Chapter I: Needlework (13)

As in English work, some of the Irish is spoilt by the woolly cotton thread. Foreign lace likewise in these days suffers from the same fault. The workmanship at the present time can be so good that every effort ought to be made to use only fine silky linen thread. In Ireland, where flax can be grown, there should be no excuse for employing any other.

PLATE XCIII.

_To face page 446._

{447}CHAPTER XXXVI.

BOBBIN NET AND MACHINE-MADE LACE.

ARMS OF THE FRAME-WORK KNITTERS' COMPANY.]

BOBBIN NET.

A sketch of the history of lace would be incomplete without a few words on bobbin net and machine lace, manufactures which have risen to so much importance both in England and France, and have placed lace within the reach of all classes of society. The subject has been so ably treated by Mr. Felkin that we refer our readers to his excellent work for its full history.[1237]

This manufacture has its epochs:--

1768. Net first made by machinery.

1809. Invention of bobbin net.

1837. The Jacquard system applied to the bobbin net machine.

It has been already told how Barbara Uttmann made a plain thread net in Germany three centuries before any attempt was made to produce it by machinery.[1238]

This invention is usually assigned to Hammond, a stocking framework knitter of Nottingham, who, examining one day the broad lace on his wife's cap, thought he could {448}apply his machine to the production of a similar article.[1239] His attempt so far succeeded that, by means of the stocking-frame invented the previous century,[1240] he produced, 1768, not lace, but a kind of knitting, of running loops or stitches, like that afterwards known as "Brussels ground." In 1777, Else and Harvey introduced at Nottingham the "pin" or point net machine, so named because made on sharp pins or points. "Point net" was afterwards improved, and the "barleycorn" introduced: "square" and "spider net" appear in succession.

But with all these improvements machinery had not yet arrived at producing a solid net, it was still only knitting, a single thread passing from one end of the frame to the other; and if a thread broke the work was unravelled; the threads, therefore, required to be gummed together, to give stiffness and solidity to the net. To remedy this evil, the warp or chain machine was invented, uniting the knitter's and the weaver's mechanism. Vandyke,[1241] a Flemish workman, and three Englishmen dispute the invention. This new machine was again improved and made "Mechlin net," from which the machine took its name.

For forty years from Hammond's first attempt on the stocking-frame, endless efforts were made to arrive at imitating the ground of pillow lace, and there are few manufactures in which so much capital has been expended, and so much invention called forth. Each projector fancied {449}he had discovered the true stitch, and patents after patents were taken out, resulting mostly in disappointment.

The machine for making "bobbin" net was invented by John Heathcoat, son of a farmer at Longwhatton (Leicestershire). After serving his apprenticeship he settled at Nottingham, and while occupied in putting together stocking and net machines, gave his attention to improving the Mechlin net frame.[1242] In 1809, in conjunction with Mr. Lacy, he took out a patent for fourteen years for his new and highly ingenious bobbin net machine, which he called Old Loughborough, after the town to which he then removed.

"Bobbin net" was so named because the threads are wound upon bobbins.[1243] It was "twisted" instead of "looped" net. Heathcoat began by making net little more than an inch in width,[1244] and afterwards succeeded in producing it a yard wide. There are now machines which make it three yards and a half in width.[1245]

In 1811 that vandal association called the Luddites[1246] entered his manufactory and destroyed twenty-seven of his machines, of the value of £8,000. Indignant at their conduct he removed to Tiverton,[1247] in Devonshire.

{450}In 1818 the first power machines were put to work, and the year 1823 is memorable for the "bobbin net fever." Mr. Heathcoat's patent having expired, all Nottingham went mad. Everyone wished to make bobbin net. Numerous individuals, clergymen, lawyers, doctors, and others, readily embarked capital in so tempting a speculation. Prices fell in proportion as production increased; but the demand was immense, and the Nottingham lace frame became the organ of general supply, rivalling and supplanting in plain nets the most finished productions of France and the Netherlands.[1248] Dr. Ure says: "It was no uncommon thing for an artisan to leave his usual calling and betake himself to a lace frame, of which he was part proprietor, and realize, by working upon it, twenty, thirty, nay, even forty shillings a day. In consequence of such wonderful gains, Nottingham, with Loughborough and the adjoining villages, became the scene of an epidemic mania. Many, though nearly void of mechanical genius or the constructive talent, tormented themselves night and day with projects of bobbins, pushers, lockers, point-bars, and needles of every various form, till their minds got permanently bewildered. Several lost their senses altogether, and some, after cherishing visions of wealth as in the olden time of alchemy, finding their schemes abortive, sank into despair and committed suicide." Such is the history of the bobbin net[1249] invention in England.[1250]

{451}We now pass on to

FRANCE.

"To the great trading nation, to the great manufacturing nation, no
progress which any portion of the human race can make in knowledge, in
taste for the conveniences of life, or in the wealth by which these
conveniences are produced, can be matter of indifference."--Macaulay.

Since the failure[1251] of Lee, in 1610, to introduce the stocking-frame into France, that country remained ignorant of a manufacture which was daily progressing in England, on whom she was dependent for stockings and for net.

In 1778 Caillen attempted a kind of net "tricot dentelle," for which he obtained a gratuity from the Academy of £40, but his method did not succeed; it was, like the first efforts of our countrymen, only knitting.

In 1784 Louis XVI. sent the Duke de Liancourt to England to study the improvements in the stocking and net machinery, and to bring back a frame. He was accompanied by Rhumbolt, who worked in a manufactory at Nottingham, and having acquired the art, returned to France. Monarchy had fallen, but the French Republic, 1793-4, granted Rhumbolt the sum of 110,000 francs (£4,400). The machine he brought with him was the point net.[1252]

The cessation of all commercial intercourse prevented France from keeping pace with the improvements making in England; yet, singularly enough, at the beginning of the nineteenth century more net was manufactured in France than in England. At the time of the Peace of Amiens (1802) there were 2,000 frames in Lyons and Nîmes, while there were scarcely 1,200 in England; but the superiority of the English net was incontestable, so, to protect the national manufacture, Napoleon prohibited the importation. This of course increased its demand; the net was in request in proportion as it was prohibited. The best mart for Nottingham was the French market, so the Nottingham net trade took every means to pass their produce into France.

{452}Hayne, one of the proprietors of the "barley-corn" net, had gone to Paris to make arrangements for smuggling it over, when the war broke out, and he was detained. Napoleon proposed that he should set up a machine in France; but he preferred continuing his illicit trade, which he carried on with great success until 1809, when his own agent informed against him, his goods were seized and burned, and having in one seizure lost £60,000 (1,500,000 fr.), he was completely ruined, and fled to England.[1253]

The French manufacturers took out various patents for the improvement of their "Mechlin" machines, and one was taken, in 1809, for making a crossed net called "fond de glace"; but the same year Heathcoat producing the bobbin net machine, the inventors could not sustain the competition.

Every attempt was made to get over bobbin net machines; but the export of English machinery was punished by transportation, and the Nottingham manufacturers established at their own expense a line of surveillance to prevent the bobbin net machines from going out. In spite of all these precautions, Cutts, an old workman of Heathcoat's, contrived to elude their vigilance, and, in 1815, to import a machine to Valenciennes, whence he removed it to Douai, where he entered into partnership with M. Thomassin. In 1816 they produced the first bobbin net dress made in France. It was embroidered by hand by a workwoman of Douai, and presented by the makers to the Duchesse d'Angoulême. About the end of the year 1816 James Clark introduced a machine into Calais, which he passed in pieces by means of some French sailors. These two were the first bobbin net machines set up in France.

It is not within our limits to follow the Calais lace manufacturers through their progress; suffice it to say that it was in 1817 that the first bobbin net machine worked, concealed from all eyes, at Saint-Pierre-lez-Calais, now, if not the rival of Nottingham, at least the great {453}centre of the bobbin net and machinery lace manufactures in France.[1254]

St. Quentin, Douai, Cambrai, Rouen, Caen, have all in turn been the seats of the tulle manufacture. Some of these fabrics are extinct; the others have a very limited trade compared with Saint-Pierre and Lyons.

At Lyons silk net is mostly made.[1255] Dating from 1791, various patents have been taken out for its manufacture. These silk nets were embroidered at Condrieu (Rhône), and were (the black especially for veils and mantles) much esteemed, particularly in Spain.

In 1825 the "tulle bobine grenadine," black and white, was brought out by M. Doguin, who afterwards used the fine silks, and invented that popular material first called "zephyr," since "illusion." His son, in 1838, brought out the "tulle Bruxelles."

BELGIUM.

In 1834[1256] eight bobbin net machines were set up in Brussels by Mr. Washer, for the purpose of making the double and triple twisted net, upon which the pillow flowers are sewn to produce the Brussels application lace. Mr. Washer devoted himself exclusively to the making of the extra fine mesh, training up workmen specially to this minute work. In a few years he succeeded in excelling the English manufacture; and this net, universally known as "Brussels net," has nearly superseded the expensive pillow ground, and has thereby materially decreased the price of Brussels lace. It is made of English cotton, stated, in the specimens exhibited in 1867, as costing £44 per pound.

{454}MACHINERY LACE.

"Qui sait si le métier à tulle ne sera pas un jour, en quelque sorte, un
vrai coussin de dentellière, et les bobines de véritables fuseaux
manoeuvrés par des mains mécaniques."--Aubry, in 1851.

If England boasts the invention of bobbin net, to France must be assigned the application of the Jacquard system to the net-frame, and consequently the invention of machinery lace. Shawls and large pieces in "run lace," as it is termed, had previously been made after this manner at Nottingham and Derby. The pattern proposed to be "run in" is printed by means of engraved wood blocks on the ground, which, if white, is of cotton; if black, of silk. The ground is stretched on a frame; the "lace-runner" places her left hand under the net, and with the right works the pattern. The filling up of the interior is termed either "fining" or "open-working," as the original meshes of the net are brought to a smaller or larger size by the needle.[1257]

In 1820 Symes, of Nottingham, invented a pattern which he called "Grecian" net. This was followed by the "spot," or "point d'esprit," and various other fancy nets--bullet-hole, tattings, and others.

The Jacquard system had been used at Lyons with the Mechlin frame in 1823-4 for making patterned net and embroidered blondes. This suggested the possibility of applying the Jacquard cards to making lace, and in 1836 to 1838 Mr. Ferguson,[1258] by applying it to the circular bobbin net frame, brought out the black silk net called "dentelle de Cambrai," an imitation of Chantilly. The pattern was woven by the machine, the brodé or relief "run in."

Various patents[1259] were immediately taken out in England and France. Nottingham and Saint-Pierre-lez-Calais rival {455}each other in the variety of their productions. At the International Exhibition of 1867 Nottingham exhibited Spanish laces, most faithful copies of the costly pillow-made Barcelona; imitations of Mechlin, the brodé and picot executed by hand; Brussels needle-point; Caen blondes, and Valenciennes rivalling those of Calais; also Cluny and the black laces of Chantilly and Mirecourt.

The French, by adopting what is technically termed eight "motives," produce their lace of a finer make and more complex pattern. The Calais lace is an admirable copy of the square-grounded Valenciennes, and is the staple trade of the manufacture. Calais also produces blondes, black and white, silver and gold, the white nearly approaching in brilliancy and whiteness the famed productions of Caen, which, by their cheapness, they have expelled from competition. She also imitates the woollen laces of Le Puy, together with black and white laces innumerable.

"Broadly speaking, lace-making by machinery is more nearly like the pillow lace-making process than that of needle-point. The machine continues to twist any desired threads around one another. In pillow lace-making, besides twisting, we have plaiting, and this plaiting has not been reproduced by the majority of lace machines. Quite recently, however, a French machine, called the 'Dentellière,' has been invented to do the plaiting. A description of this machine has been published in _La Nature_ (March 3rd, 1881).

"Whilst the ordinary lace-making machine belongs to the family of weaving machines, the Dentellière more nearly resembles the pillow of a lace-worker with the threads arranged over the pillow. In general appearance it looks something like a large semicircular frame-work of iron--with thousands of threads from the outer semicircle converging to the centre, representing the table or pillow. Over this central table is the apparatus which holds the end threads side by side, and which regulates the plaiting of them. The cost of producing lace in this manner is said to be greater at present than by hand."[1260]

{456}Almost every description of lace is now fabricated by machinery;[1261] and it is often no easy task, even for a practised eye, to detect the difference. Still, we must ever be of opinion that the most finished productions of the frame never possess the touch, the finish, or the beauty of the laces made by hand. The invention of machine-made lace has this peculiarity--it has not diminished the demand for the finer fabrics of the pillow and the needle. On the contrary, the rich have sought more eagerly than ever the exquisite works of Brussels and Alençon, since machinery has brought the wearing of lace within the reach of all classes of society.

THE LAGETTA, OR LACE-BARK TREE.]

The inner bark of the Lagetta, or Lace-bark tree[1262] of Jamaica, may be separated into thin layers, and then into distinct meshes, bearing some resemblance to lace (Fig. 163). Of this material a cravat and ruffles were presented to King Charles II. by the Governor of Jamaica; and at the Exhibition of 1851 a dress of the same fibre was presented to Queen Victoria, which her Majesty was graciously pleased to accept.

{457}Caterpillars have been made to spin lace veils by the ingenious contrivance of a gentleman of Munich.[1263] These veils are not strong, but surprisingly light--one, a yard square, would scarcely weigh five grains, whilst a patent net veil of the same size weighs 262.

Asbestos has also been woven into lace: and a specimen of this mineral lace is, we have been told, in the Cabinet of Natural History at the Garden of Plants, Paris.

{459}APPENDIX.

_The Notes marked with an * show that the works referred to have been
examined by the Author._[1264]

1.

[Sidenote: 1527. _Cologne. P. Quentell._]

Eyn new kunstlich boich, dair yn. C. vnd. xxxviij. figuren, monster ad'
stalen befonden, wie man na der rechter art, Lauffer werck, Spansche
stich, mit der nälen, vort vp der Ramen, vnd vp der laden, borden
wirckenn sall, wilche stalen all etzo samen verbessert synt, vnd vyl
kunstlicher gemacht, d[=a] dye eirsten, &c. Sere nutzlich allen wapen
sticker, frauwen, ionfferen, vnd met ger, dair uns solch kunst lichtlich
tzu leren.

D Gedruckt tzu Collen vp dem Doemhoff dwrch Peter Quentell.

Anno. M. D. XXXVJJ.[1265]

Small 8vo, 22 ff., 42 plates.

Title in Gothic letters; beneath, woodcuts representing women at work.
On the back of the leaf, a large escutcheon, the three crowns of
Cologne in chief; supporters, a lion and a griffin. Below, "O Foelix
Colonia. 1527."

The patterns consist of mediæval and arabesque borders, alphabets,
etc., some on white, others on black grounds. Some with counted
stitches.

Quentell refers to a previous edition. Brunet and the Marquis d'Adda
mention a copy, 1529, with the portrait of Charles V., and a second
edition 1532.

2.

[Sidenote: 1527. _Cologne. P. Quinty._]

Liure noveau et subtil touchant lart et sci[=e]ce tant de brouderie
fronssures, tapisseries c[=o]me aultres mestiers qu[=o] fait alesguille,
soit au petit mestier, aultelisse ou sur toille clere, tresvtile et
necessaire a toutes, gens usans des mestiers et ars {460}dessuld, ou
semblables, ou il y ha C. et. xxxviij patrons de diuers ouvraiges faich
per art et proportion.

En primere a culoge (Cologne) par matrepiere quinty demor[=a]t denpre
leglie de iii roies.[1266]

The same cut as the preceding, with the arms of Cologne, which seems to
have been engraved for a great Bible printed by Quentell, in 1527, and
is no guide for the date. Figs. 164, 165.

METRE P. QUINTY.--Cologne, 1527.]

METRE P. QUINTY.--Cologne, 1527.]

3.

[Sidenote: 1530. _Venice. A. Taglienti_]

Opera nuova che insegna a le D[=o]ne a cuscire: a racc[=a]mare: e a
disegnar a ciascuno: Et la ditta opera sara di grande utilita ad ogni
artista: per esser il disegno ad ogniuno necessario: la qual e ititolata
esempio di rac[=a]mi.[1267]

4to, 23 ff., 36 plates.

Title in red Gothic letters; beneath four woodcuts representing women
at work. Two pages of dedication to the ladies, by Giovanni Antonio
Taglienti, in which he says his book is for the instruction of each
"valorosa donna & tutte altre donzelle, con gli huomini insieme &
fanciulli, liquali si dilettarano de imparar a disegnar, cuscir, &
raccammar."

{461}Then follows a most miscellaneous collection of what he terms, in
his dedication, "fregi, frisi, tondi maravigliosi, groppi moreschi et
arabeschi, ucelli volanti, fiori, lettere antique, maiuscoli, & le
francesche," etc., three pages very much like the pictures in a child's
spelling book, rounds (tondi) for cushions, and two pages representing
hearts and scrolls; hearts transfixed, one with an arrow, another with
a sword, a third torn open by two hands, motto on the scroll:--

"La virtù, al huomo sempre li resta
Nè morte nol pò privar di questa."

On the other page hearts transfixed by two arrows, with two eyes above:
"Occhi piangete accompagnete il core. Inclita virtus." Then follow six
pages of instructions, from which we learn the various stitches in
which these wonderful patterns may be executed, "damaschino, rilevato,
a filo, sopra punto, ingaseato, Ciprioto, croceato, pugliese, scritto,
incroceato, in aere, fatto su la rate, a magliata, desfilato, & di
racammo," to be sewn in various coloured silks, gold and silver thread,
or black silk, for "collari di huomo & di donna, camisciole con
pettorali, frisi di contorni di letti, entemelle di cuscini, frisi di
alcun boccassino, & scufie," etc. On the last page, "Stampa in Vineggia
per Giovan Antonio Tagliente & i Fratelli de Sabbio. 1530." Brunet
gives an edition dated 1528.

4.

[Sidenote: 1530. _Paris F. Pelegrin._]

La fleur de la science de pourtraicture et patrons de broderie. Facon
arabicque, et ytalique. Cum priviligio regis.

Frontispiece. Title in Gothic letters. A large figure of Sol (?), with
a yoke, his feet chained, a ball, maybe the Earth, at the end of the
chain. In one hand he holds a scroll with the legend, "Exitus acta
probat." Privilege of "Francoys par la grace de Dieu roy de France," to
"Francisque pelegrin de Florence," to publish "ung livre de fueillages,
entrelatz et ouvraiges moresques, et Damasquins," for six years.
"D[=o]ne a bordeaulx le xvii. jour de Juing. L'an de grace mil cinq
cens tr[=e]te Et de nostre regne le seiziesme."

Ce present livre a este imprime a paris par jaques nyverd. Le iv. jour
daoust. Lan de grace mil cinq c[=e]s xxx. Pour noble h[=o]me messire
Francisque Pelegrin de florence.

On les vend a paris En la grant rue sainct Anthoyne devant les
tournelles. Au logis de monseigneur le comte de Carpes. Par messire
Fr[=a]cisque pelegrin de florence.[1268]

Small fol., 62 ff., 58 plates, consisting of graceful moresque
patterns, no animals or natural objects represented. At plate 33,
surrounded by arabesques, is an N, the initial of the printer.

5.

[Sidenote: 1529. _Venice. N. Zoppino._]

Esemplario di lavori: dove le tenere fanciulle & altre donne nobile
potranno facilment imparare il modo & ordine di lavorare, cusire,
racamare, & finalmente far tutte quelle gentillezze & lodevoli opere, le
quali pò fare una donna virtuosa con laco in {462}mano, con li suoi
compasse & misure. Vinezia, per Nicolo D'Aristotile detto Zoppino
MDXXIX. 8vo.[1269] 46 plates.

The Cav^{re} Merli quotes another edition, date 1530, in the possession
of the Avvocato Francesco Pianesani, and another he believes of 1529.

6.

[Sidenote: 1532. _Venice. N. Zoppino._]

Convivio delle belle Donne, dove con li. Nuovi raccami, &c. In fine:
Finisce il convivio delle, &c. Nuovamente stampato in Vinegia, per
Nicolo d'Aristotile, detto Zoppino del mese d'Agosto. MDXXXII.

In 4to, ff. 24.[1270]

7.

[Sidenote: 1537. _Venice. N. Zoppino._]

Gli universali de i belli Recami antichi, et moderni, ne i quali un
pellegrino ingegno, si di huomo come di donna potra in questa nostra eta
con l'ago vertuosamente esercitar si. Non ancora da alcuni dati altri
inluce.

Frontispiece, two ladies at work; dedication to "gli virtuosi Giovani
et gentilissime Fanciulle." At the end styles himself "Nicolo
d'Aristotile detto Zoppino." March, 1537.

In 4to, ff. 25, printed on both sides.[1271]

8.

[Sidenote: 1534. _Augsburg. Schartzemberger._]

Ain New Formbüchlin bin ich gnandt
Allen Künstlern noch unbekandt
Sih mich (lieber kauffer) recht an,
Findst drefftlich in diser kunff stan
Sch[=o]n gschnierlet, geböglet, auf gladt,
Und gold, auch sch[=o]n von premen stadt,
Es gibt dir ain prem unb ain kledyt.
Wenn mans recht aussainander schneydt,
Das kanst schneyden auss der Ellen,
Von Samat, Seyden, wie manss wolle,
Ich mag braucht wern in allem landt,
Wen man mich ers[=u]cht mit verstandt.

(At the end.)

Gedruckt in der Kaiserlichen Riechstatt, Augspurg, durch Johan
Schartzemberger. Fomschneyder. 1534.[1272]

Small obl., 20 ff., 38 plates.

Frontispiece. Title in black Gothic letters, at the foot three subjects
of women at work, printed in red.

The patterns, consisting of graceful arabesque borders, are also in red
(Figs. 166, 167, 168).

PATTERN BOOK.--Augsburg, 1534.]

PATTERN BOOK.--Augsburg, 1534.]

_To face page 462._

{463}

AUGSBURG. 1534.]

9.

[Sidenote: _N. D. Antwerp. W. Vorsterman._]

A neawe treatys: as c[=o]cernynge the excellency of the nedle worcke
spânisshe stitche and weavynge in the frame, very necessary to al theym
wiche desyre the perfect knowledge of seamstry, quiltinge and brodry
worke, côteinynge an cxxxviij figures or tables, so playnli made & set
tout in portrature, the whiche is difficyll; and natôly for crafts m[=e]
but also for gentlewem[=e] & and iôge damosels that therein may obtayne
greater conynge delyte and pleasure.

These books be to sell at Andwarp in the golden Unycorne at Will[=m]
Vorstermans.

Gheprent tot Antwerpen in die camerstrate in den gulden eenhoren bey
Willem Vorsterman.[1273]

8vo, 24 ff., 46 plates.

Title in Gothic letters, with figures.

P. 1, dorso: Woodcut of a woman at work and a man sitting by her side.

Patterns mediæval, small black squares, arabesques, etc.

Vorsterman worked from 1514 to 1542.[1274]

10.

[Sidenote: 1542. _Venice._]

Giardinetto novo di punti tagliati et gropposi, per exercitio et
ornamento delle donne. Ven. 1542, in 4to.[1275]

{464}11.

[Sidenote: 1543. _Venice._]

Esemplare che insegna alle donne el modo di cucire. Venetia, 1543.[1276]

12.

[Sidenote: 1544. _Venice._]

Il Specchio di pensiere (_sic_), delle belle donne dove si vede varie
sorti di punti, cioè, punti tagliati, gropposi, &c. Venetia, 1544.

In 4to.[1277]

13.

[Sidenote: 1544. _Venice._]

Ornamento delle belle donne et virtuose: Opere in cui troverai varie
sorti di frisi con li quali si potra ornar ciascun donna. Ven.
1544.[1278]

14.

[Sidenote: 1546. _Paris. Gormont._]

Le livre de moresques, tres utile et necessaire à tous orfevres,
tailleurs, graveurs, painctres, tapissiers, brodeurs, lingieres et femmes
qui besongnent de l'aiguille. Paris. Gormont, 1546. Fig. en bois.[1279]

15.

[Sidenote: 1549. _Lyon. P. de Ste. Lucie._]

La fleur des patrons de lingerie, a deux endroitz, a point croise, a
point couche, et a point picque, en fil dor, fil darg[=e]t, & fil de
soye, ou aultre en quelque ouvraige que ce soit, en comprenant lart de
broderie et tissuterie. Imprimees a Lyon, en la maison de Pierre de
saincte Lucie (dict le Prince, Pres nostre Dame de Confort).[1280]

(At the end.)

Imprimé à Lyon par Piarre de saincte Lucie, dict le Prince. 1549.

8vo, 12 ff., 21 plates.

Frontispiece. Title in Gothic letters, with woodcuts representing
people at work. Below, two women sitting at frames; above, two others;
and between, a man with a frame in his hand. On each side a shield, one
with crowned heart, on the other a lion, three fleurs de lys in chief.
Patterns mediæval. At the end, the device of the printer, a mountain,
on the top of which is a city against which a youth is placing his
hand: motto, "Spero." At the foot of the mountain a cavern in which is
seated a Fury. This device is engraved No. 616 in Silvestre, who gives
1530 to 1555 as the date of Pierre de Saincte Lucie.

{465}16.

[Sidenote: _N. D. Lyon. P. de Ste. Lucie._]

Livre nouveau, dict patrons de lingerie, cest assavoir a deux endroitz, a
point croise, point couche & point picque, en fil dor, dargent, de soye &
autres, en quelque ouvrage que ce soit: comprenant lart de Broderie &
Tissoterie. Imprimees a Lyon, chez Pierre de Saincte Lucie, pres nostre
Dame de Confort.[1281]

8vo, 24 ff., 44 plates.

Frontispiece. Title in Gothic letters; the same shields as the
preceding; two women at work. Patterns mediæval. At the end the same
device.

The copy of the Arsenal is a different impression. Instead of
"Imprimees," &c, we have, "On les vend," etc.

17.

[Sidenote: _N. D. Lyon. P. de Ste. Lucia._]

Patrons de diverses manieres
Inventez tressubtilement
Duysans a Brodeurs et Lingieres
Et a ceusy lesquelz vrayement
Veullent par bon entendement
User Dantique, et Roboesque,
Frize et Moderne proprement,
En comprenant aussi Moresque.
A tous massons, menuisiers, & verriers
Feront prouffit ces pourtraictz largement
Aux orpheures, et gentilz tapissiers
A ieunes gens aussi semblablement
Oublier point ne veuly auscunement
C[=o]trepointiers & les tailleurs dymages
Et tissotiers lesquelz pareillement
Par ces patrons acquerront heritages.

Imprimees a Lyon, par Pierre de Saincte Lucie, dict le Prince, pres
nostre Dame de Confort.[1282]

8vo, 16 ff., 31 plates. Title in Gothic letters. Patterns mediæval.

The copy at the Arsenal is a later impression. "On les vend a Lyon, par
Pierre de saincte Lucie, en la maison du deffunct Prince, pres," etc.
It has only 12 ff., and 23 plates.

18.

[Sidenote: _N. D. Lyon. Le Prince._]

Sensuyuent lis patrons de messire Antoine Belin, Reclus de sainct Martial
de Lyon. Item plusieurs autres beaulx Patrons nouveaulx, qui out este
inventez par Jeban Mayol Carme de Lyon.

On les vend à Lyon, chez le Prince.[1283]

{466}Small 8vo, 6 ff., 85 plates. Copy at the Arsenal has 12 ff.

The same device of the printer in the frontispiece and at the end of
the book. "Finis."

One of the patterns represents St. Margaret holding the cross to a
dragon, but in these four books the designs are copied from each other,
and are many of them repetitions of Quinty.

19.

[Sidenote: _N. D. Lyon. D. Celle._]

Ce livre est plaisant et utile
A gens qui besongnent de leguille
Pour comprendre legèrement
Damoyselle bourgoyse ou fille
Femmes qui out l'esperit agille
Ne scauroint faillir nullement
Corrige est nouvellement
Dung ho[=n]este ho[=m]e par bon zelle
Son nom est Dominicque Celle
Qui a tous lecteurs shumylie
Domicille a en Italie.
En Thoulouse a prins sa naissance.
Mise il a son intelligence
A lamender subtillement
Taillé il est totallement
Par Jehan coste de rue merciere
A Lyon et consequemment
Quatre vingtz fassons a vrayement
Tous de differente maniere.[1284]

28 ff., 27 plates. Title in Gothic letters. Dedication to the Reader,
in which it states the book is for the profit of "tant hommes que
femmes." Patterns mediæval. At the end of the Preface, "Finis coronat
opus."

20.

[Sidenote: _N. D. Venice. G. A. Vavassore._]

Esemplario di lavori: che insegna alle d[=o]ne il modo e ordine di
lavorare: cusire: e racámare: e finalm[=e]te far tutte [=q]lle opere
degne di memoria: lequale po fare una donna virtuosa con laco in mano. Et
uno documento che insegna al c[=o]pratore accio sia ben servito.[1285]

In 8vo, 25 ff., printed on both sides, 48 plates. Title in red Gothic
characters, framed round by six woodcuts similar to that of Vorsterman;
at the foot, "fiorio Vavasore fecit."

Then follows the "Documento per el compratore," and an Address to
Ladies and Readers, by "Giovandrea Vavassore detto Guadagnino," saying
that he had already "fatti alcuni libri di esempli di diverse sorte."

There is no date to this copy; but in the library of Prince Messimo, at
Rome, is a copy dated Venice, 18 Feb., 1546, containing 50 plates; and
Brunet quotes an edition, "Stampato in Vinezia, 1556;" Cav. Merli also
possesses an edition of the same date. Mr. E. Arnold has also a copy
with the same date.

The patterns are mediæval, on black grounds, with counted stitches, a
large flower pot, mermaid, Paschal lamb, and a double plate
representing Orpheus playing to the beasts.

{467}21.

[Sidenote: _N. D. Venice. G. A. Vavassore._]

Essemplario novo di pin di cento variate mostre di qualunque orte
bellissime per cusire intitolato Fontana di gli essempli.

Oblong 8vo. No date. 16 ff., 28 plates.

In the frontispiece is a fountain with the motto, "Solicitudo est mater
divitiarum," and on each side of the fountain--

"Donne donzelle ch Per farvi eterne alla.
El cusir seguite Fonte venite."

On the back of the frontispiece is the Dedication, headed, "Il
Pelliciolo alla molta magnifica Madona Chiara Lipomana;" the page
finished by a sonnet; in the last leaf, "Avviso alle virtuose donne et
a qualunque lettore Giovanni Andrea Vavassore detto Guadagnino." Says
he has "negli tempi passati fatto imprimere molto e varie sorte
d'essemplari di mostre," etc. At the foot, "Nuovamente stampato."[1286]
This work is also described by Count Cicognara with the same title,
only with the date 1550. In the Bibliotheca Communitativa, Bologna, is
a copy of the same date. In this last edition the author writes his
name Valvassore.

22.

[Sidenote: _N. D. Venice. G. A. Vavassore._]

Vavassore Gio. Andrea. Opera nova Universal intitulata corona di ricammi;
Dove le venerande donne e fanciulle: trovera[=n]o di varie opere [per]
fare colari di camisiola & torni[=a][=e]nti di letti [=e]ternelle di
cuscini boccasini schufioni: cordlli di piu sorte; et molte opere per
rec[=a]matori [per] dipitore poreuesi: (_sic_) de lequale opere o vero
esempli ciascuno le potra pore in opera sec[=o]do el suo bisogno: con
gratia novamente stampata ne la inclita citta di vineggia per Giovanni
Andrea Vavassore detto Guadagni[=o]. 36 pp., sm. 4to.

13 ff., 52 designs, none of which are repetitions of the
preceding.[1287]

23.

[Sidenote: _N. D. Venice. G. A. Vavassore._]

Vavassore Gio. Andrea detto Guadagnino. Opera nova, etc. ... dove le
venerande donne et fanciulle trovaranno di varie opere et molte opere per
recamatori et per dipintori; etc. Nuovamente stampata, etc.[1288]

Quite a different collection from the preceding. A little of everything
in this volume.

Zoan Andrea Vavassore was the pupil in drawing and engraving of Andrea
Mantegna. Towards the beginning of the sixteenth century, he worked on
his own account, and his engravings are much sought after. So greedy
was he of gain as to obtain for him the name of Guadigno, in Venetian
patois, "covetous." He lived to a great age.

{468}24.

[Sidenote: _N. D. A. Paganino._]

Libro questo di rechami per el quale se impara in diversi modi l'ordine e
il modo de recamare, cosa non mai più fatta n' è stata mostrata.

By Alessandro Paganino.[1289]

20 plates, with a long explanation how these works are done.
(Communicated by Prince Massimo.)

25.

[Sidenote: _N. D. Paris Vve. Ruelle._]

Patrons pour Brodeurs, Lingieres, Massons, Verriers, et autres gens
d'esprit. A Paris. Pour la Veuve Jean Ruelle, rue S. Jacques, à
l'enseigne Sainct Nicolas.[1290]

4to, 23 ff., 32 plates of mediæval designs. Ornamented title-page.

26.

[Sidenote: 1548. _Venice. M. Pagan._]

Il specchio di pensieri delle belle et virtudiose donne, dove si vede
varie sorti di Punti, cioè punti tagliati, punti gropposi, punti in rede,
et punti in Stuora. MDXLVIII. Stamp. in Venetia, per Mathio Pagan in
frezzaria, in le case nove Tien per insegna la fede.[1291]

16 ff.

27.

[Sidenote: 1551. _Venice. M. Pagan._]

1. L'honesto Essempio del vertuoso desiderio che hanno le donne di nobile
ingegno circa lo imparare i punti tagliati e fogliami. In Venetia per
Mathio Pagan in Frezaria al segno della Fedo, M.D.L.[1292]

In the V. and A. Museum is a copy dated 1550.

28.

[Sidenote: 1551. _Venice. M. Pagan._]

Giardineto novo di Punti tagliati et gropposi, per esurcitio et ornamento
delle donne. At the end, Venetia, Mathio Pagan in Frezzaria, in le case
nove (tien per insegna della Fede) MDLI. Dedication, Alla signora
Lucretia, Romana Mathio Pagan, salute.[1293] See also No. 38.

29.

[Sidenote: 1554. _Dubois._]

Variarum protractionum quas vulgo Maurusias vocant omnium antehac
excusarum libellus longe copiasissimus pictoribus, aurifabris,
polymilariis, barbaricariis variisque id genus {469}artificibus etiam acu
operantibus utilissimus nuncque primen in lucem editus anno 1554.
Balthazar Sylvius (Dubois) fecit.

Jo. Theodoret, Jo. Israel de Bry excud.[1294]

In 4to, ff. 23, copperplate.

30.

[Sidenote: 1555. _Padua. Fra Hieronimo._]

Triompho di Lavori a Fogliami de i quali si puo far ponti in aere; opera
d' Fra Hieronimo da Cividal di Frioli, de l'Ordine de i Servi di
Osservantia. Cum gratia et privileggio per anni xi.[1295]

Obl. 4to, 14 ff., 22 pl.

Ornamental title-page. On the top, a female seated in a triumphal car
drawn by unicorns, with attendants. On each side of the title are women
teaching children to work.

P. 1, dorso. Dedication of the author, "Alla Magnifica & Illustre
Signora Isabella Contessa Canossa," whose "Immortal Triompho" is
represented in the above woodcut. Fra Hieronimo speaks of preparing
"più alte e divine imprese."

Then follow three pages of verses in terzette, and p. 3, dorso, the
impresa of the printer, a lion rampant, holding a sword in his fore
paws. Below, "In Padou per Jacobo Fabriano, ad instantia de Fra
Hieronimo da Cividal di Frioli: de l'Ordine de i Servi di Osservantia
1555."

31.

[Sidenote: 1556. _Venice. Torello._]

Lucidario di ricami di Guiseppe Torello. Venezia, 1556.

In 4to.

32.

[Sidenote: 1556. _Strasburg. H. Hoffman._]

New Modelbüch, allen Nägerin, unnd Sydenstickern sehr nutzlich zü
branchë, vor nye in Druck aussgangen durch Hans Hoffman, Burger und
formschneider zu Strassburg. At the end, Zu Strassburg Gedruckt am
Kommarckt durch Jacob Frölich. 1556. 4to.[1296]

4to. A to G in fours. (28 leaves.)

Title printed in red and black. On it a woodcut of two women, one
engaged in embroidery, the other fringing her some stuff. The last leaf
(Giiii.) has on the recto a woodcut of a woman at a frame, the verso
blank.

33.

[Sidenote: _N. D. Zurich. C. Froschover._]

Nüw Modelbüch, allerley gattungen Däntelschnür, so diser zyt in hoch
Tütschlanden geng und brüchig sind, zu underricht jren Leertöchteren unnd
allen anderen schurwirckeren zu Zurych {470}und wo die sind, yetz nüwlich
zübereit, und erstmals in truch verfergket durch R. M.[1297]

No place or date, but as appears, both from the title and preface, to
be printed at Zurich, by Christopher Froschover. The date probably from
1530 to 1540.

4to. Signatures A to F in fours. 24 leaves. On the title a woodcut of
two women working at lace pillows.

34.

[Sidenote: _N. D. Frankfort._]

Modelbüch Welscher, Ober und Niderlandischer Arbait. Getruckt zü
Franckfort.

No date, but probably at least as early as 1530. 4to. Signatures A to D
in fours. 20 leaves.

Title enclosed in an elegant woodcut border.

35.

[Sidenote: 1537. _Frankfort. C. Egenolffs._]

Modelbüch, von erhabener unnd flacher Arbait, Auff der Ramen, Laden, und
nach der Zale.

Getruckt zu Franckfort, Bei Christian Egenolffs, Erben.

The date, 1537, occurs on one of the patterns. 4to. AA to HH in fours.
32 leaves. Title in a woodcut border. 178 patterns.

36.

[Sidenote: 1571. _Frankfort on the Mayn. N. Baseus._]

New Modelbüch.

Von allerhandt Art, Nehens und Stickens, jetzt mit viellerley Welscher
Arbeyt, Mödel und Stahlen, allen Steinmetzen, Seidenstickern und Neterin,
sehr nützlich und kunstlich, von newem zugericht.

Getruckt zu Frankfurt am Mayn, 1571.

Device and motto of Nicolas Baseus on title-page. Sm. 4to. (Library V.
and A. Museum.)

37.

[Sidenote: 1568. _Frankfort on the Mayn. N. Baseus._]

Das new Modelbüch, &c.

Franckfurt am Mayn, 1568, 4to. Printer, Nicholas Baseus, ff. 40.

38.

[Sidenote: 1569. _Frankfort on the Mayn._]

Modelbüch; Zweiter Theil: Franckfurt am Mayn, 1569.

4to, ff. 44. Nos. 36 and 37 are cited by the Marquis d'Adda.

{471}39.

[Sidenote: 1558. _Venice. M. Pagan._]

La Gloria et l'honore de ponti tagliati et ponti in aere Venezia per
Mathio Pagan in Frezzeria al segno della Fede. 1558.[1298]

16 plates. Dedicated to Vittoria Farnese, Duchess of Urbino.

40.

[Sidenote: _N. D. Venice._]

Il Monte. Opera nova di recami intitolata il monte, nella quale si
ritrova varie, & diverse sorti di mostre, di punti in aiere, à fogliami.
Dove le belle & virtuose Donne protranno fare ogni sorte di lavoro,
accommodate alle vera forma misura & grandezza, che debbono essere ne mai
piu per l'adietro da alcuno vedute. Opera non men bella che utile, &
necessaria.[1299]

Below, the impresa of the printer, an eagle with its young; motto,
"Virtute parta sibi non tantum." In Venetia.

4to, 16 ff., 29 plates of bold scroll borders.

41.

[Sidenote: 1559. _Venice. G. A. Bindoni._]

Il Monte (libro secondo) Opera dove ogni bella donna potrà fare ogni
sorte di lavori cioè colari, fazzoletti, maneghetti, avertadure
(berthes), &c., in Venetia, 1560.[1300]

Printer's mark and motto as No. 39: afterwards the dedication dated
1559, "à Vittoria da Cordova Gio. Ant. Bindoni," in which he states "Ho
preso arditamente di presentarvi questo secondo Monte." 4to. ff. 16.

42.

[Sidenote: 1558. _Venice._]

Bellezze de recami et dessegni opera novo non men bella che utile, e
necessaria et non più veduta in luce. Venezia, 1558.[1301]

Ob. 4to. 20 plates of patterns.

43.

[Sidenote: 1558. _Venice. I. Foresto._]

Lo Splendore delle virtuose giovani con varie mostre di fogliami e punti
in aere. Venezia. Per Iseppo Foresto in calle dell'acqua a S. Zulian all'
insegno del Pellegrino, 1558.[1302]

16 plates.

{472}44.

[Sidenote: 1559. _Venice._]

Trionfo di Virtù Libro novo da cucir, con fogliami, ponti a fili, ponti
cruciati, &c. Venezia, 1559.[1303]

16 plates.

45.

[Sidenote: _N. D._]

Burato.

Consisting of four leaves, with patterns of canvas (tela chiara), in
squares, for works in "punta" of various widths, with instructions how
to increase or diminish the patterns. See CUTWORK.

On the back of the last page is printed in large characters, "P. Alex.
Pag. (Paganinus). Benacensis F. Bena. V. V."[1304]

46.

[Sidenote: _N. D._]

Burato ... con nova maestria, gratiose donne, novo artificio vi apporto.

A second edition without date. 4to, ff. 59; frontispiece, ladies at
work, verso, Triumph of Fame. Four books of designs of great elegance
and taste. The Marquis d'Adda assigns them to Vavassore.

47.

[Sidenote: _N. D. A. Passerotti._]

Passerotti Aurelio Pittore Bolognese dissegnatore e miniatore figlio di
Bartolommeo Passerotti circa al 1560. Libro Primo di lavorieri alle molto
illustre et virtuosissime gentildonne Bolognesi. Libro secondo alle molto
magnifici et virtuosissimi signori.[1305]

In fol. obl.

67 ff., including two dedications and a frontispiece. Designs for
embroidery, etc., drawn with a pen. In the title-page of the first book
is the device of a sunflower, "Non san questi occhi volgere altrove."

48.

[Sidenote: 1557. _Venice._]

Le Pompe. Opera nova di recami dove trovansi varie mostre di punto in
aere. Venezia, 1557.[1306]

Probably an earlier impression of the following. 4to, ff. 16.

49.

[Sidenote: 1559.]

Le Pompe, opera nova nella quale si ritrovano varie, & diverse sorti di
mostre, per poter far Cordelle over Bindelle, d' Oro, di Seta, di Filo,
overo di altra cosa di Dove le belle et virtuose donne potranno fare ogni
sorte di lavoro, cioè merli di diverse sorte, Cavezzi, Colari,
Maneghetti, & tutte quelle cose {473}che le piaceranno. Opera non men
bella, che utile, & necessaria. E non più veduta in luce. 1559.[1307]

Below, the same impresa of the eagle, as in "Il Monte," Nos. 39 and 40.

8vo, 16 ff., 30 plates.

A great variety of borders and indented patterns (merli). (Fig. 169.)

"Si vendeno alla Libraria della Gatta."

LE POMPE, 1559.]

In the Cat. d'Estrées is noted, "Le Pompe, Opera nella quale si
retrovano diverse sorti di mostse per poter far cordelle, Bindelle,
d'oro di seta, di filo. 1559, fig." Probably the same work.

50.

[Sidenote: 1560. _Venice._]

Le Pompe, Libro secondo. Opera nuova nella quale si ritrovana varie e
diverse sorti di Mostre, per poter fare Cordelle, ovver Bindelle, d'Oro,
di Seta, di Filo, ovvero di altra cosa. Dove {474}le belle & virtuose
Donne potranno far ogni sorte di lavoro, coèi Merli di diverse sorte,
Cavezzi, Colari, Maneghetti & tutte quelle cose che li piaceno. Opera hon
men bello che utile & necessaria e non più veduta in luce.

Impresa of the printer, "Pegasus," and below, In "Venetia 1560."

Obl. 8vo, 16 ff., 29 plates.[1308]

Mrs. Stisted's copy is dated 1562, and there is one at Vienna, in the
Imperial Library, of the same date.

51.

[Sidenote: 1563. _Venice. J. Calepino._]

Splendore delle virtuose giovani dove si contengono molte, & varie mostre
a fogliami cio è punti in aere, et punti tagliati, bellissimi, & con tale
arteficio, che li punti tagliati serveno alli punti in aere. Et da quella
ch' è sopragasi far si possono, medesimamente molte altre.

In Venetia Appresso Jeronimo Calepino, 1563.[1309]

8vo, 20 ff., 35 plates of scroll patterns in the style of "Il Monte."

Dedication "Alla molto honorata M. Anzola ingegniera succera mia
digniss." Francesco Calepino, wishing, he says, to "ristampare la
presente opera," he dedicates it to her. In Bib. Melzi, Milan, a copy
dated 1567.

52.

[Sidenote: 1563. _Venice. J. Calepino._]

Lucidario di recami, nel qual si contengono molte, & varie sorti di
disegni. A punti in aere et punti tagliati, & a fogliami, & con figure &
di più altre maniere, come al presente si usano non più venute in luce
Per lequali ogni elevato ingegno potrà in diversi modi commodissimamente
servirsi. In Venetia, Appresso Ieronimo Calepino, 1563.[1310]

8vo, 16 ff., 29 plates of flowing borders like the preceding.

53.

[Sidenote: 1564. _Venice._]

I Frutti opera nuova intitulata i frutti de i punti in stuora, a
fogliami, nella quale si ritrova varie, et diverse sorti di mostre di
ponti in Stuora, a fogliami, & punti in gasii & in punti in
Trezola.[1311] Dove ogni bella et virtuosa donna potrà fare ogni sorte di
lavoro, cioè fazoletti, colari, maneghetti, Merli, Frisi, Cavezzi,
Intimelle, overo forelle, avertadure da camise, & altre sorti di lavori,
come piu a pieno potrai vedere, ne mei per l' adietro d' alcun altro
fatte & poste in luce.

{475}Opera non men bella, che utile et necessaria a ciascuna virtuosa
gentildonna. In Vinegia, 1564.[1312]

Obl. 8vo, 16 ff., 30 plates of patterns either in dots or small
squares.

54.

[Sidenote: 1564. _Paris._]

Patrons pour brodeurs, lingières, massons, verriers, et autres gens
d'esperit; nouvellement imprimé, à Paris, rue Saint-Jacques, à la
Queue-de Regnard M.DLXIIII.[1313]

55.

[Sidenote: 1564. _Venice. D. de Franceschi._]

Fede (Opere nova) intitulata: Dei Recami nella quale si contiene varie
diverse sorte di mostre di punti scritto, tagliato, in Stuora, in Rede,
&c. In Venetia, appresso Domenico de Franceschi in Frezzaria, all'
insegna della Regina. M.DLVIII.

In 4to, ff. 16. In his _Avis au Lecteur_, Franceschi alludes to three
other works he had published, styled _La Regina_, _La Serena_, and _La
Speranza_.

56.

[Sidenote: 1564. _Venice. D. de Franceschi._]

Serena opera nova di recami, nella quale si ritrova varie et diverse
sorte di punti in stuora et punti a filo. In Venetia, Domenico di
Franceschi. 1564.

Obl. 4to, ff. 16. Nos. 55 and 56 cited by Marquis d'Adda.

57.

[Sidenote: 1581. _Lyon. J. Ostans._]

Le trésor des patrons, contenant diverses sortes de broderies et
lingeries; pour coudre avec grande facilité et pour ouvrer en diverses
sortes de piquer avec l'ésguille, pulveriser par dessus et faire ouvrages
de toutes sortes de points &ct par Jean Ostans. Lyon, Ben. Rigaud. 1581,
in 4-to.[1314]

58.

[Sidenote: 1567. _Venice. J. Ostans._]

Ostans Giovanni. La vera perfettione del disegno di varie sorti di
Recami, et di cucire, &c. ... punti a fogliami punti tagliati punti a
fili et rimessi punti in cruciati, punti a stuora, et ogni altra arte che
dia opera a disegni. Fatta nuovamente per Gio. Ostans. Vittoria, con
gratia et privilegio dell' Illus. {476}Senato Venetiano per anni.[1315]
In Venetia appresso Gio. Ostans, 1567.

4to obl., 4 cahiers of 8 ff., 74 plates. Letter of Ostans to Lucretia
Contarini; verso, an engraving of Lucretia Romana, surrounded by her
women, signed Jose. Sal. (Joseph Salviati), who furnished the design,
two sonnets, and Aves. A striking example of the borrowing between
France and Italy in the sixteenth century, probably of the school of
Fontainebleau. Grotesques like A. du Cerceau, scrolls after E. de
Laulne, fresco of figures from G. Tory. Brunet describes a copy dated
1591.

59.

[Sidenote: 1584. _Venice. Valvassore's heirs._]

Ostans. La vera perfettione del desegno &ct. Venetia M.DLXXXIIII.,
presso gli heredi Valvassori e Gio. Dom. Micheli al segno dell'
Ippogrifo.

In 4to obl. (Cited by Marquis d'Adda.)

60.

[Sidenote: 1582. _B. Tabin._]

Neues Künstlicher, Modelbuch von allerhand artlichen und gerechten
Mödeln, &c., bei B. Tabin.[1316]

61.

[Sidenote: _Paris._ 1584. _D. de Sera._]

Le livre de Lingerie, composé par Maistre Dominique de Sera, Italien,
enseignant le noble & gentil art de l'esguille, pour besongner en tous
points: utile & profitable à toutes Dames & Damoyselles, pour passer le
temps, & euiter oysiveté.

Nouvellement augmenté, & enrichi, de plusieurs excelents & divers
patrons, tant du point coupé, raiseau, que passement, de l'invention de
M. Jean Cousin, Peintre à Paris.

A Paris. Chez Hierosme de Marnef, & la veufve de Guillaume Cauellat, au
mont S. Hilaire à l'enseigne du Pelican. 1584. Avec privilege du
Roy.[1317]

In the Cat. d'Estrées; No. 8848, is _Livre de Pourtraicture de Jean
Cousin_. Paris, 1637, in 4 fig.

4to, 28 ff., 51 plates of mediæval design.

Frontispiece, three women and a child at work, on each side of the
title a man and a woman at work under a trifoliated canopy.

Privilege for three years to H. de Marnef, "juré libraire en
l'Université de Paris."

"L'auteur aux lecteurs." He takes his pen to portray what he has seen
"en Italie, Espagne, Romanie, Allemagne, & autre païs, dont je ne fais
aucune mention à cause de trop longue plexite," that he gives at
{477}least eighty designs for the use and singular profit of many,
"hommes tant que femmes." Below, "Finis coronat opus."

Then follows a "Balade" of 28 lines. On the last page, the impresa of
Cavellat, a pelican in its piety, "Mors in me vita in me."

62.

[Sidenote: 1596. _G. Frano._]

Frano Gio. Libro delle mostre da ceuser per le donne.

16 engravings on wood and 8 on copper. (Cited by Marquis d'Adda.)

63.

[Sidenote: _Bologna. A. Parisini._]

Danieli Bartholomeo Recamatore libro di diversi disegni per Collari,
punti per Fazzoletti et Reticelle divarie sorte. Agostino Parisini forma
in Bologna.

15 leaves obl. 8vo, entirely engraved au burin, towards the end of the
sixteenth century.[1318]

64.

[Sidenote: _N. D._]

Ornamento delle belle et virtuose donne opera nova nella quale troverrai
varie sorti di frisi, con li quali si potra ornar ciascuna donna, & ogni
letti con ponti tagliato, ponti gropposi, & ogni altra sorte di ponti per
fare quelle belle opere che si appartengono alle virtuose & lodevoli
fanciulle.

On a scutcheon, with 3 figures below, "Libro Primo." Lib. Victoria and
Albert Museum.

65.

[Sidenote: 1587. _Paris. 1st Edit. 1st Part. F. Vinciolo._]

Les singuliers et nouveaux pourtraicts et ouvrages de Lingerie. Servans
de patrons à faire toutes sortes de poincts, couppé, Lacis & autres.
Dedie a la Royne. Nouvellement inventez, au proffit & c[=o]tentement, des
nobles Dames & Damoiselles & autres gentils esprits, amateurs d'un tel
art. Par le Seigneur Federic (_sic_) de Vinciolo Venitien. A Paris. Par
Iean le Clerc le ieune, ruë Chartiere, au Chef Sainct Denis. 1587. Avec
privilege du Roy.[1319]

[Sidenote: _2nd Part._]

Les singuliers et nouveaux pourtraicts et ouvrages de Lingerie ou est
representé les sept planettes, & plusieurs autres figures & pourtraitz
servans de patrons à faire de plusieurs sortes de Lacis. Nouvellement
inventez, au proffit & c[=o]tentement des nobles Dames & Damoiselles &
autres gentils esprits, amateurs d'un tel art. Par le Seigneur Federic de
Vinciolo Venitien. A Paris. Par Iean le Clerc le ieune, ruë Chartiere, au
Chef Sainct Denis. 1587. Avec privilege du Roi.

(At the end.)

Privilege for nine years to "Iean le Clerc le ieune, 'tailleur
d'histoires,' à Paris," signed 27 June, 1587. "De l'Imprimerie de David
le Clerc Rue Frementel à l'Estoille d'Or."

{478}4to.

The first part consists of 40 ff., 36 of patterns and 4 preliminary
pages.

P. 1. The title-page with decorated border, in which are two ladies at
work. (See Title-page of this work.)

P. 2. Dedication of "Le Seigneur Federic de Vinciolo aux Benevolles
Lecteurs," in which he sets forth that several authors before him
having published certain patterns for work that "les Seigneurs, Dames,
& Damoyselles ont eu pour agréable," he, to show "la bonne volonté que
je porte à la France, laquelle m'ayant été douce et favorable, depuis
certain temps que j'ay quitté Venize, païs de ma nativité," wish to
portray the present "pourtraicts d'ouvrages magnifiques tous
differ[=e]s, & non encor usitez en cette c[=o]tree ni aultres, & que
j'ay tenus cachés & inc[=o]gnus jusques à maintenant," feeling assured
that if the first you had seen "on engendré quelque fruit & utilité,
ceux cy en aporteront d'avantage," and if I see this my invention
pleases you, I will "vous faire participer d'un aultre seconde bande
d'ouvrages."

P. 3. Dedication "A la Royne," Louise de Vaudemont, by Le Clerc, saying
that having received from Italy some rare and singular patterns, and
"ouvrages de l'ingerie & en ay[=a]t inv[=e]te quelques uns, selon mon
petit sçavoir, j'ay pensé puis que ces choses là appartienent
principallement aux Dames," that he cannot do better than present them
to the Queen, as if these patterns are useful (as he hears some less
perfect and more rudely sketched have served and profited before), they
ought to be offered to her Majesty. Signed last day of May, 1587.

P. 4. A sonnet.

AUX DAMES ET DAMOISELLES.

"L'un sefforce à gaigner le coeur des gr[=a]ds seigneurs
Pour posséder enfin une exquise richesse,
L'autre aspire aux Estats pour monter en altesse,
Et l'autre par la guerre alléche les honneurs.

Quand à moy, seulement pour chasser mes langueurs,
Je me sen satisfait de vivre en petitesse,
Et de faire si bien, qu'aux dames je délaisse
Un grand contentement en mes graves labeurs.

Prenez doncques en gré (mes Dames), je vous prie,
Ces pourtrais ouvragez lesquelz je vous dédie,
Pour tromper vos ennuis, et l'esprit employer.
En ceste nouveauté, pourrés beaucoup apprendre,
Et maistresses en fin en cest oeuvre vous rendre.
Le travail est plaisant. Si grand est le loyer."

"_Morir assidouamente per virtu,_
_Non morirè._"

Then follow the 36 patterns set off in white on a black ground, viz.,
20 "Ouvrages de point Couppé," the first plate with the double [Greek:
ll], according to the fashion introduced by Francis I. of using Greek
monograms, standing for Queen Louise. On the second page are two
escutcheons, one of France, the other with the letter H for Henry III.
Then follow eight "Passemens de point Couppé," which are succeeded by
eight more "Ouvrages de point Couppé."