Chapter XVI: Appendix

_With Drawings by the Directrice of the Brussels School of Design, Mme. Lucie Paulis_

From the point of view of technique, all laces are divided into two groups; laces made with the needle, and laces made with bobbins.

_I.—Laces Made with the Needle_

All needle lace is executed in the same manner. First, the design of the whole is divided into details sufficiently small to allow of their being easily held and turned by the worker. The design of each of these details is reproduced on a special kind of black paper by means of tiny pricked holes that follow all its lines.

The lace worker sews this pattern (or _piqure_) to a piece of double white cloth, which gives it solidity. She is then ready to begin the _tracé_ or outlining process. A strand of two or three threads is appliquéd along all the contours of the pattern by means of a very fine needle and very fine thread, which catches the cloth below the black paper, passing and repassing through each of the holes of the pattern, thus holding the outlining strand in a sort of embrace. When all the contours of the drawing have been traced, the second part of the work begins, the execution of the points that are to fill in the spaces.

All the points or stitches of needle lace are loops, simple or twisted, formed by a needle carrying a single thread. (The worker holds the needle with the base instead of the point, forward.) The first row of loops is attached to the threads of the outlining strand. Arriving at the extremity of the space she is working, the lace-maker begins a second row of loops running in the opposite direction, attaching each loop to the corresponding loop of the first row. At the end of this row she fastens it to the outlining strand by one or two stitches and starts on the third row, repeating this operation until her space is completely covered.

The _points_ or stitches most frequently employed are:

1. The plat (sketch d), or stitch which forms the flat woven parts, which can be more or less tightly drawn, and serves for all the opaque parts of the lace. It is made by simple loops, each row being consolidated by means of a stretched thread as illustrated in the sketch.

2. The _jours_ or open-work stitches. Among the fantasy stitches employed in the jours are:

_a._ The _point one_, or stitch one, (sketch e.)

There exists also a stitch _two_, and stitch _three_, which differ in the number of loops forming the group.

_b._ The _mirror_ stitch (sketch f.) and a kind of _ball_ stitch (sketch g.), and lastly the famous extremely transparent _point de gaze_, or gauze stitch (sketch h.), which constitutes the mesh of the popular Brussels lace.

All the surfaces having been covered, the lace is further embellished by the confection of _brodes_, or firm outlining cords around the filled-in spaces, which produce a more or less striking effect of relief in needle laces. This _brode_ (sketch i), is made of a strand of fine or heavier threads, appliquéd as was the original strand outlining the pattern spaces, and then beautifully covered by the buttonhole stitch. When the brode is well made, the buttonhole stitches follow closely, touching side by side.

Many differing little details which help to give to needle lace its richness and brilliancy (balls, rings, etc.), are also varieties of brodes, and are made for the most part in the buttonhole stitch. The bars forming the base of Venise lace are made in this way.

The execution of the brodes is the final work in needle lace. After they are finished, the lace detail is detached from the underlying pattern by cutting the thread between the black paper and supporting cloth, the fine thread which in the beginning attached the outlining strand. There remains only to join the separate details of the pattern by a very fine stitch called the _point invisible_.

The varieties of needle laces are:

_a._ Venise (_fond_ or base composed of _brides_ or bars).

_b._ Reticella (Venise lace of geometric design and made without brodes or outlining relief cords).

_c._ Rose Point (Venise with a design of fine branches and tendrils).

_d._ Brussels Point or Needle Point (very fine lace in which a gauze mesh replaces the bars employed in Venise).

_II.—Bobbin Lace_

Bobbin laces fall under two groups: (1) Those made with cut threads, and (2) those made with continuous threads.

1. Laces made with cut threads, or of repeated details, are executed on a round cushion, which can be easily turned and they require but a limited number of bobbins (generally not more than two dozen). They may be said to be composed essentially of a braid which grows wider or narrower as it follows all the variations of the pattern, and is interrupted as often as is necessary.

The parts in process of operation are attached to those already finished by veritable running knots made with the aid of a little crochet needle, a tool absolutely indispensable to the making of this kind of lace. The design of the whole is divided into portions so small that they cover only the middle of the cushion. It is necessary to have all around the detail, space for the bobbins, each of which carries a thread about four inches long.

_1_, _2_ and _3_ Valenciennes
_4_ and _5_ Malines]

_6_ Malines
_7_ Point de Paris
_8_ Application
_9_ Torchon
_10_ Duchesse]

Each fragment is traced on a dark blue paper or _patron_ on which the place for the pins is not indicated (sketch k.). The lace-maker pins this blue paper to the middle of her cushion, covering the whole with a piece of dark blue linen which has a hole in the middle large enough to leave free the part of the pattern actually being worked. The lace already finished is thus protected. She then places a pin on the spot where she decides to begin, attaching the necessary number of bobbins and starts to weave as a weaver does, first from right to left, then from left to right, carrying the two bobbins holding the threads forming the woof (_trame_) successively above and below the threads forming the warp (_chaine_). Each time all of the threads of the warp have been crossed by the threads of the woof, she places a pin, and now the two woof threads caught by this pin lead back to the opposite side. She turns her cushion according to the direction of the braid she is executing, so that the threads forming the warp always fall vertically.

The fundamental stitch in these laces and that which forms the greatest part of the braids is the _point de toile_, or _toile_ (sketch 1.). Certain open stitches are also employed, the most common being the _grillé_ or half-stitch (sketch m.).

The different varieties of bobbin laces made with cut threads, or in repeated pieces are:

_a._ Bruges, the flowers are united by brides or bars that are braided with four threads (sketch n.).

_b._ Duchesse (made only with fine thread, loosely worked and producing a not particularly pleasing result).

_c._ Rosaline (an imitation with bobbins of Rose Point. Brodes, or raised outlines made with the needle, give it relief).

_d._ Flanders (in this lace the base of brides or bars is replaced by a net mesh base executed with a needle).

_e._ Application (the flowers, executed like those of Bruges are sewed upon tulle).

2. Lace made with uncut or continuous threads. Laces of this group are executed on a stationary cushion. The design, before it can be used by the worker, must pass through the hands of a _piqueuse_, or interpreter, who prepares what is called the patron or pattern (sketch o), that is to say, determines in advance the places where the pins destined to hold the threads, must be placed (sketch of a piqure, p.). This work of the piqueuse demands great skill and infinite patience. Upon her interpretation will depend the aspect of the lace, for the worker follows her indications rigidly. This pattern is pricked on a supple and resistant cardboard (in olden times it was made on parchment) and is pinned to the cushion with the selvage of the lace at the left. The worker then attaches to a row of pins placed all across the top of the pattern, the threads which she will need, often many hundreds.

Now she commences her work, braiding, twisting, intercrossing the threads in diverse ways, and placing a pin each time the threads must be held in a position which they can not retain without the aid of a fixt support. When she arrives at the bottom of her pattern, with great care she takes out all the pins, and lifts her work to the top of the pattern, replacing the pins so that the lace will be kept absolutely regular. She then recommences her work of braiding or weaving, repeating the same operation till the length of lace she must make is finished. The patterns are usually about a foot long.

The bobbin laces made with continuous thread comprise:

_a._ Cluny and
_b._ Laces with a mesh base:
1. Valenciennes,
2. Binche,
3. Malines,
4. Point de Paris,
5. Point de Lille,
6. Chantilly.

The varieties in Group _b_ may truly be called woven lace, because they contain a veritable tissue in which, tho the threads are combined in such a way as to produce more or less open effects, the opaque parts are woven regularly, that is as linen is woven. The pattern of the mesh of each of these laces is different.

Valenciennes (sketch q.).
Binche (sketch r and s.).
Malines (sketch t.).
Point de Paris (sketch u.).
Point de Lille (sketch v.).

Further, Malines, Chantilly, Point de Lille, and Point de Paris are characterized by the presence of the _bourdon_, or heavy thread, slightly twisted, outlining all the details of the design.

Grammont, or Chantilly lace, is usually made of black silk thread. The mesh is the same as that of Point de Lille. In it the toile is replaced by the grillé, which adds greatly to the lightness of the effect.

N. B.—To be understood technically, all these laces made with continuous thread should be considered from the point of view of the place they occupy on the cushion of the worker: They are held vertically with the selvage at the left.

It is necessary to mention with these laces, Torchon, the most common of all, which has little artistic value, and has entered more and more into the domain of the machine. Torchon base (sketch w.).

Group _A._—Cluny laces demand great ingenuity in execution. The most simple are made entirely by braiding in such a way as to produce an effect of interlacing (sketch y.). The braids are formed of four threads; when the interlacing is more important they become more complicated. At times the braids group themselves to form the flat surface or toile which later will resolve again into braids. They unite and part, sometimes dividing into strands (brides) of two threads according to the lines of the design. This design should be absolutely precise. And since in it the future employment of each thread must be constantly foreseen, it is quite impossible to compose a Cluny lace pattern without a knowledge of the technique of that lace (sketch y).

Sometimes the general name guipure is given to Cluny, as well as to all laces made with continuous thread which have not a mesh base.

INDEX

Aerseele, 110

Albert King, 194

Alcantara, Comtesse d’, 252

Alençon (town), 31

Alençon lace, 38, 132

Allard, Mme. Josse, 169, 172, 209

Alost, Lace region of, 149, 169ff, 224
Spinneries of, 82

America, Aid from, 17, 235, 236
Lace buyer of, 252
Laces displayed in, 40

Americans in Ghent, 248

Amies de la Dentelle, Convent subsidized by, 218
Lace quality conservation by, 100, 272
Prices under, 103
School reforms under, 15
War committee, see Brussels Lace Committee

Antik lace, see Flanders, Old

Antwerp, Old Flanders in, 115
Port of, 30, 166
Province of, 146

Application lace, 226, 241
Areas producing, 277
Bobbins for, 289
Lacets for, 171
Method of making, 221ff, 292
Restoration of, 256
Tulle base for, 41, 259

Ardois, 109

Argentin lace, 38

Arras, 31

Asper, 252

Bachte, 252

Baelegem, 251

Bailleul, 34
Devastation of, 36

Bayeux, 131

Beernem, 123

Béguinage of Bruges, 154ff
of Ghent, 155

Berraly’s convent, Abbé, 53ff

Beth, Thread firm of, 81

Bethune, Baron de, 85

Beughem, Vicomtesse de, 17, 127, 169

Binche lace, 115, 150, 152, 166
Areas producing, 277
Mesh designs, 297, 298
Method of making, 40, 296

Bixio, M., 27

Blonde lace, 40
Method of making, 134

Bobbin lace, 37
Areas producing, 97ff, 144ff
Method of making, 39, 287ff
Teaching, 161
Varieties of, 39, 40, 292, 296

Bousies, Comtesse de, 249

Brabant, Lace area of, 215ff
Province of, 146

Bruges (town), 30, 51, 87, 91, 124, 247
Lace region of, 143ff
Lace Normal School of, 76, 100

Bruges lace, 241, 249, 257
Areas producing, 143ff, 277
Collars and cuffs, 113
Duchesse, 40, 149, 150, 152
Method of making, 292
Old, 109
Point de, 104
Rosaline and, 226ff

Bruggen, Mme. Van der, 123

Brussels (town), 19, 21, 85, 204, 210, 216, 217, 232, 241, 253
German “Lace Control” in, 122
Museum, 26, 42, 86
Point d’Angleterre in, 223
School of Design, 76, 165, 279

Brussels lace,
Duchesse, 40, 237, 241
Point, 39, 179, 182, 283, 286
Method of making Brussels Point, 286

Brussels Lace Committee, 127, 148, 151, 195
Agency, purchasing and sales, 108, 116, 174, 182, 206,
210, 225, 237, 241
Designs of, 58, 193, 242
Educational aims of, 56, 75, 115
German interference with, 123, 238
Improvements through, 36, 53, 121
Map of lace areas, 276
Origin and purpose of, 15ff
Personnel of, 17
Prices paid by, 103, 112, 123, 124, 254
Representatives of, 105, 118, 149, 236, 252
Thread supply for, 82, 88

Burano lace, 39

Bysance, 26

Calais, 35, 172

Celine, 250

Chantilly lace, 40, 205
Areas producing, 127ff, 277
Method of making, 296

Cinquantenaire Museum, 26, 42, 86

Claterna, Ancient bobbins of, 27

Cluny lace, 28, 44, 89, 94, 98, 111, 118, 123, 149,
150, 152, 162, 225, 237, 251
Areas producing, 277
Designs, 302
Duty on, 90
Guipures of, 99, 103, 104, 113, 149
Method of making, 39, 296, 302, 304

Coates, Thread firm of, 82

Cock, Gillemont de, 148, 166

Colbert, 31

Colette, 179

Collart, M., 17

Comité National, Cooperation of, 16, 17, 19
Relief work of, 216, 235

Commission for Relief in Belgium, 120, 236
Cooperation of, 16, 19, 135

Compagnie des Indes, 17

Convents, Lace-making
Bruges, 149
Cruyshautem, 202
Eecke, 252
Erembodeghem, 189ff
Heckelgem, 215ff
Kerxken, 173
Liedekerke, 218ff
Opbrakel, 201ff
Ruysselede, 252, 255
Scheldewinkle, 252
Thielt, 105, 110
Turnhout, 53ff

Coppens, Mme., 256ff, 265

Courtrai lace region, 79ff

Cox, Thread firm of, 81

Cruyshautem convent, 202

Cuseners, Mme., 129

Designs of various laces, 278ff

Destelbergen, 224, 251, 256

Deynze district, 252, 253

Dixmude, 87, 143

Duchesse lace, 98, 123, 163, 249, 251, 252, 255
Areas producing, 277
Bobbins for, 289
Bruges, 40, 149, 150, 152
Brussels, 40, 237, 241
Guipures, 99
Method of making, 292

Eecke convent, 252

Egypt, 26

Elizabeth, Queen, 17
Laces for, 38, 193ff, 270ff
Patronage of, 15

England, 30
Thread from, 19, 82
Tulle from, 35

Erembodeghem, 185, 210
Lace region of, 189ff

Flanders (district), Lace industry in 30, 43ff, 146

Flanders lace, 41, 99, 163, 237, 241, 251
Details of, 224, 114ff
Guipures of, 113
Method of making, 292
Old, 40, 111, 114ff, 150, 152, 166, 225

France, History of lace in, 30ff

Franciscaine Sisters, 173ff, 189ff, 201ff

Friends of Lace, see Amies de la Dentelle

Furnes, 87, 271

Gand, Canton de, 248

German depredations, 51, 59, 80, 82ff, 88, 231
facteurs, 88, 119
interference with lace workers, 18, 105, 110, 119,
120ff, 157ff, 174, 190, 219, 237ff
“Lace Control,” 20, 120ff

Ghent, 30, 87, 143, 147
Béguinage of, 155
Lace Committee, 249ff
Lace region of, 247ff
Spinneries of, 82

Graeht, Baron van der, 105, 108, 114
Mlle. van der, 105

Grammont, Chantilly lace region, 127ff, 206, 296

Greeks, 26

Grenadine d’Alays, 139

Groothuis museum, 151

Gulleghem, 92

Gysenzeele, 251

Hainaut, Province of, 146

Haltaert, 170

Hansbeek, 255

Hebrews, 26

Heckelgem convent, 215ff

Henry, Mrs. Bayard, 92

Herzele lace region, 231ff

Holland, 30
Lace for Queen of, 207

Hoover, Herbert C., 18
Mrs. Herbert C., 193

Hours of lace workers, 65ff 111ff 217, 228, 255, 268

Imitations, 17, 41, 171, 183
of Chantilly, 132, 138
of Point d’Angleterre, 221

Import duty on lace, 90

Ireland, Thread from, 82

Iseghem, 98

Italy, 15, 36
Ancient bobbins in, 27
History of lace in, 29

Kefer-Mali, Mme., 17, 42, 215, 221

Kerxken lace region, 169ff, 224

Knesselars, 251

Lace areas, List and Map of, 276ff
History of, 25ff
Methods of making, 279ff
Schools, 146, 147, 242ff
Amies de la Dentelle and, 15ff, 76
Chantilly, 129, 131
Convent, 53ff 105, 149ff, 177, 190ff, 205ff, 215, 218ff, 252
Coppens’, 256
Normal, 100, 110ff, 152, 156ff, 273
Trade Union, 265ff
Varieties of, see Bobbin lace and Needle lace

Landsanter, 251

Liedekerke lace region, 215ff

Liedt’s collection, Baron, 151

Lille, 30, 34

Lootenhulle, 252, 255

Louis XIII, 32

Louis XIV, 31, 32, 33

Louis Philippe, 35

Lys River valley flax, 30, 79ff

Machelin, 252

Maertens, Professor, 148, 156

Maldeghem, 149

Malines (town) 30, 86, 248

Malines lace, 40, 100
Areas producing, 277
Bobbins for, 288, 289
Mesh design, 299
Method of making, 73ff, 296
Old laces, 86
Point de Lille and, 71, 72

Map of lace areas, 276

Margharita of Italy, Queen, 15

Maria Loop, 110

Marie Antoinette, 33

Marie-Henriette, Duchess of Brabant, 249

Marie-Thérèse, Empress, 248

Menin, 87

Mercier, Cardinal, 239
Malines lace of, 75

Milan lace, 104
Guipure of, 114

Mullie, Mlle., 87, 89, 90

Museum, Brussels, 26, 42, 86
Courtrai, 85
Groothuis, 151

Needle lace, 37ff, 201, 206, 208ff, 273
Method of making, 279ff
Varieties of, 38ff, 286

Needle Point lace, 44, 99, 162, 169, 189, 202, 223,
248, 249, 251, 252, 269, 270
Areas producing, 277
Method of making, 178ff, 286

New York, 90

Nieuport, 87, 143, 271

Ninove, 128
Spinneries of, 82

Northcliffe’s posters, Lord, 240

Oedelem, 123

Oostcamp, 123, 149

Oosterzele, 251

Opbrakel convent, 189, 201ff

Oultremont, Comtesse Elizabeth d’, 17

Paisley spinneries, 82

Parc, Comte du, 231ff
Mme. du, 231ff

Paris lace market, 69, 90, 196, 223

Paulis, Mme. Lucie, 165, 279

Peat, Thread firm of, 93, 134

Persia, 26

Pittham, 109

Point d’ Alençon, 132
d’Angleterre, 181, 221, 241, 260
Method of making, 40, 223ff
de Bruges, 104
de Flanders, 224ff
de Gaze, 179, 283
d’Hollande, 72
Areas producing, 277
de Lille, 40
Areas producing, 277
Mesh design, 300
Method of making, 71, 296
de Milan, 104
de Paris, 40, 134
Areas producing, 277
Bobbins for, 289
Mesh design, 299
Method of making, 62, 296
Various uses of, 69, 71
de Venise, see Venetian Point

Pompadour, Marquise de, 33

Poperinghe, 87, 271

Prices paid for lace, 88, 103, 117, 183, 196, 217, 254

Prices paid for supplies, 88, 93

Priestess of Hathor, 27

Puy, Thread firm of, 93

Reims, 31

Reticella, 286

Retreats, 154ff

Rippenhausen, Freiherr von, 121

Robertine, Sœur, 174ff, 197

Rond mesh, 91

Roose, Mme., 151

Rosalie, 217

Rosaline lace, 40, 152, 221, 223, 237, 241, 249, 255
Areas producing, 277
Method of making, 226ff, 292

Rose point lace, 39, 195, 292
Method of making, 286

Rubbens, Dr. Armand, 162, 267ff

Rudder, M. de, 193

Rulant, Adele, 172

Russian lace, 163

Ruysselede, 110, 252, 255

Ryeland, Mme., 149

St. Andre, 149

St. Croix, 149

St. Michel, 149, 153

St. Pierre des Calais, 132

Scheldewinkle convent, 252

Schools, see Lace schools

Sedan, 31

Sharlaecken, Mme., 17

Sicily, 30

Sidonie, 178

Sister A., 190ff

Sister M., 220ff

Sister S., 195

Slock, Mlle., 118

Spain, Blonde lace for, 40, 134

Stéphanie, 257ff, 265ff

Stoop, M. de, 79, 84

Syria, 26

Syssele, 149

Thielt lace region, 97ff

Thourout lace region, 97ff

Torchon lace, 40, 94, 99, 150, 152, 298
Areas producing, 277
Bobbins for, 289
Designs of, 301, 303
Teaching of, 162

Turnhout, 43, 135, 143, 144, 165
Lace region of, 49ff

Union Patriotique des Femmes Belges, 17

Valenciennes (town), 30, 34, 147

Valenciennes lace, 31, 40, 85, 89, 94, 99, 102, 105,
123, 149, 150, 151, 152, 155, 156, 163, 166, 248, 249
Areas producing, 79ff, 87, 277
Bobbins for, 288
Duty on, 90
Mesh, 27, 41, 71, 90
Mesh design, 295
Method of making, 296
Prices paid for, 254ff
School for, 110, 252

Values of lace, 31, 88, 90, 225, 269
See also Prices

Van Hoeimessen, Curé, 176

Venetian Point lace, 206
Medallions, 192, 210
Varieties of, 39
See also Venise

Venice, 29, 30, 144, 206

Venise lace, 39, 169, 182, 189, 216, 237, 251, 252
Areas producing, 277
Method of making, 178, 192, 285, 286
“Queen’s Cloth” of, 193ff

Vynck, 252, 254

Wages paid lace workers, 44, 65, 73, 89, 92, 110, 112ff,
124, 172, 218, 228, 250, 258, 268

Wevelghem, 92

Whitlock, Mrs. Brand, 16

Wynghene lace region, 97ff
Burgomaster of, 118

Ypres, 36, 87, 90, 143, 271

Zele, Lace school at, 76, 162, 265ff

WOMEN _of_ BELGIUM

TURNING TRAGEDY TO TRIUMPH

_A Book of Gripping Human Interest_

By CHARLOTTE KELLOGG

An absorbingly interesting narrative of personal experience by the only woman member of the Relief Commission, who tells in moving language the story of the unbreakable spirit sustaining the Belgians and the noble service the Belgian women have rendered and inspired in a land made desolate by war.

Introduction by HERBERT C. HOOVER,

_Chairman, Commission for Relief in Belgium_

To quote from Mr. Hoover’s own foreword: “The soul of Belgium received a grievous wound, but the women of Belgium are staunching the flow, sustaining and leading this stricken nation to greater strength and greater life. We of the Relief have been proud of the privilege to place the tools in the hands of these women and have watched their skilful use and their improvement in method with hourly admiration.... Mrs. Kellogg has done more than record in simple terms passing impressions of the varied facts of the work of these women, for she spent months in loving sympathy with them. We offer her little book as our, and Mrs. Kellogg’s tribute in admiration of them and the inspiration which they have contributed to this whole organization.”

_12mo, cloth, $1.00; by mail, $1.12._

_What Leading Periodicals Say of_

WOMEN _of_ BELGIUM

By CHARLOTTE KELLOGG

“So impressed was Mrs. Kellogg by the greatness and value of what the Belgian women are doing to help save the Belgian people that she has written this book, in which each chapter describes some phase or tells some incident of what she saw. The simplicity with which she writes makes the wonderful story of the devotion, the unstinted service, the utter self-abnegation with which many thousands of Belgian women are giving themselves completely to this work stand out all the more grandly.”—_Times_, New York.

“Among the thousands of books that have been written on the war, in this country and abroad, the pen of a woman has given us the truest portrayal of the real heart of a heart-broken people.”—_Constitution_, Atlanta, Ga.

“The pages brim with information and with profoundest pathos. As you read some of them you will feel a lump in your throat.”—_Knickerbocker Press_, Albany, N. Y.

“It is a book of tears, heart-throbs, and of devotion.... We do not think that anyone who reads it will regret sending a son to redress the wrongs of humanity.”—_Inquirer_, Philadelphia, Pa.

“The farther you read the more you will wish to read, so great is the charm, so intense the interest.”—_Eastern Argus_, Portland, Me.

“It is full of the kind of stuff that makes us proud of the part played by Americans in the work of saving Belgium from famine during the long, sad months that Germany had its iron heel on this stricken land.”—_Evening Star_, Poughkeepsie, N. Y.

“The only American woman member of that Commission wrote the book—Mrs. Charlotte Kellogg—after spending eight months on Belgian soil; and her strong sympathy, her unfailing appreciation, intensify the literary charm of its pages. Learning how these women have labored, in their mothering of smitten millions, we get from this book side-lights upon the effects of the war.”—_Richmond Times Despatch._

_12mo, cloth, $1.00; by mail, $1.12._

FUNK & WAGNALLS COMPANY, Publishers

354–360 Fourth Avenue, New York