo, Dogaressa, 72. 


Montespan, Mdme de, 125. 
Montgomery, Gov., 102. 


Montpensier, Mdlle, 121. 
Morgan, Lady, 26. 
Morosini, Doge, 71. 


Napoleon I, 38, 39, 40, 140. 
Navarre, Queen of, 29. 
Neck-cloth, 175. 

Needle point, 102. 

Netherlands, 25, 87. 

Night-caps, 22, 23. 

Nicholas, Btienne, 129. 
Nimequen, 100. 
Northamptonshire lace, 182, 193. 


Oberkirch, Mdme, 9. 
Oppian Law, 64. 
Ostaus, John, 69. 


Pagani, 69. 

“ Palatines,” 125. 

Palliser, Mrs. Bury, 13, 14, 36, 95, 
140, 168. 

Parchment lace, 14, 62. 

Paris, 26, 34, 39, 121. 

Passement, 5, 168, 176. 

Passementerie, 63. 

Paston letters, 4. 

Pattern-books, 68, 69, 70. 

Peerlen, 5. 

Penthiévre, Duc de, 35, 144. 

Pepys’ Diary, 24, 177, 178. 

Permon, Mdlle, 39. 

Percy’s Reliques, 11. 

Perquisites, 133, 134. 

Petit Trianon, 37. 

Pharaohs, 3. 

Philip the Good, 92. 

Picot, 59, 132, 145. 

Pillows, 98. 

Pins, 98. 

Pius IX, 7. 


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INDEX 


7 


4 


Renaissance, 32, 34, 59, 65, 72, 79. 
Renda, 5. 
Reticella, 59, 60, 68, 71, 74, 83. 


Pizzo, 5. 
Point a bride, 35. 
Point a réseau, 35, 62, 77, 78. 


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mal 


Point d’Aiguille, 95, 97, 106. 

Point d’ Angleterre, 27, 35, 36, 39, 76, 
93, 95, 96, 97, 106, 107, 124, 125, 
134, 135, 187, 191. 

Point d’Espagne, 131, 142, 159, 160. 

Point de France, 33, 124, 125, 127, 
130, 131, 132, 144. 

Point de Paris, 142. 


Retondes, 117. 

Revolution, French, 38, 129, 139, 146, 
149, 187. 

Richelieu, 32. 

Rochet, 9. 

Rohan, 9. 

Rome, 64, 73. 

Rome, King of, 39. 


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Point de Sedan, 145. Roundheads, 22. 
Point de Venise, 33, 34, 68, 127, 129, Rousseau, 139. 

148. Ruffs, 18, 20, 29, 103, 119. 
Point Gaze, 106. Ruffles, 126, 130. 
“ Point ” ground, 193. 
Point lace, 76. 
Point Plat, 106. 
Points (Metai), 4. 
Portugal, 160. 
Potten Kant, 110. 
Prince Imperial, 141. 


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“SAM CLOTHS,” 178. 
Samplers, 178, 179, 180. 
Savoy, Margaret of, 119. 
Scotland, 17. 

Séquin, 90. 

Sévigné, Mdme de, 125, 131. 


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Punto a Groppo, 61, 80. 

Punto a Maglia, 80. 

Punto Burano, 76. 

Punto de Ragusa, 83. 

Punto Gotico, 74, 75, 76, 103. 

Punto in Aria, 60, 67, 68. 

Punto Tagliato, 58. 

Punto Tagliato a Fogliami, 60, 71, 
75, 76. 

Punto Tirato, 59. 

Purls, 59. 

“ Purlings,” 190. 


QUARTERLY REVIEW, 57. 


Sforza, 56, 73, 89. 

Spain, 19, 60, 93, 149, 160. 
Spaniards, 20. 

Spanish costume, 161. 
Spanish lace, 14, 159-163. 
Spanish stitch, 170. 
Spider-work, 152. 

Starch, 91. 

Steenwych, Mdme, 101. 

“ Steinkirk,” 131, 132. 
Stuart, Arabella, 172. 
Stuarts, 23. 

Stubbs, 13. 

Swift, Dean, 25. 


Querouaille, Louise de, 33. 
Quintain, 58. Taira, 9, 10. 
Tallien, Mdme, 40. 
Tambour, 197. 


Tape lace, 81, 110. 


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REFORMATION, 9. 
Regency Point, 192. 


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“Tawdry lace,” 174. 
Taxes on lace, 129. 
Thread, 88. 

“ Transparents,” 125. 
“Trolle Kant,” 105. 
Trolly lace, 181, 191. 
Tulle, 37, 138, 139. 
Turner, Mrs., 16. 


Valenciennes, 7, 35, 39, 99, 100, 109, 
135, 139, 152, 153, 154, 193. 

Valenciennes, F'ausse, 100, 193. 

Valier, G. B., 70. 

Valliére, Mdlle de la, 124. 

Valois, 28, 29, 117. 

Van der Plasse, Mdme, 13. 

Van Dyck, 21, 22, 75. 

Vatican, 8. 

Vavassore, A., 69. 

Venice, 8, 15, 16, 30, 34, 60, 63, 64, 
67, 68, 69, 70, 71, 74, 82, 83, 84, 88, 
135. 

Venice Point, 24, 31. 


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LDIF DK DI 


Venetian Rose Point, 7, 61, 74, 77, 
78, 196. 

Verghetti, 84. 

Versailles, 9. 

Victoria, Queen, 184. 

Vinciolo, F., 30, 69. 

Vosterman, W., 89. 


RY 


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WALKER, CHARLES, 196. 

Wardrobe Accounts, 10, 13, 14, 15, 
17, 26, 93, 134, 135, 162, 170, 176. 

Warwickshire, 10. 

Wedmoll lace, 173. 

William and Mary, 24, 181. 

William III, 173. 

Wolsey, Cardinal, 169. 


YoucuHAL, 195. 


Young, Arthur, 149, 153. 
Ypres, 100. 


ZopPPINno, 68. 


Date Due 


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NOV 4 <i 1 760 


S252 


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137 


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