Chapter XIX: Part 2: , 24 ff. Same decorated frontispiece and 22 plates of subjects in (4)

Villiers-le-Bel, lace-making at, 209, 213 n589

Vimoutier, 204

Vinciolo, Frederick
Katharine de Médicis the patroness of, 11,17
pattern book of, 49, 136, 144, 477-482, 487, 494

Virginière, Blaise de, quoted, 140, 141 and n401

Vittoria, Sister Felice, 93

Volant, origin of name, 168 n496

Vologda lace, 283

Voltaire, quoted, 166 n490

Vorsterman, William, 180, 463

Vos, Martin de, engravings after, 106 and n268

Vrai réseau, bride succeeded by, 406

Vrillière, Mgr. de la, 162 n475

Waborne lace, 300 and n819

Wace, Robert, cited, 202

Wadstena lace industry, 278-280

Wages of lace-workers. _See_ Earnings

Wakefield, quoted, 440 n1228

Waldgrave, Sir Edward, 293

Wales, lace-making in, 371 and n1094

------, Princess of, 409

Walker, Charles, 441 and n1230, 442

Walpole, cited, 297 n808, 356 and n1060

Walsingham, 307 n860, 420 n1182

----------, Lady Audrye, 64, 320 n925

Wareham, lace found in Scandinavian barrow near, 4

Warwick, Lord, 333

Warton, J., quoted, 121 and n349

Washing of ecclesiastical lace, 373 n1101

Waterloo, hospital for English wounded at, 124

Waterman, Mrs. Elizabeth, 395

Watling silk lace, 422

Watt, cited, 482 n1329

Weaving Book, 280

Webb, Mr., 51

Weber, cited, 280 n758

Weigel, Christoph, 501

------, Joh. Christoph, 502

Weisse, C., cited, 259 n693, 264 n707

West Indies, Spanish lace sold in, 102 n294

Westcote, quoted, 400;
cited, 401

Westminster
procession of lace-makers to, 360
St. Margaret's, lace washing from, 373 n1101

------------, Dean of, forbids yellow starch, 317

------------ Abbey
epitaph in cloisters of, 13
lace on images in, 316 n901, 345

Westphalia
Jutland industry improved by workers from, 274
thread, fineness of, 119 n339

Whisks, 334

Whitcomb, John, widow of, 17

White, Edward, 482

------ Knight's sale, 497

Wieselgren, H., cited, 493 n1354

Wight, Isle of, lace industry of, 372 and n1097

Wigs,
cost of, 349
falling bands put out of fashion by, 336

Wilhelmina of Bayreuth, 99 n283

Willemin, cited, 475 n1313

William III., period of, 341-346

-------- of Malmesbury, quoted, 6

-------- of Normandy, 6-7

-------- of Poictiers, quoted, 7

-------- the Silent, 260

Willingham, Geo., letter to, cited, 98 n282

Wilton, Lady, cited, 497

Wiltshire and Dorsetshire lace, 395-398

Winchester, lace purchased at, by Anne of Denmark, 320

----------, Lady Marquis of, 309 n870

Wire, gold and silver lace made from, 72

---- ground, 386

Wiseman, Cardinal, lace alb used by, 92-93

Wolfe, I., 482

Wolsey, Cardinal, lace of, 292

Women, lace work of, compared with that of men, 263

Woodbury
Maltese lace imitation made at, 414 n1165
men lace-makers at, 413

Woollen manufacture in England
lace manufacture next to, in 1698, 402
loss to, from edict against Flanders lace 341, 342, 349

Worcester, Countess of, 313

Wotton, Sir Henry, 136 n385

Wraxall, cited, 105, 142;
quoted, 263

Wulff, Jens, 276 and n739

Wyatt, Sir Thomas, 294

Wyriot, Madame, 205

Yarranton, Andrew, quoted, 114-115 and n327;
cited 259 n696

Yemenis, M., cited, 488 n1339

Yokohama, lace school at, 417

Yorck lace, 138 n392

York, Cardinal, 421

Youghal Convent, lace-making at, 443, 444

Young, A., cited, 192 n552, 207, 223, 224, 244;
quoted, 234 n627, 239

Ypres Valenciennes. _See under_ Valenciennes

Yriarte, Charles, cited, 159 n465

Zante, Greek lace made at, 85

Zedler, cited, 57

Zoppino, Nicolo, 461, 462

Zouch, Lord, cited, 136 n385

Zurich, sumptuary laws of, 270 and n728

LONDON: PRINTED BY WILLIAM CLOWES AND SONS, LIMITED,
DUKE STREET, STAMFORD STREET, S.E., AND 28, GREAT WINDMILL STREET. W.

Notes

[1] Wilkinson's _Ancient Egyptians_, vol. iii., p. 134. (See
Illustration.)

[2] Herodotus, ii. 182; iii. 47.

[3] Ezekiel, who takes up the cry of lamentation for "Tyrus, situate at
the entry of the sea," a merchant of the people for many isles,
exclaims, "The merchants of Sheba, Asshur, and Chilmad were thy
merchants. These were thy merchants in all sorts of things, in blue
cloths and broidered works, and in chests of rich apparel." Another
part of the same chapter mentions galley sails of fine linen "with
broidered work from Egypt."--Ezekiel xxvii.

[4] Exodus xxvi.; xxvii.; xxxiv. 2; Isaiah iii. 18; 1 Kings vii. 17.

[5] Exodus xxxviii. 23.

[6] Again, in the song of Deborah, the mother of Sisera says, "Have they
not divided the prey?... to Sisera a prey of divers colours of
needlework, of divers colours of needlework on both sides."--Judges
v. 30.

[7] Cantor Lectures on the Art of Lace-making. A. S. Cole (London,
1881).

[8] At Athens the maidens who took part in the procession of the
Panathenaea embroidered the veil or _peplos_ upon which the deeds of
the goddess were embroidered. The sacred _peplos_ borne on the mast
of a ship rolled on wheels in the Panathenaic festival "was destined
for the sacred wooden idol, Athene Polias, which stood on the
Erechtheus. This _peplos_ was a woven mantle renewed every five
years. On the ground, which is described as dark violet, and also as
saffron-coloured, was inwoven the battle of the gods and the
giants." (See page 47, _British Museum Catalogue to the Sculptures
of the Parthenon_.)

[9] Pliny, _Hist. Nat._, viii. 74. "Colores diversos picturae intexere
Babylon maxime celebravit et nomen imposuit."

[10] Maspero, _The Dawn of Civilisation in Egypt and Chaldaea_ (ed. Prof.
Sayce).

[11] Lefébure, _Embroidery and Lace_ (trans. A. S. Cole).

[12] Lucan, _Pharsalia_, Book X.

[13] The Romans denominated such embroideries _phrygionae_, and the
embroiderer _phrygio_. Golden embroideries were specified as
_auriphrygium_. This word is the root of the French _orfroi_
(orfreys).

[14] Mrs. Palliser quotes an extract from the author of _Letters from
Italy_, who, speaking of the cabinet at Portici, mentions an elegant
marble statue of Diana "dressed after the purple gowns worn by the
Roman ladies; the garment is edged with a lace exactly resembling
point; it is an inch and a half broad, and has been painted purple."
By an Englishwoman (Mrs. Millar) in the years 1770 and 1771 (London,
1777).

[15] Strutt.

[16] Lefébure, _Embroidery and Lace_.

[17] Mrs. Bury Palliser, "Embroidery," _Encyclopædia Britannica_.

[18] St. Giselle, Berthe's sister, founded many convents in Aquitaine and
Provence, and taught the nuns all manner of needlework (Lefébure,
_Embroidery and Lace_).

[19] _Chronique Rimée_, by Philippe Mouskés.

[20] Lefébure, _Embroidery and Lace_.

[21] Mrs. Palliser, "Embroidery," _Encyclopædia Britannica_.

[22] It has been suggested that the embroidery was done by William's
granddaughter, the Empress Matilda, widow in 1125 of Henry V.,
Emperor of Germany, and wife, by her second marriage, of Geoffrey,
Count of Anjou (Lefébure).

[23] Mr. Fowke states that the tradition which would make the tapestry
the handiwork of Queen Matilda cannot be traced further back than
1803, when the tapestry was sent to Paris for exhibition.

[24] Matt. Par., _Hist. Angl._, p. 473, Edit. Paris, 1644.

[25] Mrs. Palliser, "Embroidery," _Encyclopædia Britannica_.

[26] At Verona an artist took twenty-six years to execute in needlework
the life of St. John, after the designs of Pollajuolo.

[27] "Gaston, Duke of Orleans, established hot-houses and botanical
gardens, which he filled with rare exotics to supply the needle with
new forms and richer tints" (Lefébure).

[28] We read, for instance, that Gabrielle de Bourbon, wife of Louis de
la Trémouille, "jamais n'estoit oyseuse, mais s'employoit une partie
de la journée en broderies et autres menus ouvrages appartenant à
telles dames, et y occupoit ses demoyselles dont avoit bonne
quantité, et de grosses, riches, et illustres maisons."--_Panegyric
de Loys de la Trèmoille par Jean Bouchet._

Again Vecellio dedicates his "Corona" to Signora Nanni, not only on
account of the pleasure she takes in works of the needle, but for
"il diletto che prende in farne essercitar le donne de casa sua,
ricetto delle più virtuose giovani che hoggidi vivono in questa
città."

"It is usual here," writes a lady from Madrid in 1679, "for good
families to put their daughters to ladies, by whom they are employed
to embroider in gold and silver, or various colours, or in silk,
about the shift, neck, and hands."

"I jor fist es chambre son pere,
Une estole et i amict pere,
De soie et d'or molt soutilment,
Si i fait ententivement
Mainte croisette et mainte estoile,
Et dist ceste chancon à toile."
--_Roman de la Violette._

"One day, seated in her father's room, she was skilfully working a
stole and amict in silk and gold, and she was making in it, with
great care, many a little cross and many a little star, singing all
the while this _chanson à toile_."

[30] In one of Edward I. we find a charge of eight shillings for silk
bought for the embroidery work of Margaret, the King's daughter, and
another for four ounces of silk, two hundred ounces of gold thread,
a spindle, etc.--_Liber de Garderoba, 23 Edw. I._, Public Record
Office.

In one of Edward III. the sum of £2 7s. 2d. is expended in the
purchase of gold thread, silk, etc., for his second daughter
Joanna.--_Liber Garderobae, 12-16 Edw. III._, Public Record Office.

Elizabeth of York worked much at her needle. In the account of her
household, preserved in the Public Record Office, every page of
which is signed by Queen Elizabeth herself, we find--

"To Evan Petreson joiner, for the stuff and making of 4 working
stools for the Queen; price of the stool 16 pence--5s. 4d.

"To Thomas Fissch, for an elne of linen cloth for a samplar for the
queen, 8d."

In the Inventory 4 Edward VI., 1552 (Harl. MSS. No. 1419), are
entries of--

"Item, XII. samplars" (p. 419).

"Item, one samplar of Normandie canvas, wrought with green and black
silk" (p. 524).

"A book of parchment containing diverses patternes" (p. 474),
probably purchases for his sisters.

[31] See, for instance, the interesting account of the Countess of
Oxford, given by Miss Strickland in her _Life of Queen Elizabeth of
York_.

[32] These are alluded to in the dialogue between Industria and Ignavia,
as given in Sibmacher's "Modelbuch," 1601 (French translation): "La
vieille dame raconte l'histoire des concours de travail à l'aiguille
chez les anciens Espagnols; comme Isabelle, femme de Ferdinand, a
hautement estimé les travaux de l'aiguille."

The "Spanish stitch," so often mentioned, was brought in by
Katharine, on her marriage with Prince Arthur, in 1501. We have
constantly in her wardrobe accounts sheets and pillow-beres,
"wrought with Spanish work of black silk at the edge."

In the Inventory of Lord Monteagle, 1523 (Public Record Office,) are
"eight partlets, three garnished with gold, the rest with Spanish
work."

In 1556, among the New Year's gifts presented to Queen Mary Tudor,
most of the smocks are "wrought with black silk, Spanish fashion."

In the Great Wardrobe Accounts of Queen Elizabeth, 3 & 4, Public
Record Office, we have "sixteen yards of Spanish work for ruffs."

"Twelve tooth cloths, with the Spanish stitch, edged with gold and
silver bone lace."--_Ibid._ Eliz. 5 & 6.

The Spanish stitch appears in France with Henry II., 1557. "Pour la
façon d'ung gaban avec ung grant collet chamarrez à l'Espaignolle de
passement blanc," etc.--_Comptes de l'Argentier du Roy._ Archives
Nat. K. K. 106.

[33] Taylor, the Water Poet, _Katharine of Aragon_.

[34] The industry of Henry's last queen was as great as that of his
first. Specimens still exist at Sizergh Castle, Westmoreland, of
Katharine Parr's needlework--a counterpane and a toilet cover. An
astrologer, who cast her nativity, foretold she would be a queen; so
when a child, on her mother requiring her to work, she would
exclaim, "My hands are ordained to touch crowns and sceptres, not
needles and spindles."

[35] _Dames Illustres._

[36] The "Reine des Marguerites," the learned sister of Francis I., was
not less accomplished with her needle, and entries for working
materials appear in her accounts up to the year of her death, 1549.

"Trois marcs d'or et d'argent fournis par Jehan Danes, pour servir
aux ouvraiges de la dicte dame."--_Livre de dépenses de Marguerite
d'Angoulême_, par le Comte de la Ferrière-Percy. Paris, 1862.

"Elle addonoit son courage
A faire maint bel ouvrage
Dessus la toile, et encor
A joindre la soye et l'or.
Vous d'un pareil exercise
Mariez par artifice
Dessus la toile en maint trait
L'or et la soie en pourtrait."

--_Ode à la Royne de Navarre_, liv. ii., od. vii.

[38] 1380. "Oeuvre de nonnain."--_Inventaire de Charles V._

[39] "My grandmother, who had other lace, called this" (some needlepoint)
"nun's work."--_Extract from a letter from the Isle of Man_, 1862.

"A butcher's wife showed Miss O---- a piece of Alençon point, which
she called 'nun's work.'"--_Extract from a letter from Scotland_,
1863.

1698, May. In the _London Gazette_, in the advertisement of a sale
by auction, among other "rich goods," we find "nun's work," but the
term here probably applies to netting, for in the _Protestant Post
Boy_ of March 15th, 1692, is advertised as lost "A nun's work purse
wrought with gold thread."

1763. In the _Edinburgh Advertiser_ appears, "Imported from the
Grand Canaries, into Scotland, nun's work."

[40] As, for instance, "the imbrothering" of the monks of the monastery
of Wolstrope, in Lincolnshire.

[41] _Livre de Lingerie._ Dom. de Sera, 1581. "Donne, donzelle, con gli
huomini."--Taglienti, 1530. Patterns which "les Seigneurs, Dames,
et Damoiselles ont eu pour agréables."--Vinciolo, 1587.

[42] Jehan Mayol, carme de Lyon; Fra Hieronimo, dell' Ordine dei Servi;
Père Dominique, religieux carme, and others.

[43] One in the Bibliothèque Impériale is from the "Monasterio St.
Germani à Pratis."

[44] He died in 1595. _Lives of the Earl and Countess of Arundel_, from
the original MS. by the Duke of Norfolk. London, 1857.

[45] P. R. O. Calendar of State Papers. Domestic. Charles I. Vol. clxix.
12.

[46] P. R. O. Calendar of State Papers. Colonial. No. 789.

[47] See his epigram, "The Royal Knotter," about the queen,

"Who, when she rides in coach abroad
Is always knotting threads."

[48] Translated from the _Libellus de Admirandis beati Cuthberti
Miraculis_ of Reginald, monk of Durham, by Rev. J. Rain. Durham,
1855.

[49] _Chronicle of John Hardyng_, circ. 1470.

[50] Temp. Rich. II. In their garments "so much pouncing of chesell to
make holes, so much dragging (zigzagging) of sheers," etc.--_Good
Parson_, Chaucer.

[51] Percy, _Reliques of Ancient Poetry_, vol. iii.

[52] _Anatomie of Abuses_, by Philip Stubbes, 1583.

[53] _The Shyp of Folys of the Worlde_, translated out of Latin by Alex.
Barclay, 1508.

[54] The inventories of all nations abound in mention of these costly
articles. The "smocks" of Katharine of Aragon "for to lay in," were
wrought about the collar with gold and silk. Lord Monteagle, 1523,
had "two fine smocks of cambric wrought with gold." (Inv. P. R. O.)
Among the New Year's Gifts offered to Queen Mary Tudor by the
Duchess of Somerset (1556), we find a smock wrought over with silk,
and collar and ruffles of damask, gold purl, and silver. Again, in
the household expenses of Marguerite de France, 1545, we find a
charge of "4 livres 12 sols, pour une garniture de chemise ouvré de
soye cramoisie pour madicte dame."--(Bib. Imp. MSS. Fonds François,
10,394.) About the same date (G. W. A. Eliz. 1 & 2, 1558-59) appear
charges for lengthening one smocke of drawne work, 20s. Six white
smockes edged with white needlework lace, 10s. To overcasting and
edging 4 smockes of drawn work with ruffs, wristbands, and collars,
three of them with black work, and three of them with red, etc. At
the funeral of Henry II. of France, 1559, the effigy was described
as attired in "une chemise de toile de Hollande, bordée au col et
aux manches d'ouvraige fort excellent."--Godefroy, _Le Cérémonial de
France_, 1610.

[55] See FRANCE.

[56] The pillow-bere has always been an object of luxury, a custom not
yet extinct in France, where the "taies d'oreiller, brodées aux
armes," and trimmed with a rich point, form an important feature in
a modern trousseau. In the inventory of Margaret of Austria, the
gentle governess of the Low Countries, are noted--

"Quatre toyes d'oraillers ouvrées d'or et de soye cramoysie et de
verde.

"Autres quatres toyes d'oraillers faites et ouvrées d'or et de soye
bleu à losanges qui ont estées données à Madame par dom Diego de
Cabrera."--_Corr. de l'Empereur Maximilien I. et de Marguerite
d'Autriche_, par M. Leglay. Paris, 1839.

Edward VI. has (Harl. MSS. 1419) "18 pillow-beres of hollande with
brode seams of silk of sundry coloured needlework." And again, "One
pillow-bere of fine hollande wrought with a brode seam of Venice
gold and silver, and silk nedlework."

And Lady Zouche presents Queen Elizabeth, as a New Year's gift, with
"One pair of pillow-beares of Holland work, wrought with black silk
drawne work."--Nichol's _Royal Progresses_.

[57] _Goderonné_--_goudronné_, incorrectly derived from pitch
(_goudron_), has no relation to stiffness or starch, but is used to
designate the fluted pattern so much in vogue in the sixteenth
century--the "gadrooned" edge of silversmiths.

1588. Il avait une fraise empesée et godronnée à gros godrons, au
bout de laquelle il y avoit de belle et grande dentelle, les
manchettes estoient goudronnées de mesme.

[58] They are introduced into the Title page of this work.

[59] See APPENDIX.

[60] "Quintain, quintin, French lawne." Randle Cotgrave. _Dictionarie of
the French and English tongues._ 1611.

"26 virges de Kanting pro sudariis pro ille 47/8."--_G. W. A.
Charles II._, 1683-4.

[61] Lacis, espèce d'ouvrage de fil ou de soie fait en forme de filet ou
de réseuil dont les brins étaient entre-lacez les uns dans les
autres.--_Dict. d'Ant. Furetière_, 1684.

[62] Béle Prerie contenant differentes sortes de lettres, etc., pour
appliquer sur le réseuil ou lassis. Paris, 1601. See APPENDIX.

[63] So, in the Epistle to the Reader, in a Pattern-book for Cut-works
(London, J. Wolfe & Edward White, 1591), the author writes of his
designs:--

"All which devises are soe framed in due proportion as taking them
in order the one is formed or made by the other, and soe proceedeth
forward; whereby with more ease they may be sewed and wrought in
cloth, and keeping true accompt of the threads, maintaine the bewtey
of the worke. And more, who desyreth to bring the work into a lesser
forme, let them make the squares lesse. And if greater, then inlarge
them, and so may you worke in divers sortes, either by stitch,
pouncing or pouldering upon the same as you please. Alsoe it is to
be understood that these squares serve not only for cut-workes, but
alsoe for all other manner of seweing or stitching."--(See APPENDIX,
No. 72).

[64] _Pratique de l'aiguille industrieuse du très excellent Milour
Matthias Mignerak_, etc. Paris, 1605. See APPENDIX.

[65] The inventories of Charles de Bourbon, ob. 1613, with that of his
wife, the Countess of Soissons, made after her death, 1644 (Bib.
Nat. MSS. F. Fr. 11,426), alone prove how much this _réseuil_ was in
vogue for furniture during the seventeenth century.

"Item un pavilion de thoille de lin à bende de reseuil blang et noir
faict par carel prisé, vi. l. t. (livres tournois).

"Item quatre pentes de ciel de cotton blanc à carreaux.

"Item trois pentes de ciel de thoille de lin à carreaux et raiseuil
recouvert avec le dossier pareil estoffe, et petit carreau à point
couppé garny de leur frange, le fonds du ciel de thoille de lin,
trois custodes et une bonne grace et un drap pareille thoille de lin
à bandes de reseuil recouvert ... prisé xviii. l. t."--_Inv. de
Charles de Bourbon._

"Item une autre tapisserie de rezeuil de thoile blanche en huit
pièces contenant ensemble vingt aulnes on environ sur deux aulnes
trois quarts de haute.

"Item une autre tenture de tapisserie de rézeau tout de leine (lin)
appliquée sur de la toille blanche en sept pièces contenant dix-huit
aulnes de cours sur trois aulnes de haute.

"Item trois pantes, fonds de dossier, les deux fourreaux de piliers,
la converture de parade, le tout en point couppé et toillé.

"Item, une garniture de lict blanc, faict par carré d'ouvrage de
poinct couppé, le tout garny avec la couverte de parade, prisé la
somme de soixante livres tournois."--_Inv. de la Comtesse de
Soissons._

[66] Dated 20 Feb., 1587. Now in the Record Office, Edinburgh.

[67] 1781. "Dix-huit Pales de differentes grandeurs, tous de toile garnis
tant de petite dentelle que de filet brodé."--_Inv. de l'Eglise de
S. Gervais._ Arch. Nat. L.L. 654.

[68] _Point and Pillow Lace_, by A. M. S. (London, 1899).

[69] In the Record Office, Edinburgh.

[70] "Mache, the Masches (meshes) or holes of a net between the thread
and thread" (Cotgrave).

[71] _Comptes de la Reine de Navarre_, 1577. Arch. Nat. K.K. 162.

[72] _Inventory of Catherine de Médicis_, Bonaffé.

[73] Randle Holme, in _The School Mistris Terms of Art for all her Ways
of Sewing_, has "A Samcloth, vulgarly, a Samplar."

[74] In the Bock collection, part of which has since been bought for the
Victoria and Albert Museum, are specimens of "rézeuil d'or," or
network with patterns worked in with gold thread and coloured silks.
Such were the richly-wrought "serviettes sur filez d'or" of Margaret
of Austria.

"Autre servyette de Cabes (Cadiz) ouvrée d'or, d'argent sur fillez
et bordée d'or et de gris.

"Autre serviette à Cabes de soye grise et verde à ouvrage de fillez
bordée d'une tresse de verd et gris."--Inventory already quoted.

[75] "Le Gan," de Jean Godard, Parisien, 1588.

[76] Descriptive Catalogue of the Collections of Tapestry and Embroidery
in the South Kensington Museum (p. 5).

[77] Lace. French, _dentelle_; German, _Spitzen_; Italian, _merletto_,
_trina_; Genoa, _pizzo_; Spanish, _encaje_; Dutch, _kanten_.

[78] Statute 3 Edw. IV. c. iii.

[79] "Passement, a lace or lacing."--_Cotgrave_.

[80] Not in those of Rob. Estienne, 1549; Frère de l'Aval, 1549; or
Nicot, 1606. Cotgrave has, "Dentelle, small edging (and indented),
bone-lace, or needlework." In Dict. de l'Académie, 1694, we find,
"Dentelle, sorte de passement à jour et à mailles tres fines ainsi
nommé parceque les premières qu'on fit etoient dentelées."

[81] _Comptes de l'Argentier du Roi_, 1557.--Arch. Nat. K. K. 106.
"Passement de fine soie noire dentelle d'un costé." "Passement
blanc," "grise," also occur.

[82] _Argenterie de la Reine_, 1556.--Arch. Nat. K. K. 118.

[83] _Dépenses de la maison de Madame Marguerite de France, soeur du
Roi._--Bib. Nat. MSS. F. Fr. 10,394, fol. 62.

[84] "Plus de delivré une pacque de petite dentelle qui est estez cousu
ensemble pour mettre sur les coutures des rideaux des ditz litz
contenant 80 aunes."--Rec. Off., Edin. This custom of trimming the
seams of bed-curtains with a lace indented on both sides was common
throughout Europe. In the Chartley Inv. of Mary Stuart, 1586, one of
the Vasquines (jackets) is described, "Autre de satin noir
descouppée a descouppemie dentelés."

[85] 1577. "Pour deux aulnes de passement d'argent a hautte dantelle pour
mettre à ung renvers, au pris de soixante solz l'aulne.

"Pour une aulne de dentelle pour faire deux cornettes pour servir à
la dicte dame, quatre livres."--_Cptes. de la Reine de Navarre._
Arch. Nat. K. K. 162.

[86] See APPENDIX.

[87] "Petits et grands passements; id. à l'esguille; id. faict au
mestier; id. de Flandres à poinctes; id. orangé à jour; id. de
Flandres satiné;" with "reseuil, dantelles, grandes et petites, or,
argent," etc.--_Inv. de Madame, soeur du Roi._ Arch. Nat. K. K. 234.

So late as 1645, in the inventory of the church of St. Médard at
Paris (Arch de l'Emp. L. L. 858), the word is used. We find, "Quatre
tours de chaire de thoille baptiste, ung beau surplis pour le
predicateur, six autres, cinq corporaulx," all "à grand passement."
Also, "deux petits corporaulx à petit passement," and "trois tours
de chaire garnyz de grand passement à dentelle."

[88] _Inv. apres le decès de Mgr. le Maréchal de La Motte._--Bib. Nat.
MSS. F. Fr. 11,426.

[89] The French terms are more comprehensive:--

Champ, fond travaillé à jour.

Toilé, fleurs entièrement remplies, formant un tissu sans jour.

Grillé, grillage, plein. Also flowers--but distinguished from toilé
by having little square spaces between the thread (_grillé_,
grating), the work not being so compact.

"On appelle couleuvre, une blond dont le toilé continue serpente
entre deux rangs de grillage."--_Roland de la Platière_ (the
Girondin). Art. Dentelle, _Encyclopédie Méthodique_. Paris, 1780.

[90] _Storehouse of Armory and Blason._ 1688.

[91] "Brides--petits tissus de fil qui servent à joindre les fleurs les
unes avec les autres dans l'espèce de dentelle qu'on appelle Point
de France, de Venise, de Malines."--_Dict de l'Académie._

[92] "Une robe et tablier, garnis d'une dentelle d'Angleterre à
picot."--_Inv. de decès de la Duchesse de Bourbon._ Arch. Nat. X.
10,064.

[93] "Une chemisette de toile d'hollande garnye de point de
Paris."--_Inv. d'Anne d'Escoubleau, Baronne de Sourdis, veuve de
François de Simiane._ 1681. Arch. Nat. M. M. 802.

[94] "Cette dernière sorte de point se fait aux fuseaux."--_Dict. du P.
Richelet._ Lyon. 1759.

[95] _Dict. d'Ant. Furetière._ Augmenté par M. Basnage. La Haye, 1727.

[96] 1656.

[97] 1651. "Huit aulnes de toile commune garnies de neige."--_Inv. des
emubles de la Sacristie de l'Oratoire de Jésus, à Paris._ Bib. Nat.
MSS. F. Fr. 8621.

"Neuf autres petites nappes; les deux premières de toile unie; la
troisième à dentelle quallifié de neige."--_Ibid._

[98] French, _dentelle à fuseaux_; Italian, _merli a piombini_; Dutch,
_gespeldewerkte kant_; Old Flemish, _spelle werk_.

[99] French, _carreau_, _cousin_, _oreiller_; Italian, _tombolo_; Venice,
_ballon_; Spanish, _mundillo_.

[100] See Chapter XXIV.

[101] The number of bobbins is generally equal to 50 to each square inch.
If the lace be one inch wide, it will have 625 meshes in each square
inch, or 22,500 in a yard. The work, therefore, goes on very slowly,
though generally performed with the greatest dexterity.

[102] At Gisors, Saint-Denis, Montmorency, and Villiers-le-Bel.--Savary,
_Grand Dict. du Commerce_, 1720.

Cotgrave gives, "Bisette, a plate (of gold, silver, or copper)
wherewith some kinds of stuffes are stripped." Oudin, "Feuille ou
paillette d'or ou d'argent." In these significations it frequently
occurs. We find with numerous others:

"1545. 55 sols pour une once bizette d'argent pour mectre à des
colletz."

"Six aulnes bizette de soie noire pour mettre sur une robbe, lv.
s.," in the Accounts of Madame Marguerite de France. (Bib. Nat.)

"1557. Bizette de soye incarnatte et jaulne pour chamarrer ung
pourpoint de satin rouge" of Henry II.--_Cptes. de l'Argentier du
Roi._ Arch. Nat. K. K. 106.

"1579. Petite bizette d'or fin dentellez des deux costez pour servir
à desmanches de satin cramoisy" of Catherine de
Médicis.--_Trésorerie de la royne mère du roy._ Arch. Nat. K. K.
115.

In the Chartley Inv. 1586, of Mary Stuart, is mentioned, "Un plotton
de bisette noire."

[103] _Dict. de l'Académie._

[104] Campane, from sonnette, clochette, même grêlot. "Les sonnettes dont
on charge les habits pour ornement. Les festons qu'on met aux
étoffes et aux dentelles."--_Oudin._

[105] Public Record Office.

[106] In the last century it was much the fashion to trim the scalloped
edges of a broader lace with a narrower, which was called to
"campaner."

1720. "Une garniture de teste à trois pièces de dentelle
d'Angleterre à raiseau, garni autour d'une campane à dents."--_Inv.
de la Duchesse de Bourbon._

1741. "Une paire de manches à trois rangs de Malines à raizeau
campanée."--_Inv. de decès de Mademoiselle Marie Anne de Bourbon de
Clermont._ Arch. Nat. X. 11,071. (Daughter of Mademoiselle de Nantes
and Louis Duke de Bourbon.)

"Une coëffure de Malines à raizeau à deux pièces campanée."--_Ibid._

In the lace bills of Madame du Barry, preserved in the Bib. Nat.,
are various entries of Angleterre et point à l'aiguille, "campanée
des deux côtés" for ruffles, camisoles, etc.

[107] 1759. "Huit palatines tant points que mignonettes."--_Inv. de decès
de Louise Henriette de Bourbon-Conty, Princesse du Sang, Duchesse de
Orléans._ Arch. Nat. X. 10,077.

"Trente-vingt paires de manchettes, quatre coëffures, le tout tant
de differents points qu'Angleterre, mignonettes que
tulles."--_Ibid._

[108] 1758. "Une paire de manchettes à trois rangs de blonde de fil sur
entoilage."--_Inv. de Mademoiselle Louise Anne de Bourbon Condé de
Charollais_ (sister of Mademoiselle de Clermont). Arch. Nat. X.
10,076.

1761. "Fichus garnis à trois rangs de blonde de fil sur
entoilage."--_Inv. de Charlotte Aglaë d'Orléans, Princesse du Sang,
Duchesse de Modène_ (daughter of the Regent).

1789. Ruffles of blonde de fil appear also in the _Inv. de decès de
Monseigneur le Duc de Duras_. Bib. Nat. MSS. F. Fr. 11,440.

[109] Mostly at Bayeux.

[110] "On employe aussi pour les coëffures de la mignonette, et on a
tellement perfectionné cette dentelle, que estant peu de chose dans
son commencement est devenue de consequence et même très chère,
j'entends, la plus fine qu'on fait sur de beaux patrons."--_Le
Mercure Galant_, 1699.

[111] "Guiper. Tordre les fils pendans d'une frange par le moyen de
l'instrument qu'on nomme guipoir, fer crochu d'un côté, et chargé de
l'autre d'un petit morceau de plomb pour lui donner du
poids."--Savary.

[112] "Guipure. A grosse black thread covered or whipped about with
silk."--Cotgrave.

"Guipure. Manière de dentelle de soie où il y a des figures de rose
ou d'autres fleurs, et qui sert à parer les jupes des dames.... Sa
jupe est pleine de guipure."--_Dict. du P. Richelet._ 1759.

[113] Roland. We cannot help thinking this a mistake. In the statutes of
the Passementiers, we find mention of buttons "à têtes de mort," or
would it rather be "tête de moire," from the black moire hoods
(têtes) worn by the Italian women, which were often edged with a
narrow guipure?

[114] Les lieux en France où il se fait le plus de guipures, sont
Saint-Denis-en-France, Villiers-le-Bel, Ecouën, Arcelles,
Saint-Brice, Groslait, Montmorency, Tremblay, Villepinte, etc.

[115] The sale of Guipures belonged to the master mercers, the workmanship
to the passementiers boutonniers. We find in the _Livre Commode ou
les Adresses de la Ville de Paris_ for 1692, that "Guipures et
galons de soye se vendent sur le Petit Pont et rue aux Febvres, où
l'on vend aussi des galons de livrées."

[116] Godefroy. _Le Cérémonial de France_, 1610. _Sacre du Roy Henry
II._, 1547.

[117] In 1549. _Ibid._

[118] _Traité des Marques Nationales_, dar M. Beneton de Morange de
Peyrins. Paris, 1739.

[119] In the Record Office, Edinburgh.

[120] Une robe de velours vert couverte de Broderies, gimpeures, et
cordons d'or et d'argent, et bordée d'un passement de même.

Une robe veluat cramoisi bandée de broderie de guimpeure d'argent.

Une robe de satin blanc chamarrée de broderie faite de guimpeure
d'or.

Id. de satin jaune toute couverte de broderye gumpeure, etc.

Robe de weloux noyr semée geynpeurs d'or.

[121] _Dictionnaire de l'Académie._

[122] 1536-44. Sir Fred. Madden.

2 payr of sleeves whereof one of gold w^h p'chemene lace, etc.

2 prs. of sleves w^h pchmyn lase, 8/6.

[123] _Ecclesiastical Memoirs_, iii. 2, 167.

[124] State Papers, vol. 82, P. R. O.

[125] Surtees' Society, Durham, "Wills and Inventories."

[126] 1572. Thynne, in his _Debate between Pride and Lowliness_, describes
a coat "layd upon with parchment lace withoute."

[127] B. M. Add. MSS. No. 5751.

[128] Roll. 1607. P. R. O.

[129] _Ibid._ 1626. 11 nightcaps of coloured satin, laid on thick, with
gold and silver parchment lace, 41. 9. 9.

[130] Roll. 1630.

[131] "Eidem pro novemdecem vir[=g] et di[=m] aureæ et argenteæ
pergame[=n] laciniæ pondent sexdecim un[=c] 2/[dram] 1/[scruple]
venet. ... pro consua[=t] ad ornan[=d] duas sedes utroque latere
thronæ in domo Parliament."--_Gt. Ward. Acc._ Car. II. xxx. and
xxxi. = 1678-9.

In 1672-73 is an entry for "2 virgis teniæ pergame[=n]."

[132] Surtees' "Inventories."

[133] Bib. Nat. MSS. F. Fr. 8621.

[134] _In the Recueil de pièces les plus agréables de ce temps, composées
par divers autheurs._ Paris, chez Charles Sercy, MDCLXI.

The poem is dedicated to Mademoiselle de la Trousse, cousin of
Madame de Sévigné, and was probably written by one of her coterie.

[135] The Cravates or Croates soldiers had a band of stuff round their
throats to support an amulet they wore as a charm to protect them
from sabre-cuts. What began in superstition ended in fashion.

[136] These were, in France, Guibray, Beaucaire, and Bordeaux; in Germany,
Frankfort; in Italy, Novi.

[137] All articles of luxury were to be met with at the provincial fairs.
When, in 1671, Catherine of Braganza, the Duchess of Richmond, and
the Duke of Buckingham, visited Saffron Walden fair, the Queen asked
for a pair of yellow stockings, and Sir Bernard Gascoyne, for a pair
of gloves stitched with blue.

[138] 10 Hen. III., Devon's _Issues of the Exchequer_.

[139] "No lace-woman," says Ben Jonson, "that brings French masks and
cut-works." That lace was sold by pedlars in the time of Henry
VIII., we find from a play, "The Four P's," written in 1544, by John
Heywood. Among the contents of a pedlar's box are given "lasses
knotted," "laces round and flat for women's heads," "sleeve laces,"
etc.

On opening the box of the murdered pedlar (_Fool of Quality_, 1766),
"they found therein silk, linen, laces," etc.

[140] Defoe describes Sturbridge fair as the greatest of all Europe.
"Nor," says he, "are the fairs of Leipsig in Saxony, the Mart at
Frankfort-on-the-Maine, or the fair of Nuremburg or Augsburg, any
way comparable to this fair of Sturbridge."

In 1423, the citizens of London and the suburbs being accused of
sending works of "embroidery of gold, or silver, of Cipre, or of
gold of Luk, togedre with Spanish Laton of insuffisant stuff to the
fayres of Sturesbrugg, Ely, Oxenford, and Salisbury"--in fact, of
palming off inferior goods for country use--"all such are
forfeited."--_Rot. Parl._, 2 Hen. VI., nu. 49.

[141] "Lingua, or the Combat of the Tongue." A Comedy. 1607.

[142] This system of colporteurs dates from the early Greeks. They are
termed both in Greek and Hebrew, "des voyageurs."

[143] "She came to the house under the pretence of offering some lace,
holland, and fine tea, remarkably cheap."--_Female Spectator._ 1757.

[144] The centres of the lace manufacture before 1665 were:--

BELGIUM Brussels, Mechlin, Antwerp, Liége, Louvain, Binche,
Bruges, Ghent, Ypres, Courtray, etc.

FRANCE (Spread over more than ten Provinces)--
Artois Arras (Pas-de-Calais).
French Flanders Lille, Valenciennes, Bailleul (Nord).
Normandy Dieppe, Le Hâvre (Seine-Inférieure).
Ile de France Paris and its environs.
Auvergne Aurillac (Cantal).
Velay Le Puy (Haute-Loire).
Lorraine Mirecourt (Vosges).
Burgundy Dijon (Côte-d'or).
Champagne Charleville, Sedan (Ardennes).
Lyonnais Lyon (Rhône).
Poitou Loudun (Vienne).
Languedoc Muret (Haute-Garonne).

ITALY Genoa, Venice, Milan, Ragusa, etc.
SPAIN La Mancha, and in Catalonia especially.
GERMANY Saxony, Bohemia, Hungary, Denmark, and Principality of
Gotha.
ENGLAND Counties of Bedford, Bucks, Dorset, and Devon.

[145] _Industrial Arts of the Nineteenth Century_, Digby Wyatt.

[146] Francesco Nardi. _Sull' Origine dell' Arte del Ricamo._ Padova,
1839.

[147] _Ricamare. Recamar._

[148] The traditions of the Low Countries also point to an Eastern origin,
assigning the introduction of lace-making to the Crusaders, on their
return from the Holy Land.

[149] _Origine ed Uso delle Trine a filo di refe_ (thread), 1864.
Privately printed.

[150] 1469.--Io, Battista de Nicollo d'Andrea da Ferrara, debio avere per
mia manifatura et reve per cuxere et candelle per inzirare.... It.
per desgramitare e refilare e inzirare e ripezare e reapicare le
gramite a camixi quatordece per li signori calonexi, et per li,
mansonarij le qual gramite staxea malissimamente, p. che alcune
persone le a guaste, Lire 1 10. It. per reve et p. candelle, L. 0 5.

1469.--I, Baptist de Nicollo of Andrea da Ferrara, having owing to
me for my making, and thread to sew, and candles to wax.... Item,
for untrimming and re-weaving and waxing and refixing and rejoining
the trimmings of fourteen albs for the canons and attendants of the
church, the which trimmings were in a very bad state, because some
persons had spoiled them, L. 1 10. It. for thread and wax, L. 0 5.

These trimmings (gramite), Cav. Merli thinks, were probably "trine."

"At Chicago was exhibited the first kind of net used in Italy as
lace on garments. It is made of a very fine linen or silk mesh,
stiffened with wax and embroidered in silk thread. It was in use
during the fourteenth century, and part of the fifteenth" (_Guide to
New and Old Lace in Italy_, C. di Brazza, 1893). This is probably
the gramite, or trimmings of the albs, mentioned in the account book
formerly belonging to the Cathedral of Ferrara, and now preserved in
the Municipal Archives of that city.

[151] See MILAN.

[152] _Trina_, like our word lace, is used in a general sense for braid or
passement. Florio, in his Dictionary (_A Worlde of Words_, John
Florio, London, 1598), gives _Trine_--cuts, snips, pincke worke on
garments; and _Trinci_--gardings, fringings, lacings, etc., or other
ornaments of garments.

_Merlo_, _merletto_, are the more modern terms for lace. We find the
first as early as the poet Firenzuola (see FLORENCE). It does not
occur in any pattern book of an older date than the "Fiori da
Ricami" of Pasini, and the two works of Francesco de' Franceschi,
all printed in 1591.

[153] The laces, both white and gold, depicted in the celebrated picture
of the Visit of the Queen of Sheba to Solomon, by Lavinia Fontana,
now in the Lambeccari Gallery, executed in the sixteenth century,
prove that white lace was in general use in the Italian Courts at
that epoch.

[154] At present, if you show an Italian a piece of old lace, he will
exclaim, "Opera di monache; roba di chiesa."

[155] Statute 2, Henry VI., 1423. The first great treaty between the
Venetians and Henry VII. was in 1507.

[156] _Privy Purse Expenses of Elizabeth of York_, 1502. P. R. O. Also
published by Sir H. Nicolas.

[157] Inv. Henry VIII.

[158] Gremio, when suing for Bianca, enumerates among his wealth in ivory
coffers stuffed, "Turkey cushions bossed with pearl; valance of
Venice gold in needlework."--_Taming of the Shrew._

[159] "One jerkyn of cloth of silver with long cuts down righte, bound
with a billament lace of Venice silver and black silk."--_Robes of
the late King_ (Edward VI.).

[160] "A smock of cambrik wrought about the collar and sleeves with black
silke; the ruffe wrought with Venice gold and edged with a small
bone lace of Venice gold."--_Christmas Presents to the Queen_, by
Sir G. Carew. "7 ounces of Venice 'laquei bone' of gold and black
silk; lace ruff edged with Venice gold lace," etc. _G. W. A. Eliz.,
passim_, P. R. O.

[161] 1587.

[162] Madame de Puissieux died in 1677, at the age of eighty.

[163] Venice points are not mentioned by name till the ordinance of 1654.
See GREEK ISLANDS.

[164] _Hudibras._

[165] Italy we believe to have furnished her own thread. "Fine white or
nun's thread is made by the Augustine nuns of Crema, twisted after
the same manner as the silk of Bolonia," writes Skippin, 1651.

[166] _Halimedia opuntia_, Linn.

[167] That most frequently met with is the Corona of Vecellio. See
APPENDIX.

[168] First mentioned in the Sforza Inventory, 1493 (see MILAN); not in
the pattern-books till Vecellio, 1592; but Taglienti (1530) gives
"su la rete," and "Il specchio di Pensieri" (1548), "purito in
rede."

[169] Plate V.

[170] First given in the _Honesto Esempio_. 1550 and _passim_.

[171] Mentioned by Taglienti (1530), and afterwards in the _Trionfo_
(1555), and _passim_.

[172] Given in _Il Monte_, circ. 1550, but described by Firenzuola
earlier. See FLORENCE.

[173] See Chap. III., notes 104 and 106.

[174] "Toile de la Pale."--A pasteboard about eight inches square,
enclosed in cambric or lace, used to cover the paten when laid over
the cup.

[175] The whole furniture of a room taken from a palace at Naples,
comprising curtains, and vallance of a bed, window curtains, toilet,
etc., of straw-coloured laces, reticella, embroidered netting, etc.;
the price asked was 18,000 francs = £720. There was also much of the
rose point, and a handkerchief bordered with beautiful flat Venetian
point of the same colour, forming part of a trousseau. 700 francs =
£28.

[176] Taglienti (1530) has _groppi_, _moreschi_, and _arabeschi_; and _Il
Specchio_ (1548), _ponti gropposi_. See also the Sforza Inventory,
1493.

[177] See GENOA.

[178] Taglienti (1530) gives _a magliata_, Parasole (1600) _lavori di
maglia_.

[179] _Punti a stuora_ occur in _Il Specchio_ (1548), _I Frutti_ (1564),
and in the _Vera Perfettione_ (1591) the word _stuora_ (modern,
_stuoja_) means also a mat of plaited rushes, which some of these
interlaced patterns may be intended to imitate.

[180] _Burato._ See APPENDIX.

[181] There are many patterns for this work in _Le Pompe di Minerva_,
1642. Taglienti (1530) has _desfilato_ among his _punti_.

[182] Many other points are enumerated in the pattern-books, of which we
know nothing, such as _gasii_ (_I Frutti_, 1564), _trezola_
(_Ibid_), _rimessi_ (_Vera Perfettione_, 1591), _opere a mazzette_
(Vecellio, 1591, and Lucretia Bomana, N.D.).

[183] _Tracts on Trade of the Seventeenth Century_, published by
MacCulloch, at the expense of Lord Monteagle. 1856.

[184] Venice point forms a considerable item in the expenses of Charles
II. and his brother James.

[185] Venice noted "for needlework laces, called points."--_Travels Thro'
Italy and France_, by J. Ray. 1738.

[186] Misson, F. M., _Nouveau Voyage d'Italie_, 4me édition. La Haye,
1702.

[187] _Origine delle Feste Veneziane_, da Giustina R. Michiel. Milano,
1829.

[188] _An Itinerary, containing his Ten Yeeres Travel through Germany,
Bohmerland, Switzerland, Netherland, Denmark, Poland, Italy, Turkey,
France, England, Scotland, and Ireland._ Lond., 1617.

[189] 1591.

[190] See, in APPENDIX, designs for _bavari_ by Lucrezia.

[191] The entry of the Venetian ambassador, Mocenigo, is described in the
_Mercure Galant_, 1709:--

"Il avoit un rabat de point de Venise.... Sa robe de damas noir avec
des grandes manches qui pendoient par derrière. Cette robe etoit
garnie de dentelle noir."

[192] _Letters from Italy._ So, in a play of Goldoni, who wrote in the
middle of the last century, the lady has a Brussels (Angleterre)
head-dress.

Don Flaminio: "Mi par bellisima cotesto pizzo Barbara: E un punto
d'Inghilterra che ha qualche merito."--_Gli Amori di Zelinda e
Lindoro._

In Goldoni's plays all the ladies make lace on the pillow
(_ballon_), so the art of making the needle Venice point was
probably at an end.

[193] "La plus belle dentelle noire fait l'espèce de camail qui, sous un
chapeau noir emplumé, couvre leurs épaules et leur tête."--Madame du
Boccage, 1735. _Lettres sur l'Italie._

"Quella specie de lungo capuocio di finissimo merlo pur nero,
chiamato bauta."--Michiel.

[194] "L'île de Burano où l'on fabrique les dentelles."--Quadri, _Huit
Jours à Venise_.

[195] _Technical History of Venetian Laces_, Urbani de Gheltof. Translated
by Lady Layard. Venice, 1882.

_Origines de la Dentelle de Venise et l'École de Burano._ Venice,
1897.

Traditions of lace-making were kept alive in Venice, Cantu and
Liguria during the first half of the nineteenth century by the
manufacture of an inferior quality of _blonde_, once extensively
made at Venice, which has since died out, owing to the revival in
the production of thread-lace and guipures at Palestrina.

[196] "Velleto (veil) uno d'oro filato.

"Payro uno fodrete (pillow-case) di cambria lavorate a gugia (à
l'aiguille).

"Lenzuolo (sheet) uno di revo di tele (linen thread), cinque
lavorato a punto.

"Peza una de tarnete (trina) d'argento facte a stelle.

"Lenzolo uno de tele, quatro lavorato a _radexelo_ (reticello).

"Peze quatro de _radexela_ per mettere ad uno moscheto (zanzariere,
mosquito curtain).

"Tarneta una d'oro et seda negra facta da ossi (bones).

"Pecto uno d'oro facto _a grupi_.

"Lavoro uno de rechamo facto _a grupi_ dove era suso le pere de
Madona Biancha.

"Binda una lavorata a poncto de doii fuxi (two bobbins) per uno
lenzolo."--_Instrumento di divizione tre le sorelle Angela ed
Ippolita Sforza Visconti_, di Milano, 1493, Giorno di Giovedì, 12
Settembre.

[197] "La mità de uno fagotto quale aveva dentro certi dissegni da
lavorare le donne."

[198] Harl. MS. No. 1419.

[199] Roll. P. R. O.

[200] P. R. O.

[201] De la Mare, _Traité de la Police_.

[202] "Statuts, Ordonnances et Reglemens de la Communauté des Maistres
Passementiers, etc., de Paris, confirmez sur les anciens Statuts du
23 mars 1558." Paris, 1719.

[203] _Grand Dictionnaire Universel du Commerce._ 1723.

[204] _Voyage en Italie._ 1765.

[205] Peuchet, J., _Dictionnaire Universel de la Géographie Commerçante._
Paris, An vii. = 1799.

[206] _Letters from Italy_, by a lady. 1770.

"Questo collar scolpì la donna mia
De basso rilevar, ch' Aracne mai,
E chi la vinse nol faria più bello.
Mira quel bel fogliame, ch' un acanto
Sembra, che sopra un mur vada carponi.
Mira quei fior, ch' un candido ne cade
Vicino al seme, apr' or la bocia l'altro.
Quei cordiglin, che'l legan d'ognitorno,
Come rilevan ben! mostrando ch' ella
E' la vera maestra di quest' arte,
Com ben compartiti son quei punti!
Ve' come son ugual quei bottoncelli,
Come s' alzano in guisa d'un bel colle
L'un come l' altro!...
Questi merli da man, questi trafori
Fece pur ella, et questo punto a spina,
Che mette in mezzo questo cordoncello,
Ella il fe pure, ella lo fece."
--_Elegia sopra un Collaretto_,
Firenzuola (circ. 1520).

[208] Rymer's _Foedera_ (38 Hen. VIII. = 1546).

[209] 4 Hen. VII. = 1488-89.

[210] _Compte des dépenses de la maison de Madame Marguerite de France,
Soeur du Roi._--Bib. Nat. MSS. F. Fr. 10,394.

[211] _Comptes de la Reine de Navarre._--Arch. Nat., K. K. 170.

[212] In 1535.

[213] She died in 1862.

[214] See VENICE, 1.

[215] _Inventaire du Trésor de N. D. de Lorette._--Bib. Nat. MSS.

[216] _Letters from Italy._

[217] The _gremial_, or apron, placed on the lap of the Roman Catholic
bishops when performing sacred functions in a sitting
posture.--Pugin's _Glossary of Ecclesiastical Ornament_.

[218] This reminds one of the lines of Goldsmith, in his poem, "The Haunch
of Venison," the giving of venison to hungry poets who were in want
of mutton; he says:

"Such dainties to send them their health it would hurt;
It's like sending them ruffles when wanting a shirt."

[219] _A true Relation of the Travailes, and most miserable Captivitie of
W. Davies._ Lond., 1614.

[220] _An Italian Voyage, or a Complete Journey through Italy_, by Rich.
Lassels, Gent. 2nd edit., Lond., 1698. A reprint, with additions by
another hand, of the original edition. Paris, 1670. Lowndes'
_Bibliographer's Manual_. Bohn's new edit.

[221] "Portano alcune vesti di tela di lino sottile, lunghe fino in terra,
con maniche larghe assai, attorno alle quali sono attaccati alcuni
merletti lavorati di refe sottilissimo."--Habiti di donna dell'
Isola d' Ischia. _Degli Habiti Antichi e Moderni di Diverse Parti
del Mondo di Cesare Vecellio._ Venezia, 1590.

[222] We have among the points given by Taglienti (1530), "pugliese." Lace
is still made in Puglia and the other southern provinces of Naples
and in Sicily.

The Contessa di Brazza says that Punto Pugliese resembled Russian
and Roumanian embroidery.

[223] Brydone, _Tour through Sicily_. 1773.

[224] From the tax-books preserved in the Archives of S. George, it
appears that a tax upon gold thread of four danari upon every lira
in value of the worked material was levied, which between 1411 and
1420 amounted to L. 73,387. From which period this industry rapidly
declined, and the workers emigrated.--Merli.

[225] Signore Tessada, the great lace fabricant of Genoa, carries back the
manufacture of Italian lace as early as the year 1400, and forwarded
to the author specimens which he declares to be of that date.

[226] "Laqueo serico Jeano de coloribus, ad 5s. per doz." _G. W. A.
Eliz._--16 & 17 and 19 & 20. P. R. O.

[227] Dated 1639.

[228] _Garderobe de feue Madame._ 1646. Bib. Nat. MSS. F. Fr. 11,426.

[229] Le Vray Théatre d'Honneur et de Chevalerie. Paris, 1648.

[230] Queen Christina is described by the Grande Mademoiselle, on the
occasion of her visit, as wearing "au cou, un mouchoir de point de
Gênes, noué avec un ruban couleur de feu."--_Mém. de Mademoiselle de
Montpensier._

"Item, ung peignoir, tablier et cornette de toile baptiste garnie de
point de Gênes."--1644. _Inv. de la Comtesse de Soissons._

"Un petit manteau brodé et son collet de point de Gênes."--_The
Chevalier d'Albret._

"Linge, bijoux et points de Gênes."--Loret, _Muse Historique_. 1650.

"Item, ung autre mouchoir de point de Gênes."--_Inv. du Maréchal de
La Motte._ 1657.

[231] _Mém._, t. xiv., p. 286.

[232] Signore Tessada has in his possession a pair of gold lappets of very
beautiful design, made at Genoa about the year 1700.

[233] _Letters from Italy._ 1770.

[234] Cavasco. _Statistique de Gênes._ 1840.

[235] The bobbins appear to have been made in Italy of various materials.
We have _Merletti a fusi_, in which case they are of wood. The
Sforza inventory gives _a doii fuxi_, "two bobbins," then _a ossi_,
"of bone," and, lastly, _a piombini_; and it is very certain that
lead was used for bobbins in Italy. See PARASOLE (1600).

[236] _Memorie Storiche di Santa Margherita._ Genoese pillow-laces are not
made with the réseau, but joined by bars. Of Milan lace it is said,
"It resembles Genoese pillow-lace in having the same scrolls and
flowers formed by a ribbon in close stitch, with a _mesh_ or _tulle_
ground, whereas the Genoese lace is held together by bars."--C. di
Brazza, _Old and New Lace in Italy_ (1893).

[237] Lefébure writes, "A version of these Milanese laces has been
produced by using tape for the scroll forms and flowers, and filling
in the open portions between the tapes by needlework stitches." The
C. di Brazza calls similar lace _Punto di Rapallo_ or _Liguria_, a
lace formed by a ribbon or braid of close lace following the outline
of the design with fancy gauze stitches made by knotting with a
crochet needle. The special characteristic of this lace is that the
braid is constantly thrown over what has gone before. The design is
connected by brides. A modification, where the braid is very fine
and narrow, and the turnings extremely complicated, and enriched by
no fancy stitches between, is _Punto a Vermicelli_.--_Old and New
Lace in Italy._

[238] Communicated by Sig. Gio. Tessada, Junr., of Genoa.

[239] Gandolfi, _Considerazioni Agrario_.

[240] A small borgo, about an hour's drive from Savona, on the road
leading to Genoa.

[241] Cav. Merli.

[242] In the Albert Museum of Exeter are several of these tallies marked
with the names of their owners--Bianca, Maria Crocera, and others.

[243] "Many skilful lace-makers in Italy have for some time imitated the
old laces and sold them as such to travellers. A Venetian
lace-worker, now residing at Ferrara, can copy any old lace known"
(Mrs. Palliser, 1864).

[244] This lappet, 357-68, in the Victoria and Albert Museum collection,
was described by Mrs. Palliser as "Argentella," and supposed to be
of Genoese workmanship. "Formerly much of it was to be met with in
the curiosity shops of that city, but now it is of rare occurrence.
The Duchess of Genoa possesses a splendid flounce of the same lace,
with the Doria eagle introduced into the pattern. It formerly
belonged to the Marchesa Barbaretta Saule" (Mrs. Palliser, _History
of Lace_, 1864). Contessa di Brazza suggests that Argentella was the
Italian for Argentan.

[245] Called by the people of the Riviera, _filo del baccalà di
Castellaro_. Aloe fibre was formerly used for thread (Letter of Sig.
C. G. Schiappapietra). It is also styled _filo di freta_ in the
Venetian sumptuary ordinances.

[246] The Author has to express her grateful thanks to Signore Don Tommaso
Torteroli, librarian to the city of Savona, and the author of an
interesting pamphlet (_Storia dei Merletti di Genova lavorati in
Albissola_, Sinigaglia, 1863), for specimens of the ancient laces of
Albissola, and many other valuable communications.

[247] A word of Arabic derivation, used for denoting a fringe for
trimming, whether cotton, thread, or silk.

[248] This custom of ornamenting the ends of the threads of linen was from
the earliest times common, and is still occasionally met with both
in the north and south of Europe. "At Bayonne they make the finest
of linen, some of which is made open like network, and the thread is
finer than hair" (_Ingenious and Diverting Letters of a Lady's
Travels in Spain_, London, 1679).

There is a painting of the "Last Supper" at Hampton Court Palace, by
Sebastian Ricci, in which the tablecloth is edged with cut-work; and
in the great picture in the Louvre, by Paul Veronese, of the supper
at the house of Simon the Canaanite, the ends of the tablecloth are
likewise fringed and braided like the _macramé_.

[249] LACE SCHOOLS IN ITALY.--At Coccolia, near Ravenna, Countess Pasolini
founded a school on her property to teach and employ the peasant
women and copy antique designs. Another more recently established
school near Udine, in the province of Friuli, is under the direction
of the Contessa di Brazza. Among charitable institutions which
interest themselves in the lace industry are the Industrial School
of SS. Ecce Homo at Naples, and San Ramiri at Pisa, which was
originally founded by the Grand Dukes of Tuscany in the middle of
the eighteenth century to teach weaving. This industry, and that of
straw-plaiting, met with no success, and the school gradually
developed into an industrial school in the modern sense. There are
many schools on the same system in Florence, and one (San Pelegrino)
at Bologna. At Sassari, in Sardinia, the deaf and dumb children in
the great institution of the "Figlie di Maria" are taught to make
net lace. Torchon and Brussels pillow lace is worked under the
direction of the Sisters of Providence in the women's prison at
Perugia.

[250] Laborde, _Glossaire_. Paris, 1853.

[251] Statute 2 Hen. VI., c. x., 1423.

[252] Taglienti (1530) among his _punti_ gives _Ciprioto_ (an embroidery
stitch).

[253] _Description de Raguse_ (Bib. Nat. MSS., F.Fr. 10,772).

[254] Points de Raguse--first mentioned in an Edict of January, 1654, by
which the king raises for his own profit one quarter of the value of
the "passems, dentelles, points coupez de Flandres, pointinars,
points de Venise, de Raguse, de Gênes," etc. (_Recueil des Lois
Françaises_). Again, the Ordinance of August, 1665, establishes the
points de France, "en la manière des points qui se font à Venise,
Gênes, Raguse, et autres pays étrangers," recited in the _Arrêt_ of
Oct. 12th, 1666.--De Lamare, _Traité de la Police_.

[255] See VENICE.

[256] In 1661.

[257] See head of chapter.

[258] In 1667.

[259] See APPENDIX.