Chapter XV: Conclusion 373 (2)

The immediate cause of its extinction was the introduction of Blonde laces, and later its final overthrow came from its being the easiest lace to reproduce by machinery.

From an old fashion plate.]

IX

OTHER CONTINENTAL LACES

IX

OTHER CONTINENTAL LACES

Spanish lace; Gold and silver laces of Spain--German
laces--Russian laces--Maltese silk and thread laces.

Outside the great lace-making countries of Italy, France, and Flanders, little lace was ever made, and that little of less consequence.

_Spanish Lace._

Much of the old lace known as "Spanish Point" is not Spanish at all, but the best of Italian Rose Point on a large scale, being the variety known as Gros Point. It was not extensively used for dress purposes, as contemporary portraits show, but Spain being such an ultra-Romanist country, vast quantities of it were imported into Spain for church use. When Spain fell on unhappy days, in 1830, and the religious houses were dissolved, this lace was eagerly bought by connoisseurs and collectors and became known as Spanish Point. It is not unlikely that the Italian lace was copied by the nuns of the Spanish convents; indeed, at South Kensington Museum there is a set of church altar lace which is admittedly Spanish work and is a distinct but far off imitation of Italian Point.

Spain made gold and silver laces of fine quality and gorgeous design. Blonde laces in both cream and black are almost indigenous to the soil, and a particular kind of black Blonde, embroidered with colours, specially appealed to the colour-loving people.

_German Laces._

Perhaps at the present day more lace is made in Germany than at any other period. An enormous manufacture of good machine-made lace is exported yearly, the variety known as Saxony being both popular and cheap.

Germany has no national lace, the clever _hausfraus_ caring more to decorate their table and bed-linen than their persons, and using the substantial and practical embroideries of the cross-stitch patterns more than the elegant frailties of lace trimming. Lacis network darned into patterns has always been popular here, as also in Denmark, Sweden, and Norway.

Modern.]

_Russia._

The Russian laces need little more than a passing note. As in Germany, Lacis and Cutworke form the only hand-made lace known, the people contenting themselves with these varieties and using coloured threads to further decorate them. Their laces may be called merely Russian embroideries. Peter the Great did much to found a lace school, but only gold laces were made, of a barbaric character. Recently an attempt has been made to imitate the Venetian laces, with very fair results, but the character is very stiff and mechanical, going back to the primitive forms of Reticella rather than the elegancies of Italian Point.

The only other Continental lace requiring note is

_Maltese_,

a lace made entirely with bobbins and on a pillow. This lace is of ancient make, being known as early as the old Greek laces, which it strongly resembles. Its very popularity has killed its use as a fine lace, and at the present day it is copied as a cheap useful lace in France, England, Ireland, and even India. The old Maltese lace was made of the finest flax thread, afterwards a silk variety, which is well known, being made in cream. Black lace was also manufactured, and at the time of the popularity of black lace as a dress trimming it was much used. At the present day the lace is not of the old quality, cotton being frequently mixed with the flax threads. There is no demand for it, and it is about the most unsaleable lace of the day.

X

A SHORT HISTORY OF LACE IN ENGLAND

(_National Portrait Gallery._)]

X

A SHORT HISTORY OF LACE IN ENGLAND

Early samplers--Lace worn by Queen Elizabeth; by the early
Stuarts--Extravagant use of lace in time of Charles
II.--William and Mary's lace bill.

Even at the risk of being considered utterly unpatriotic, I cannot give much more than faint praise to the lace-making of England up to the present date, when notable efforts are at last being made to raise the poor imitation of the Continental schools to something more in accordance with artistic conception of what a great National Art might become.

As in all countries, lace-making apparently commenced in its early English stages by drawn-thread and cutwork. In many of the charming old sixteenth-century English samplers just as exquisite cut-work, and its natural successor Reticella, or "punto in aria" is shown, as in the finest examples of the Venetian schools. Unfortunately, however, English fine lace-making came to a sudden and inexplicable end, although we know that any quantity of fine Venetian, exquisite Brussels, or Flemish laces, and the wonderful Point de France were being imported into the country and lavishly used.

As early as the reign of Edward IV. lace was mentioned as being prohibited for importation amongst other items of feminine luxury, such as "ribans, fringes of silk and cotton," but it is considered that the word "laces" here means only the twisted threads that go to make up a lace or tie, commonly ending in tags or points. It must be allowed, however, that laces, or more probably "gimps" of gold and silver threads were used for trimming both lay and ecclesiastical garments, and in Henry VII.'s reign we find that importation of Venetian lace was permitted, but this is generally admitted still to refer to gold and silver lace, more probably coming from Genoa.

It was not really until the time of bluff King Hal that lace became an article of fashion, when during the life of the last of his unfortunate queens he permits "the importation of all manner of gold and silver fringes, or _otherwise_, with all new 'gentillesses' of what facyion or value, for the pleasure of our dearest wyeff the Queen."

Henry himself also began to indulge in all these little elegances of fashion, and wore his sleeves embroidered with cutwork, and handkerchiefs edged with gold and silver, treating himself liberally to "coverpanes" and "shaving-cloths" trimmed with gold lace.

Early period.]

Little mention of white work was made in the inventories of Henry VIII. or his Queens, but Cardinal Wolsey seems to have had more than his share of cutwork embroideries, judging from contemporary portraits.

In Queen Mary's reign white work began to be more frequently spoken of, and in 1556 it is stated that Lady Jane Seymour presented the Queen with "a smock of fair white work, Flanders making."

It was not until Queen Elizabeth's time that lace became freely mentioned; then suddenly we are introduced to an endless variety of lace and trimmings, both of gold and silver, pearl and embroideries, and various white work! In some of the old Chronicles mention was made of drawn work, cut-work, Crown lace, bone lace for ruffs, Spanish chain, parchment, hollow, and diamond lace. Many of these terms cannot be understood.

The enormous ruffs worn by Queen Elizabeth were introduced into England in the time of her sister Mary. Portraits both of Philip of Spain and Queen Mary show ruffs, but not edged with lace. Queen Elizabeth's, on the contrary, are both edged with lace and, in some instances, covered with it. On her poor old effigy at Westminster Abbey, where her waxen image is dressed in her actual garments, the only lace that appears is on the enormous ruff, three-quarters of a yard wide, covered with a fine lace of the loose network kind. The rest of her garments are trimmed with gold and silver lace and _passementerie_.

In the succeeding reign lace of a geometric design shows itself on the ruffs of the richest people. Pictures in the National Portrait Gallery show many exquisite examples of the beautiful Reticella of Venice, which must have been very costly to the purchaser, as twenty-five yards or more of this fine lace were required to edge a ruff.

It was in the reign of James I. and his consort, Anne of Denmark, that Flanders lace and the expensive Point laces of Italy first became widely popular. Then, as now, they were costly--to such an extent that many gentlemen sold an estate to buy laces for their adornment.

It was during this reign that we first learn of a lace being made in England, as Queen Anne of Denmark on her journey south purchased lace at _Winchester_ and _Basing_, but history mentions not what kind of lace it was. Apparently only a simple kind of edging was used, made on a pillow.

The enormous ruffs went out of fashion with the death of James I. Charles I., in all his portraits, wears the falling collar edged with Vandyke lace. It was during this reign that Venetian lace reached its apotheosis in England. The dress of the day has never been surpassed, though it became much more elaborate and ostentatious in the time of Charles II. and William and Mary. Falling collars were specially adapted to the display of the handsome laces of Venice. The cuffs of the sleeves were likewise trimmed with the same; scarves were worn across the breast, trimmed with the narrower Reticella.

(_S.K.M. Collection._)]

During the Commonwealth the laces of Venice suffered a temporary eclipse, and the plainer laces of Flanders were freely used. Cromwell himself, it is said, did not disdain the use of it. His effigy at Westminster was dressed in a fine Holland lace-trimmed shirt, with bands and cuffs of the same. This effigy, by the way, was destroyed at the Restoration.

Charles II., who during his exile in France had become imbued with the extravagant taste of the French Court, gave vast orders for "Points of Venice and Flanders," on the plea of providing English lace-workers with better patterns and ideas.

The falling collar certainly went out of fashion, but lace was liberally used on other parts of the dress. Lace frills of costly Point edged the knee-breeches, lace cravats were worn and deep falling cuffs. Charles II., in the last year of his reign, spent £20 for a new cravat for his brother's birthday.

During James II.'s reign extravagance in lace purchases are still mentioned, but it surely reached its culmination in the joint reign of William and Mary, when enormous sums were spent by both King and Queen. In one year Queen Mary's lace bill amounted to £1,918. New methods of using lace were fashioned. A huge head-dress called the "Fontange," with upright standing ends of Venetian Point, double hanging ruffles falling from elbow sleeves, lace-trimmed aprons, lace tuckers, characterised the feminine dress of the day, while the "Steinkirk" cravat and falling cuffs of William III.'s day ran up accounts not much less than that of his Queen. In 1690 his bill was £1,603, and in 1695 it amounted to £2,459!

The effigies of William and Mary in the Abbey, wear the very finest Venetian Point laces. None of the other figures wear such costly lace, nor in such profusion.

Louis XIV. period.

(_S.K.M. Collection._)]

XI

ENGLISH LACES

XI

ENGLISH LACES

Queen Anne and Mechlin--Establishment of lace-making in
Bedfordshire and Buckinghamshire--Buckingham lace--Wiltshire
lace--Devonshire lace--Modern Honiton revival.

It was in Queen Anne's time that the earliest really good lace manufactured in England appeared. Driven from France by the edict of Louis XIV., the refugees found a home in England, and encouraged by Queen Anne's fondness for laces other than Venetian, they made and taught the English lace-workers, among whom they settled, the art of real lace-making, which up to this time had apparently been only half understood. Numerous lace schools now sprang up, the counties of Bedfordshire, Buckinghamshire, and Northampton specially becoming known. Valenciennes and Mechlin were the varieties of laces principally copied; a very pretty lace, very reminiscent of Mechlin, being the "Baby lace," which received its name from being so much used to trim babies' caps. Although very much like Valenciennes and Mechlin, the laces were much coarser both in thread and design than their prototypes. Bedfordshire and Northamptonshire did not long retain the art of lace-making, but Buckingham lace remained a staple manufacture, and is much esteemed even to-day, many connoisseurs considering it far better as a lace than the somewhat clumsy laces of Devonshire. The specimen shown is a piece of old Buckingham lace closely copying the réseau and sprigs of Lille which most lace-lovers consider it excels. The net of Buckinghamshire is an exact copy of the Lille mesh, being made of two threads twisted in a diamond pattern, the sprays being worked on the pillow at the same time. The patterns of the old Buckingham lace are not very varied, the best known being what is called "Spider lace," a coarse kind of open mesh being worked in the pattern. The principal town engaged in the eighteenth century was Newport Pagnel, which was cited as being most noted for making Bobbin lace. Old Brussels designs were used, and some quaint lace of early Flemish design, was made. The early English run lace, which was even so late as fifty years ago very popular, was mostly made here. Aylesbury, Buckingham, and High Wycombe also made lace, and in the last-named old town cottage lace-making may be seen to this day. Very quaint are the old lace bobbins that may be purchased in the "antique" shops of these lace-making towns. The lace-workers apparently indulged many a pretty fancy in shaping them in a diversity of ways, very few bobbins being alike. Some were made of bone, really prettily turned, with dotted and pierced patterns on them. Others were silver-studded, and again others were banded in silver. The wooden ones were always decorated, if possible, each one differently from the others, so that the worker might distinguish each thread without looking at it. Nearly every bobbin was ended with a bunch of coloured beads strung on wire, and a collection of these bobbins, with their "gingles," often yields up a pretty and quaint necklace. One in my possession has a quaint bead made of "ancient Roman glass," worth at least ten shillings. One wonders how this bit of Roman magnificence had strayed into an English cottage home!

(_Author's Collection._)]

(_Author's Collection._)]

Buckinghamshire is the only one of the Midland counties which has produced _wide_ lace; the adjoining counties confined themselves to edgings at most some 6 inches wide. A flounce in my collection measures 21 inches, and is of very elegant design, and of fine quality. In Wiltshire lace appears to have been made at an early date in the eighteenth century, but little lace is left to show its quality. A curious piece is said to belong to an old family in Dorset, who vouch for the lace having belonged to Queen Charlotte, the wife of George III. Like many other traditional "antiques," this is undoubtedly a fairy story, as it claims to have been made in commemoration of the defeat of the Spanish Armada, _at contemporary times_. It is exceedingly handsome, showing one of Philip's ships, very suggestively surrounded by big sea fish and apparently resting on the rocky bottom of the ocean. In the next panel Tilbury Fort is portrayed, and another ship, one of England's glory, proudly rules the waves. The design is undoubtedly English, and most probably it was made in commemoration of the historic event--but the lace is Point d'Argentan, and was most likely manufactured specially for Queen Charlotte.

Lyme Regis at one time rivalled Honiton, the laces of both towns being equally prized. Queen Charlotte wore a "head and lappets" made here when she first came to England, and afterwards she ordered a splendid lace dress to be made. When, however, Queen Victoria, in her wish to encourage the English makers, sent an order for her marriage lace, not sufficient workers were found to produce it.

DEVONSHIRE LACE.

As early as 1614 the lace-makers of Devonshire were known. The influx of refugees from Flanders in the Midlands and southern counties undoubtedly established lace-making in both parts of the kingdom. Many of the Honiton lace-workers married these refugees, and to this day the people are of mixed descent. Quaint names of Flemish extraction appear over the shop doors.

In the early days both men, women, and children seem to have pursued the art of lace-making, boys learning and working at it until the age of sixteen, when they were either apprenticed to some trade or went to sea.

(_Author's Collection._)]

Most of the old Devonshire laces bear distinct likeness to the fine Flemish lace, only the clumsiness of the design or the coarse workmanship differentiating them. It has, however, one special feature which gave it the name "Trolly lace," as, unlike the perfectly flat lace of Flanders, it has a coarse thread or "trolly" outlining its patterns, and being made of English thread, it was coarse and not very durable.

_Honiton_

has always easily ranked first amongst our British laces, although by many not considered equal to fine Bucks. Like the Midland lace, it has been always made with Flanders thread, and therefore has maintained its popularity because of its _wear_ and its _colour_. The early Honiton workers copied "Brussels" lace, but because of their inability to produce an artistic design it has never been anything but a _poor_ copy. Even when the Brussels influence was most direct the flowers and sprays were placed inartistically, while the scroll copies of the early Flemish schools can only be termed the imitative handiwork of a child.

The most prized specimens of old Honiton are those with hand-made ground, made of Flanders flax. Very little of this real ground Honiton lace is left. Queen Victoria did much to make Honiton lace _the_ lace of the land; but although a regular trade has been established, and much good work accomplished, Honiton of the past will never be regarded on the same plane as the laces of Venice, France, and Brussels. Even in its best variety it lacks the exquisite filmy touch of Brussels, the dainty grace of Alençon, and the magnificence of Point de France and Venetian Point. The Honiton laces made since the introduction of machine-made net is especially poor. Flower sprigs and sprays are made separately on the pillow, and afterwards applied to the machine-made ground. These are, as a rule, flowers and foliage treated naturalistically, and are heavy and close in design. These are often very sparingly applied over a wide expanse of net in order to make as much lace with as little trouble as possible. This is very different to the work of the old Honiton lace-worker, who made every inch of it herself--first the sprays and scrolls, then worked the ground round it, and received, it is said, from the middleman (who purchased it for the town market) as many shillings as would cover the lace offered for sale.

We are glad to say, however, that very praiseworthy efforts are being made to introduce better methods and more artistic designs in the many lace schools which are being formed in various parts of Devon. Mrs. Fowler, of Honiton, one of the oldest lace-makers in this centre, making exquisite lace, the technique leaving nothing to be desired, and also showing praiseworthy effort in shaking off the trammels of the traditional designs.

XII

SCOTCH AND IRISH LACES

XII

SCOTCH AND IRISH LACES

Hamilton lace--Mary Queen of Scots--Modern lace-making in
Ireland--Limerick lace--Carrick-ma-cross--Irish
crotchet--Convent laces.

Scotch lace can hardly be said to exist. At one time a coarse kind of network lace called "Hamilton lace" was made, and considerable money was obtained by it, but it never had a fashion, and deservedly so. Since the introduction of machinery, however, there has been considerable trade, and a tambour lace is made for flounces, scarfs, &c. The more artistic class of work made by Scotswomen is that of embroidering fine muslin, and some really exquisite work is made by the common people in their homes.

Much mention is often made of Mary Queen of Scots and her embroideries and laces. It must be remembered that she married firstly the Dauphin of France, and while at the French Court imbibed the taste for elegant apparel and costly lace trimmings. There is no record that she ever wore lace of her own country's manufacture, and, although English writers often quote the lace made by her fair hands, really the needlework made by Queen Mary at Fotheringay was embroidery.

_Irish Laces._

The early lace of Ireland was the usual cut and drawn work, and it was not until the earlier part of the nineteenth century that lace-making actually became a craft. In the eighteenth century many brave attempts were made to commence lace schools, and the best work was done in the convents, where really fine work was executed by the nuns, the patterns having been sent from Italy. It was not until 1829 that the manufacture of Limerick lace was first instituted. This really is not lace at all, as it is merely chain-stitch worked in patterns on machine-made net.

This pretty so-called lace was first made at Limerick by an Oxford man, who established a school there, taking with him twenty-four girls as teachers. It quickly became very popular, in the early "fifties" every woman of either high or low degree possessing herself of at least a lace collar or fichu of Limerick lace.

In 1855 more than 1,500 workers were employed, but decidedly the best lace of the manufacture belongs to the time prior to this date. The quality of the net ground has also deteriorated, or perhaps the best net has not been purchased.

Very dainty little sprays and flowers are produced in the fine chain or tambour stitch, the hearts of the flowers or the centres of the scallops being worked over in an endless variety of extra stitches, as will be seen in the illustration.

Another variety of lace is Carrick-ma-cross, which was contemporary with Limerick. This is merely embroidery again, but has more claim to the title of lace, as the tiny little flowers and scrolls are connected with brides made of buttonhole stitch ornamented with picots. This is really a very handsome lace, its only drawback being that it will not _wash_. The fine lawn of which it is made is buttonholed round and then cut away. This, in cleaning or washing, _contracts_ and leaves the buttonhole edging, and in a few cleanings it is a mass of unmendable rags.

Slightly more serviceable is another variety of Carrick-ma-cross, on which the lawn is appliquéd to a machine-made net, the pattern outlined with buttonhole stitches, and the surplus lawn cut away, leaving the network as a grounding, various pretty stitchings filling up the necessary spaces.

Yet another kind of lace is made, and is really the only real lace that Ireland can claim. This is the Irish crotchet, which in its finer varieties is a close imitation of Venetian Point, but made with fine thread and with a crotchet needle. Some of the best is really worth purchasing, but it is costly, realising as much as five guineas per yard. A very delicate "Tatting" also comes from the Emerald Isle, and in comparing English and Irish laces one is inevitably struck with the reflection that there is more "artistry" in the production of Irish laces and embroidery than in England with all her advantages. The temperamental differences of the two races are distinctly shown in this, perhaps more than any other art.

Much really notable work is now being executed in the Irish lace schools. At Youghal, co. Monaghan, an exact replica of old Venetian Point is being worked. Various fine specimens from the school occupy a place at South Kensington Museum, and the lace industry of Ireland may be said to be in a healthy condition.

(_Author's Collection._)]

XIII

HOW TO IDENTIFY LACE

(_Author's Collection._)]

XIII

HOW TO IDENTIFY LACE

Style--Historical data--Réseaux.

The great difficulty in attempting to identify any specimen of lace is that from time to time each country experimented in the manners and styles of other lace-making nations. The early Reticella workers copied what is known as the "Greek laces," which were found in the islands of the Grecian Archipelago. Specimens of these laces found in the excavations of the last thirty years show practically no difference in method and style. France copied the Venetian laces, and at one period it is impossible to say whether a given specimen was made at Alençon or Venice. Italy, in turn, imitated the Flemish laces--to such an extent that even the authorities at South Kensington Museum, with all their leisure and opportunities for study and the magnificent specimens at hand for identification, admit that certain laces are either "Italian or Flemish." Valenciennes was once a Flemish town, and though now French, preserves the Flemish character of lace, some specimens of Mechlin being so like Valenciennes as to baffle certainty.

Later, Brussels borrowed the hand-made grounds of France and Venice, and still later England copied Brussels, the guipures of Flanders, and the ground and style of Lille! All this makes the initial stages of the study of lace almost a hopeless quest. The various expensive volumes on lace, although splendidly written and gorgeously illustrated, leave the student with little more than an interesting and historical knowledge on which to base the actual study of lace. Here I may refer my readers to the one and only public collection of lace, I believe, in England--that of the South Kensington Museum, where specimens of lace from all countries and of all periods are shown, and where many magnificent bequests, that of Mrs. Bolckow especially, make the actual study of lace a possibility.

It is to be hoped that the governing body of the museum will, in its own good time, make this a pleasure instead of a pain. The specimens, the _most important to the student_, are placed in a low, dark corridor. Not a glimmer of light can be obtained on some of the cases, which also are upright, and placed so closely together that on attempting to see the topmost specimen on one side the unfortunate student literally bangs her head into the glass of the next one. A gentle complaint at the Directors' office concerning the difficulty brought forth the astonishing information that there was no room at their disposal, but that in good time better light might be found. As these cases have been in identically the same place for the past fifteen years, one hopes that the "good time" may come before one becomes a "spectacled pantaloon" with no desire to see the wonders of that Palace of Art.

Style Louis XV. Eighteenth Century

(_S.K.M. Collection._)]

This little protest is made in the hope that the "Lords of the Committee" may possibly have their attention drawn to what amongst the lace-lovers and students in this country is a "standing grievance."

It is almost impossible, even from the best of photographic illustrations, to learn all the intricacies of identification. The photographs clearly show style, but it needs specimens of the actual lace to show method of working. From the illustrations in this book, specially selected from the South Kensington Collection, and from specimens in my own collection, every variety of style may be easily understood, as they have been particularly selected to show each point of difference. Commencing with the earliest form of lacework--_i.e._, "cutworke"--nothing will better show this than the "Sampler" specimen, which, half way down, shows two rows entirely typical of this kind of early lace-making--for such it is. A little lower, examples of drawn threadwork are seen, while the upper portion illustrates satin stitch patterns, which more properly belong to embroidery.

The ancient collar from the South Kensington Collection, page 149, shows some of the finest developments of cutwork, when the foundation of linen was entirely dispensed with. The work is exceedingly fine, the threads being no coarser, indeed in many cases less so, than the fine linen it adorns. This is known as Reticella, or "punto in aria." The last name is applicable to all the laces of Venice which succeeded Reticella, and means lace literally made out of nothing or without any building foundation.

The specimen is still of the same class, but where before the design was simple geometric square and pointed as in all the early lace, it now takes on the lovely flowing scroll of the Renaissance that marks the latter half of the seventeenth century.

The same grand styles may be noted all through the great period of Italian Needlepoint lace. It will be seen in a lesser degree in the Guipure laces of Milan and Genoa, but here the cramping influence of the Flemish school shows itself distinctly.

(_S.K.M. Collection._)]

The same bold lines may be noted in the early Needlepoint lace of France, which had not then become sufficiently sure of her capacity to develop a style of her own, and all show the Renaissance spirit. Afterwards when the superb Point de France was at its height of manufacture along with grand outline and exquisite handicraft, the influence of the mighty monarch Louis XIV. asserted itself and although the lace itself commands unbounded admiration, fantastic little notions, symbolical and naturalistic, showed itself--as an illustration page 75: little figures representing "the Indian," "canopied crown over a sealed lady," trees growing all manner of bizarre fruit and flowers, all symbolical of Louis the Magnificent's unbounded power and sway. In the South Kensington Museum there is a still finer specimen, which has not yet been photographed, I believe--a magnificent flounce, about eighteen inches wide (really two boot top pieces joined), of what is known as pseudo-Oriental character, which shows amongst the usual exquisite scrolling no less than seven different figures on each piece--viz., an Indian, a violinist in dress of Louis XIV. period, a lady riding on a bird, two other ladies, one with a pet dog and the other a parrot, a lady violinist, and another lady seated before a toilet-table. These little figures are not more than three-quarters of an inch high, but are worked with such minuteness that even the tiny features are shown. This fantastic adoption of the human figure was copied in Italy and Flanders. The finest specimens of Point d'Angleterre (Brussels) show the same designs; and it may broadly be stated that all lace with figures is of the Louis XIV. period, and over two hundred years old.

Succeeding this period came the dainty elegance of the French laces, when the workers of Alençon and Argentan had developed a purely French style. Note the Point d'Alençon, illustration page 83, where the characteristics of the period are fully shown. The illustration shows a mixed lace, which only recently has been acknowledged by the South Kensington people as Point d'Argentan. Along with the typical Argentan ground of the upper portion is the fine Alençon mesh and varied jours of the border. This also is Louis XIV. style. The lappet shown next is exceedingly instructive, as till quite lately the people who professed to understand lace agreed to call this Genoese, although it was quite unlike anything else made there. This lappet was so labelled at South Kensington, but now is admittedly Argentella (or little Argentan). It is remarkably like Alençon, being of the same period, the only points of difference being that the design is not outlined with a raised Cordonnet (though in different places of the design a raised and purled Cordonnet is often stitched on it) and the special ground (partridge eye) which is agreed to denote "Argentella" lace--page 83. It is sometimes called the may-flower ground, but this is somewhat misleading as that design occurs in other laces. The only other great style is that of Flanders, which at its earliest period had received no influence from the Renaissance that had seized the southern countries of Europe and was still in the grip of mediæval art. It was not until Italian influence permeated France that Flemish lace perceptibly altered in character.

These are to all intents and purposes the three great styles of lace. England had no style: she copied Flemish, Brussels, and Mechlin laces. Ireland, on the contrary, copied Italian in her Irish crotchet and Carrick-ma-cross (in style only, but not workmanship), and adapted Lille and Mechlin and Brussels and Buckingham in her Limerick lace.

The student must next make herself familiar with the methods pursued by the old lace-workers, and here the difficulty commences. All lace is either Needlepoint, pillow-made, or machine-made. _Needlepoint_ explains itself. Every thread of it is made with a needle on a parchment pattern, and only two stitches are used, buttonhole and a double-loop which is really a buttonhole stitch.

Nineteenth Century.

(_S.K.M. Collection._)]

This can be clearly understood by referring to Charts Nos. I. and II., where the _two Brussels grounds_ are shown. The Needlepoint ground, No. I., is formed by a buttonhole stitch, which loops over again before taking the next. The pillow-made ground, No. II., shows the threads plaited or twisted together to form a hexagonal or a diamond-shaped network. This is all the difference between needle-made and pillow-made lace, and in itself helps to identify in many instances its country and period when it was produced. All the early Italian laces were Needlepoint, and all the early French laces were the same. All the Flemish laces (including Brussels) were pillow-made, and mixed laces in any of these countries are of later make. Italy adapted the Flemish pillow-lace, and produced Genoese and Milanese guipures, in addition to the coarse imitation of Reticella which she now made by plaiting threads on the pillow. Brussels adopted the needle-made motifs and grounds of Italy, and produced perhaps her finest lace, weaving her beautiful designs and outlines on the pillow, and afterwards filling the spaces with needle-made jours and brides, as in Point d'Angleterre.

A study of Chart II. will show the different style of grounds or réseaux of both Needlepoint and pillow-made lace, the buttonhole grounds being either of "brides" with or without picots, or buttonhole loops, as in Brussels, and Alençon (with a straight thread whipping across to strengthen the ground), loops buttonholed over all as in Argentan, or made of tiny worked hexagons with separate buttonholed threads around them as in Argentella. The pillow-made grounds are made of two plaited or twisted threads, except in the case of Valenciennes, when it is made of four threads throughout (hence its durability). In Brussels, it will be noted, the threads are twisted twice to commence the mesh. These meet two other threads, and are plaited four times, dividing into two again, and performing the same twist, the whole making a hexagon rather longer than round. Mechlin has precisely the same ground, only that the threads are plaited _twice_ instead of four times, as in Brussels, making the hexagon roundish instead of long.

The ground of Lille lace is of exactly the same shape as Valenciennes, but is composed of two threads twisted loosely twice each side of the diamond, and that of Valenciennes being made of four threads plaited.

With the aid of these little charts, a remembrance of the various styles and a few actual specimens of lace, and _a powerful magnifying glass_, it is not beyond the power of any reader of this little book to become expert in the identification of old lace.

(_Author's Collection._)]

XIV

SALE PRICES

XIV

SALE PRICES

Lace is such an article of luxury, and, as a rule, only belonging to the wealthiest class, that it seldom or ever comes into the open market. In 1907 two collections were dispersed at Christie's--those of Mrs. Massey-Mainwaring and Mrs. Lewis Hill.

The most costly laces are the Venetian Points, some of the fine Rose Points being priceless. It is so fragile that little of it remains, and the smallest piece is eagerly snapped up by collectors.

In 1904 at Christie's lace sold for the following prices--

£
A 58-inch length of 24-ins. deep Point de Venise 600

A 4-yards length of Rose Point, 11 inches deep 420

The same year--

£
4 yards of Point d'Argentan, 25 inches deep 460

44 inches Point d'Alençon, 17 inches deep 43

2-1/2 yards Point d'Alençon, 14 inches deep 46

In 1907, March 11, _Massey-Mainwaring Sale_ at Christie's--

sold for
£ s. d.
1-1/2 yards Venetian Gros Point, 8 inches deep 16 16 0

5 yards length of Reticella, 7-1/2 inches deep 33 12 0

4 short lengths 42 0 0

7 pieces of Point d'Alençon 21 0 0

4 yards narrow Point d'Argentan 15 15 0

3 pairs Point d'Argentan lappets 15 15 0

30 yards narrow Mechlin in odd lengths 21 0 0

April 15th, the _Lewis-Hill Sale_ at Christie's:--

sold for
£ s. d.
4 yards Venetian Point, 15-1/2 inches deep 68 5 0

4 " " " 8-1/2 " " 52 10 0

3 yards Spanish Point, 6-1/2 inches deep 73 10 0

An Old Brussels scarf in two pieces 10 10 0

6 yards Brussels applique 23 10 0

A Point Gaze parasol-cover 6 16 0

A Brussels flounce 12 1 6

3 yards Honiton flounce, 17 inches deep 69 6 0

Another similar 69 6 0

6 yards Honiton lace in three pieces 24 3 0

An old lace coverlet 25 4 0

Another ditto 26 5 0

A lace altar-frontal 21 1 0

With the exception of the Honiton flounces, which sold beyond their market value, all the above pieces were bought by London lace dealers!

The famous collection of the late Mrs. Hailstone was sold in 1909. This lady had for many years been known as a lace collector, and the sale of her effects was eagerly anticipated. The result was extremely interesting to the collectors, as Mrs. Hailstone had collected specimen lengths of almost every known lace. No huge prices obtained, but the sale may be regarded as representative, and the prices quoted as being open-market value.

£ s. d. A set of bed-hangings, forming six curtains, made of Italian lace and linen 40 0 0

A large portière curtain of Italian lacis-work 10 10 0

A Point d'Alençon fichu 30 0 0

" " " cravat end, a pair of sleeves, one odd piece 18 0 0

A pair of Argentan lappets and six yards lace 12 0 0

A panel fine raised Venetian Point, 22 inches wide, 28 inches long 24 0 0

A Berthe, Point de Venise, 1 yard 120 inches, 12 inches deep 25 0 0

A Point de Venise Berthe 36 0 0

A 1 yard 13 inches x 7 inches panel Venetian lace 50 0 0

Two specimen pieces, 3-1/4 inches, all of Point de Venise à réseau 14 10 0

A Buckinghamshire collar, sleeves, and pieces 5 5 0

A specimen of old Honiton, baby's cap, bodice, and handkerchief 3 5 0

An old Honiton baby's robe, said to have belonged to Princess Charlotte 15 10 0

Seven volumes of lace specimens of old and modern lace 35 0 0

In December, 1910, probably the most valuable collection ever placed upon the market was dispersed at Messrs. Christie's. The late Sir William Abdy Bt., had for many years devoted his time and money to the collection of valuable lace, such as now can only be seen in the great national collections. The prices obtained are significant of the huge sums which must be paid to obtain wearable pieces of valuable lace such as skirt lengths, 3- or 4-yard lengths of deep flouncings, shawls, coverlets, aprons, &c.

£ s. d.

A fine Point d'Alençon skirt, 2-1/2 yards, 44 inches deep 160 0 0

A fine Point d'Alençon scarf, 2 yards 9 inches × 10 inches deep 72 0 0

A Point d'Argentan Berthe, 9-1/2 inches deep 39 0 0

A Point d'Argentan flounce, 6 yards 30 inches × 5-1/2 inches deep 140 0 0

A Point d'Argentan flounce, 2 yards 26 inches long × 25 inches deep 210 0 0

A Point d'Argentan flounce, 3 yards 28 inches long × 24 inches deep 310 0 0

A Point d'Argentan flounce, 3 yards 35 inches long × 25 inches deep 431 0 0

A Point d'Argentan flounce, 3 yards 16 inches long × 24-1/2 inches deep 290 0 0

An Italian gold and thread lace flounce, 4 yards long, 29 inches deep 740 0 0

A length of Italian Rose Point, 4 yards 15 inches long, 3 inches deep 70 0 0

An old Italian Rose Point flounce, 3 yards 31 inches long, 17-1/2 inches deep 660 0 0

An old Italian Rose Point square, 31 inches × 34 inches 180 0 0

An old Italian Rose Point flounce, 3 yards 19 inches long, 7-1/2 inches deep 520 0 0

An old Italian Rose Point panel, 34 inches × 9 inches 95 0 0

A Point de Venise lappet à réseau, 46 inches long, 5-1/4 inches wide 22 0 0

Point de Venise trimming, 8 yards long × 4 inches deep 65 0 0

A piece of flat Venetian insertion, 4 yards × 3-3/4 inches deep 92 0 0

A Rose Point flounce, 4 yards long × 5 inches deep 200 0 0

A Rose Point flounce, 3 yards 31 inches long × 22 inches deep 600 0 0

A Rose Point flounce, 4 yards 7 inches long × 24 inches deep 540 0 0

A Rose Point flounce, 3 yards 32 inches long × 15 inches deep 560 0 0

A Rose Point flounce, 4 yards 11 inches long × 18 inches deep, and a pair of sleeves en suite 650 0 0

A Rose Point flounce, 4 yards 3 inches long × 11-1/2 inches deep 510 0 0

A raised Point de Venise square, 1 yard 24 inches long × 1 yard 6 inches wide 450 0 0

An Old Brussels apron, 41 inches wide, 37 inches deep 145 0 0

A specimen piece of early Valenciennes, 2 yards long × 7 inches deep 42 0 0

The following prices have been given by the South Kensington authorities for specimens shown:--

£ s. d.

A Venetian Point altar-frontal, 8 × 3 feet 350 0 0

A Venetian chasuble, stole, maniple, and chalice veil 200 0 0

A 2 yards × 5/8 yard Venetian flounce 125 0 0

A Gros Point collar 21 0 0

A Brussels lappet 23 0 0

A drawn-thread jacket 10 10 0

Linen cutwork tunic 20 0 0

Found in a tomb at Thebes.]

CHATS ON NEEDLEWORK

I

OLD ENGLISH EMBROIDERY

Needlework pioneer art--Neolithic remains--Earliest known
English specimens--Bayeux tapestry.

While the subject of lace-making has been treated as almost cosmopolitan, that of embroidery, in this volume, must be regarded as purely national! I purposely refrain from introducing the embroideries of other countries, other than mentioning the ancient civilisations which shared the initial attempts to decorate garments, hangings, &c. (of which we really know very little), and shall confine myself to the needlework of this country, more especially as it is the one art and craft of which England may be unfeignedly proud. It is assumed that needlecraft was the pioneer art of the whole world, that the early attempts to decorate textiles by embroideries of coloured silks, and the elaborate use of gold and silver threadwork, first suggested painting, sculpture, and goldsmith's work. Certainly early Egyptian paintings imitated embroideries, and we have good ground for supposing that stained glass was a direct copy of the old ecclesiastical figures or ancient church vestments. The Neolithic remains found in Britain show that at a very early period the art of making linen-cloth was understood. Fragments of cloth, both of linen and wool, have been discovered in a British barrow in Yorkshire, and early bone needles found at different parts of the country are plentiful in our museums. There is no doubt that we owe much of our civilisation to the visit of the Phoenicians, those strange people, who appear to have carried all the arts and crafts of ancient Babylon and Assyria to the wonder isles of the Greek Archipelago, to Egypt, to Southern Spain, and to Cornwall and Devonshire. These people, dwelling on the maritime border of Palestine, were the great traders of their age, and while coming to this country (then in a state of wildest barbarism) for tin left in exchange a knowledge of the arts and appliances of civilisation hitherto not understood. The Roman Invasion (45 B.C.) brought not only knowledge of craftsmanship but also Christianity. St. Augustine, to whom the conversion of the Britains is credited, carried with him a banner embroidered with the image of Christ. After the Romans had left the country, and it had become invaded by the Celts and the Danes, and had again been taken possession of by the Saxons, a period of not only rest but advancement arrived, and we see early in the seventh century the country prosperous and settled. Aldhelm, Bishop of Sherborne, wrote a poem in which he speaks of the tapestry-weaving and the embroidery which the women of England occupied their lives.

The earliest specimen of embroidery known to have been executed in England is that of the stole and maniple of St. Cuthbert, which is now treasured at Durham Cathedral. These were worked by Aelfled, the Queen of Edward the Elder, Alfred the Great's son. She worked them for Bishop Fridhestan in 905 A.D. Her son Athelstan, after her death, visited the shrine of St. Cuthbert, at Chester-le-street, and in an inventory of the rich gifts which he left there, there is recorded "one stole with a maniple," amongst other articles. These very embroideries were removed from the actual body of St. Cuthbert in 1827. They are described by an eyewitness as being "of woven gold, with spaces left vacant for needlework embroideries." Exquisitely embroidered figures are in niches or clouds. The whole effect is described as being that of a fine illuminated MS. of the ninth century, and indescribably beautiful. Another great prelate, St. Dunstan, Archbishop of Canterbury, designed embroideries for the execution of pious ladies of his diocese (924 A.D.).

Emma, Queen of Ethelred the Unready, and afterwards of Canute, designed and embroidered many church vestments and altar-cloths, and Editha, wife of Edward the Confessor, embroidered the King's coronation mantle.

The great and monumental Bayeux tapestry--which is miscalled, as it is _embroidery_--was the work of Queen Matilda, who, like Penelope, wove the mighty deeds of her husband and king in an immense embroidery. This piece of needlecraft comes upon us as a shock, rather than an admiration, after the exquisite embroideries worked by and for the Church. It is interesting, however, as a valuable historic "document," showing the manners and customs of the time. The canvas is 227 feet long and 20 inches wide, and shows events of English history from the accession of Edward the Confessor to the defeat of Harold, at Hastings. It is extremely crude; no attempt is made at shading, the figures being worked in flat stitch in coloured wools, on linen canvas. Certainly it is one of the quaintest and most primitive attempts of working pictures by needlecraft.

The evidence of the costumes, the armour, &c., are supposed to tell us that this tapestry was worked many years after the Conquest, but it can be traced by documentary evidence as having been seen in Bayeux Cathedral as far back as 1476. In the time of Napoleon I. it was removed from the cathedral and was actually used as a covering for a transport waggon. Finally, however, it was exhibited in the Musée Napoleon, in 1803, and was afterwards returned to Bayeux. In 1840 it was restored and relined, and is now in the Hôtel de Ville at Bayeux!

(_From the Bayeux Tapestry._)]

II

THE GREAT PERIOD OF EMBROIDERY

II

THE GREAT PERIOD OF EMBROIDERY

"Opus Anglicanum"--The Worcester fragments--St.
Benedict--Legend of Pope Innocent--The "Jesse" cope--The "Syon"
cope.

The great period of English embroidery is supposed to have been from the twelfth to the thirteenth century. Very little remains to show this, except a few fragments of vestments from the tombs of the bishops dating from the twelfth and thirteenth centuries, and other data obtained from various foreign inventories of later date referring to the use of "Opus Anglicanum." Some portion of the Worcester fragments may be seen in the South Kensington Museum, and can only be described as being so perfect in workmanship, colour, and style as even at this day to be more like a magnificent piece of goldsmith's work than that of needlecraft. The background is apparently one mass of thread of fine gold worked in and out of a silken mesh, the embroidery appearing just as clear and neat in manipulation as an illumination. The coloured photographs, which may be seen in the same room, of the stole and maniple of St. Cuthbert are of precisely the same work. Judging from these, and the embroidered orphrey which the authorities bought from the Hockon Collection for £119 1s. 10d. and which is only 4 feet 8 inches long, there is no doubt that this was, _par excellence_, the finest period. The work can only be described as being like an old Italian painting on a golden ground. We see precisely such design and colouring in ancient paintings for altars as in the old Italian Triptychs. This style was carried out as literally as possible. Even the defects, if so they may be called, are there, and a slight topheaviness of the figures serves but to accentuate the likeness.

There is a legend that during the times of the Danish incursions St. Benedict travelled backwards and forwards through France and Italy, and brought with him during his _seven_ journeys artificers in _glass_ and _stone_, besides costly books and copies of the Scriptures. The chief end and aim of monastic life, both of monk and nun, in those early days was to embroider, paint, and illuminate their sacred books, vestments, and edifices with what was to them a newly-inspired faith.

Dr. Rock, in his "Church of Our Fathers," says that from the twelfth century to the time of Henry VIII. that only the best materials that could be found in our country or that of other lands were employed, and that the art that was used on them was the best that could be learnt or given. The original fabrics often came from Byzantium or were of Saracenic origin.

English, early Fourteenth Century.]

The story of Pope Innocent III., who, seeing certain vestments and orphreys, and being informed that they were English, said, "Surely England must be a garden of delight!" must be quoted to show how English work was appreciated in those early days.

The choicest example in this country of this glorious period of English embroidery is the famous Syon cope, which is supposed to rank as the most magnificent garment belonging to the Church. It may be regarded as a typical example of real English work, the "Opus Anglicanum" or "Anglicum," which, although used for other purposes, such as altar-cloths and altar-frontals, found apparently its fullest scope in these large semicircular mantles.

Amongst the many copes treasured at South Kensington there are none, amidst all their splendour, as fine as this, although the fragment of the "Jesse" cope runs it very closely. There are many copes of this period in different parts of the Continent--the Daroca Cope at Madrid, one at Ascagni, another at Bologna, at St. Bertrand-de-Comminges, at "St. John Lateran" at Rome, at Pienza and Toleda, and a fragment of one with the famous altar-frontal at Steeple Aston. These are all assumed to be of "Opus Anglicanum," and they may be described as being technically perfect, the stitches being of fine small tambour stitch, beautifully even, and the draperies exquisitely shaded.