Chapter IX: Introduction (2)

The Brussels needle-point of No. 3, Plate 70, and Plate 71 and Plate 72, must seem poor and thin when compared to the preceding laces. But it is very beautiful in its own delicate style, and has been called the laciest of laces. The réseau is very fragile, hence the name sometimes given of point de gaze. The designs shown have not the complete realism aimed at in the Brussels lace of the present day, but have a charm of their own which I confess attracts me more than all the brilliant improvements of the last sixty years.

The two specimens of darned work on bobbin net, Plates 73 and 74, especially the latter, are remarkable for the beauty and variety of the work.

Plate 75 and Plate 76 have specimens of the beautiful and intricate work called Tönder muslin lace made in Denmark in the eighteenth century. The following, Plate 77, is lace of the same kind but made in South Germany. I obtained these pieces in Leipzig forty years ago.

Number 2, in Plate 76, has a design and fillings which almost recall those in the finest Alençon laces of the late seventeenth century.

Plate 78 has four specimens of eighteenth-century Dutch linen lace made for caps; it is called Gouda lace; the fillings are very well done.

In the Manila fibre lace, Plate 79, No. 1, the ground is entirely worked over by the needle into small squares, giving the appearance of network. This is done in the same way as the earlier tela tirata, the threads drawn together and sewn with wonderful regularity, without any thread being cut.

The two specimens of needle-point, Plate 79, Nos. 2 and 3, made entirely of human hair, are rather difficult to render in a photograph. They are evidently copied from Venetian patterns, and the various shades of hair used have a very pretty effect, while the execution of such fine work in so fragile a material must have demanded extreme skill and deftness of hand. They were made about 1800, at the Bar Convent, York.

A very interesting piece of old English needle-point work is No. 80, a cap of Holy, or Hollie, work. A close réseau is worked by using a stitch very similar to buttonhole stitch, and the effect is of a texture very like the cambric it adorns. The pattern is made by missing stitches, forming small holes.

Hollie lace was chiefly used to decorate infants' caps, etc., for baptism, and the pot with flower, reminiscent of the Annunciation, the Holy Dove, etc., were devices frequently introduced into the patterns. Collars of this work are mentioned in Queen Mary Stuart's inventories.

Number 2, Plate 80, is a specimen of Limerick run lace.

Three pieces of Irish needle-lace, Nos. 1 and 2 of Plate 81, are praiseworthy as very early specimens of this industry. The designs are nondescript, but many of the stitches are well executed. A bobbin-made tape is introduced in No. 1. No. 3 is the so-called Carrickmacross lace; a muslin and machine net foundation is neatly outlined by fine whipped stitches; and buttonhole-stitch brides picotées are used to join the patterns after the background is cut away. This lace was first made after the famine of 1846.

BOBBIN-MADE LACE

The earliest bobbin lace was made by using the same threads for the whole of the lace, thus, when the pattern had been pricked out and the requisite number of bobbins charged with thread, the plaiting and twisting the threads into lace was begun.

The starlike effect in the old Malta laces was very simply made by taking fourteen bobbins to work a strip of the required length; this was then joined up as required into a pattern of more or less regular and starlike form, partly, no doubt, to imitate the older geometric designs. The same bobbins were used throughout. _See_ Plate 83.

The same style of making is more beautifully carried out in the two patterns of Plate 84. The lace in No. 1 is unfortunately very much worn, but the way the bobbin-made strip is arranged to make flowerlike forms is very ingenious; the ground is completely covered and yet nothing is awkward or crowded. No. 2 is also a very fine example of this simple bobbin work. I consider both to be early Venetian.

Number 1 of Plate 85 is a typical pattern of the lace which, originally no doubt inspired by the East has become universal under the name of "peasant" lace. We find it in Russia, Hungary, Dalmatia, Spain, Sicily, Sardinia, in fact wherever lace was made at all, this pattern with slight variations is supreme. Ceylon and India produce very similar lace, as also does South America. I have therefore made no special reference to these peasant laces, as although quite satisfactory from the point of view of utility, they are only otherwise interesting as the product of an industry much to be encouraged.

Numbers 2, 3 and 4, on Plate 85, may be considered as showing a transition state, as in all three there is an attempt to add a background to the toile or tapelike pattern.

Number 4 is a specimen of old Maltese lace now no longer made.

Number 1 in Plate 86 is of reticello pattern and a very successful imitation of the needle-point linen lace.

Number 2 is a fine example of the same style worked into points or pizzi, and is probably Venetian.

Numbers 3, 4 and 5, are examples of Genoese plaited lace.

Number 5 is especially notable as recalling the Eastern tradition.

Plate 87 shows two specimens of Genoese lace. No. 2 is what is sometimes called collar lace, and sometimes Vandyke lace, from the very general use of it in portraits by that great painter. No. 1 is Genoese fringed lace. In both the starlike groups of little "grains of corn," as they are called, are characteristic of Genoese lace, as they are now considered to be of Maltese. But the Genoese patterns were only introduced into Malta and Gozo about sixty or seventy years ago. One can but be glad of the success of an industry so profitable to the industrious peasantry of those islands, but it is impossible not to regret the total disappearance of the old style of lace-making. The old patterns are not in demand for the modern market, which is chiefly French, and the lace is principally made with silk imported from France.

I find that it is often supposed that no specimens exist of ancient Maltese lace. It is, however, well known there that lace was made in Malta and Gozo at all events as early as about 1640. The early flounce (Plate 80) was bought in Valetta more than fifty years ago, and inquiries made convince me that it was made, as my Maltese informant expressed it, "before the time of Lascaris." The Maltese often use the expression "time of Lascaris" or of "Carafa," "Manoel," etc., to date anything. These were the names of different Grand Masters before the islanders invited English occupation in 1800. There is no doubt that the disturbance caused by the French occupation affected lace-making so that it fell into abeyance, but before that time great quantities of these simple, strong and useful laces were made, principally, of course for church use. The narrower edgings (Plate 98) were used for the fine white lawn head-dresses worn with the beautiful national gala dresses, now only preserved by the great Maltese families as relics of the past.

Number 1, Plate 88, is a very curious early pattern called gotico in Italy.

Numbers 2 and 3 are Sicilian peasant laces.

Number 4, Tuscan peasant lace called piedi di gallini (fowls' feet).

Number 5 is a Tuscan peasant lace called zeccatello.

Plate 89 illustrates six peasant laces from Russia, Madeira, Portugal, Ceylon, and Le Puy, made before 1850.

In the Genoese laces in Plates 90 and 91 we have examples of what may be called the second manner of bobbin lace. The patterns of conventional sprays and flowers are made on the pillow separately, and afterwards joined by brides picotées, also bobbin-made. In the lace made in this second manner, in which many laces were made at successive periods in Milan, Genoa, Brussels and Honiton, the threads forming the connecting brides, and later the réseau, can be detected by looking on the reverse of the lace, as they are seen passing behind the patterns. An example of this carrying threads across is shown in the Honiton lace, Plate 118.

Plate 92 represents one of the finest examples I have seen of Genoese bobbin lace, trine a fuselli. The design is of gracefully arranged scrolls and flowers, and includes five birds which are introduced in the most spirited manner. The several tapey shapes, made separately and joined by brides, form the complete design or pattern, the fillings between them are very good, and include the starlike work characteristic of Genoa. This illustration is on a reduced scale in order to show the pattern of the lace. Plate 93 represents the exact size of the same lace.

Plate 94 is a flounce of Milanese bobbin lace, trine a fuselli. The pattern is of scrolls and flowers, a heraldic crowned eagle and small birds, with various fillings in the spaces enclosed. A very strong réseau connects the whole.

Plate 95, a flounce of the same lace, has a very beautiful flowing design of scrolls, with a background of the characteristic réseau of Milanese work.

The Milanese alb flounce (Plate 96) is a very fine piece of much later date. The spaces enclosed by the toilé or tapey parts are filled by bobbin-made fillings or à jours, of various designs, a very strong and evenly made réseau connects the whole.

The two specimens of Italian lace, Plate 97, are of very elegant design; they also have the fond chant pattern of réseau. This style of lace was made both in North and South Italy up to sixty or seventy years ago, but coarser thread was then introduced with disastrous effect.

In the narrow Maltese lace of Plate 98 we have in No. 1 the réseau called mariage; this lace, and Nos. 2 and 3, were made in Malta about 1780.

Turning now to the bobbin-made lace of Flanders, I begin with No. 1 on Plate 99, which has no less than three characteristic lengths joined to form one border. The straight edge, the rather abrupt design, and the réseau cinq trous, indicate a Flemish make of lace. The pattern No. 2 has the clear whiter thread outline. This lace is sometimes called Trolle Kant.

The cap, Plate 100, is of later date; the réseau cinq trous, worked with a very opened out effect, can be observed in the fillings.

The early Mechlin lace resembles in design the point d'Angleterre, and, indeed, also the Alençon lace of the same date. It is most interesting to compare, say, the Mechlin, Plate 101, with the d'Angleterre, Plate 104, and the Venise à réseau of Plate 57. Yet the makings of the three laces are absolutely different--the Venice entirely by needle; the Angleterre is made in two different stages of bobbin work; the Mechlin, as is always the case, was made in the third manner, the threads originally started on the bobbins carrying the work to a finish, and ingeniously sufficing for toilé, réseau, and fillings. Later, Mechlin, for reasons already stated, became a mere border, as shown in Plate 102. It is no longer made. This is also the case with Binche lace (Plate 103). A very beautiful fond de neige, used sometimes as a ground and sometimes as a filling or à jours, distinguishes this lace. The work is very fine and close, the edge is usually straight. It is sometimes called fausses Valenciennes.

Brussels gives its name to a variety of beautiful laces. The most renowned is the point d'Angleterre, made in great quantities during the later part of the seventeenth century for the English market. The designs, as on Plate 104, recall those of the Venise à réseau and of Alençon of the same period; the beautiful flowing garlands, the waved edge with varied fillings, the brides picotées forming the hexagonal réseau, will bear comparison with the Venice lace of Plate 57, and the Alençon of Plate 63. This truly wonderful point d'Angleterre has a very fine toilé; the flowers and scrolls were first made on the pillow and then joined by the réseau (vrai Bruxelles), long used for the highest class of all Brussels bobbin-made laces. Lace of this fineness is no longer made since the fine handspun thread cannot be obtained.

Brussels lace followed the fashion which, as we have seen, obtained in France. In the late eighteenth century only a border was necessary, as lace was worn in a profusion of flounces and frills; and Plate 106 shows a border very similar in design to the Alençon of the same date. The delicate flowers and leaves are joined by the fine réseau mentioned above--namely Brussels vrai réseau, a title employed to distinguish it from machine-made net. This last was introduced during the first quarter of the nineteenth century, and soon gave a different character to Brussels lace, when the flowers made on the pillow were sewn (appliqué) to a simple net made sometimes by hand, but more often by machine.

In the Antwerp lace scarf, No. 1, Plate 107, the fond chant or point de Paris réseau is used, and here we have an example of Potten Kant, or pot lace, so-called because in early times the subject of the Annunciation, with the pots of lilies usually added, was introduced into the designs for it. The indication of flower-pots certainly occurs in many pieces, though not in mine, and no piece exists, as far as I know, with figures.

The cap of Lille lace, No. 2, Plate 107, has the simple twisted thread réseau characteristic of this and of Arras lace. It is not to be distinguished from the réseau often used in Buckingham lace.

We must again notice how similar the design in the fine old Valenciennes of Plate 108 is to that of Alençon needle-point of the same date. The réseau is closely plaited, and the toilé of the beautiful patterns compact and clear in definition. No outline or cordonnet is used in Valenciennes lace. The early lace has what is called the round réseau, the later Valenciennes made at Yprès has a square réseau (Plate 109). This latter lace is still made, but has not the charm of the eighteenth-century lace.

The lace (Plate 110) was probably made in Paris. It is very curious, with heraldic device of an eagle with a shield; dogs also, and stags, are introduced. It may have been made for a wedding about 1690. This lace is often described in the inventories of old families in France as dentelle de chasse.

The Blonde lace (Plate 111) was made in Chantilly for a wedding in 1820.

Plate 112 gives three specimens of bobbin-made lace, with the so-called maglia di Spagna, or Spanish mesh. No. 1 is of linen thread, with a coarser thread introduced; but one should remark that this thread is not used to outline the pattern as in Flemish lace. I have not met this réseau in any Flemish lace. Nos. 2 and 3 are bobbin-made silk lace, and were ruffles for a Court dress-coat.

The black mantilla, Plate 113, has the fond chant réseau used as a filling, and, although bought in Madrid in 1840, it may have been made in France.

The difficulty of working the materials of gold and silver lace is so great that absolute regularity of either pattern or réseau is impossible. This, however, in my opinion, only renders these rare laces more interesting. Both metals are used in the characteristic specimen of sixteenth-century Spanish lace, No. 1 in Plate 114.

Number 2 is a silver seventeenth-century lace from Genoa, the edge is a shell pattern, and several thicknesses of the metal-covered silk thread are used. Plate 115 has four patterns of seventeenth-century gold and silver lace made in Italy, probably at Lucca.

The Brussels lappet, made in 1849, Plate 116, was then considered one of the finest ever made, the pattern is pretty and realistic, and foreshadows the style since prevalent.

The Bedfordshire lappet, on the same plate, is far inferior in execution, but was made by a cottager at about the same time and has done good service.

Two patterns of Buckinghamshire lace, Plate 117, made about 1790, show more even workmanship than is generally seen in this lace. No. 2 has a likeness to the Mechlin and Lille lace of the same date; No. 1 is more like the Flemish Trolle Kant, and was, in fact, called Trolly lace. It will be observed that the fillings have the six-pointed star, or fond chant réseau, so prevalent in pillow lace.

There is a tradition that the art of bobbin-made lace was imported into Devonshire by emigrants from the Netherlands, flying from the tyranny of the Duke of Alva. Mr. Seguin, in his learned book, contends that the troubles in Flanders had completely destroyed the lace industry before Philip II. of Spain sent the notorious Duke of Alva there. I believe, however, both that lace-making existed before that time in England, and that the emigration had a beneficial effect on all English industry, although not an initial one.

I have given both the right and wrong side of the Honiton lace cap-border in Plate 118, to show the threads of the connecting réseau, passing behind the patterns, the thread making the brides picotées also passes in the same manner.

Plate 119 shows a remarkably fine specimen of Honiton bobbin lace. The flowers are made separately in this specimen, and are afterwards joined by twisted brides claires made with a needle. The design is of birds, butterflies, and the rose, shamrock, and thistle. It was, perhaps, made to commemorate the Union.

Plate 120 is of Honiton sprays applied to machine-made net.

Space does not admit of any attempt to give a complete Bibliography. I find that a mere list of books that I have consulted at different times would be too long. I will therefore only mention that the works of the following authors would be very valuable to those intending to pursue this subject.

A fairly complete list of Italian and German pattern-books will be found in Mrs. Bury Palliser's "History of Lace." And the works of Mr. Alan Cole, Dr. Franz Bock, Father Braun, S.J., Dr. Moritz Dreger and Dr. Ilg of Vienna, Dr. Daniel Rock, Mons. Seguin, and Mr. Verhaagen have all been especially useful; and while preparing this for the press I have seen with great delight the splendid book of illustrations of Italian needle lace compiled by Signora Elisa Ricci.

In concluding these remarks, I must say that I owe the first idea of writing on this subject to my learned and accomplished husband, Mr. John Hungerford Pollen. Much information was given me in long bygone days by Dr. Daniel Rock, and by another old friend, Mrs. Bury Palliser, who gave me one of my first specimens in 1862.

At the present time I owe many thanks for advice and supervision to Mr. Alan Cole, whose knowledge of lace is unsurpassed.

PLATES

PLATE III. (1) DETAIL OF THE ALB OF POPE BONIFACE VIII.
(2) DETAIL OF THE ASSISI ALB.]

One is part of a circular panel or roundel, and the other two are
parts of girdles. The gammadion or symbol of the cross can be traced
in all three: and the polygonal character of the design is similar
to that of the Assisi alb]

No. 1 is a piece of bobbin-made lace, found in the Coptic tombs in
1903, and now in the Cluny Museum in Paris. Bobbins were found at
the same time. I do not think this fabric was made on a lace
pillow, but that a sort of frame with pegs was used to keep the
bobbins separate

No. 2 is darned work with linen white thread, very similar to the
Italian towel No. 1 in Plate XXVIII.; the background is afterwards
darned in with coloured wool. This is also from a Coptic tomb of
the third century

No. 3 is a portion of a mummy cloth of the Eighteenth Dynasty, 1700
B.C. The linen is very strong and of a wiry nature]

Chosen as showing similarity to the work of the Assisi alb.
Together 13 ft. 7 in. long

_Italian. 16th century_]

Chosen as showing similarity to the work of the alb of Pope
Boniface. The square mesh netting has centres worked in matting
stitch, punto a stuora; threads radiate from these centres and
darning stitch and punto di treccia are both used to form various
patterns, some cruciform

7 ft. 9 in. × 10 in.

_Sicilian, 15th century_]

No. 1. Early lacis work, showing the punto a stuora and punto di
treccia

No. 2. Lacis with square knotted mesh and pattern darned with punto
a tela. In this specimen gold thread has been run round the pattern

No. 3. Lacis with a twisted mesh, darned with punto a rammendo;
this style is called Buratto in Italy

No. 4. Tela tirata. The threads are only partly drawn, and the
pattern left in the linen, some threads being cut

No. 5. Tela tirata. In this style some threads of both warp and
woof in the whole piece of linen are drawn: the missing threads of
the pattern are then darned in again; the background is then sewn
over as in the other style. No threads at all are cut, which makes
it more even and durable

No. 6. Punto avorio. The needle-made knots make a very even surface
resembling ivory

No. 7. English needle-point, called Hollie or Holy Work, a stitch
which resembles the Alençon réseau in the working, as after
completing a row the thread is passed back so as always to begin at
the same point]

No. 1. Small and large réseaux of Point d'Alençon

No. 2. Point de Venise à réseau

No. 3. Point d'Argentan.

No. 4. Brussels needle-made réseau

No. 5. Brussels bobbin-made réseau]

No. 1. Bobbin-made Maglia di Spagna

No. 2. Bobbin-made Fond chant or Point de Paris

No. 3. Round mesh bobbin-made Valenciennes

No. 4. Bobbin-made Mechlin

No. 5. Cinq trous réseau

No. 6. Bobbin-made square mesh Valenciennes

No. 7. Lille, Arras, or Buckingham réseau]

With religious inscriptions: a fanciful peacock and the letters
I.H.S. surrounded by a glory of flames and by little angular angels

4 ft. 10 in. × 2 ft. 10 in.

_Italian, 15th century_]

Intended probably for an altar-cloth with a design of ornamental hexagonal compartments worked in linen stitch, in each of which are various devices, I.H.S. in a heart-shape above two heraldic lions, elsewhere a stag, pairs of birds, symmetrical devices of leaf and blossom, etc.

6 ft. × 10 in.

_French, 15th century_]

No. 1. Lacis with gammadion, or early Christian symbol. 4 ft.

No. 2. Lacis cover, containing 39 squares of different patterns darned with punto a tela or linen stitch. The border is of bobbin-made lace. 2 ft. 1 in. × 21 in.

_Italian, 15th century_]

Made of squares of lacis work alternating with oblongs of linen in which are squares worked in needle-point called reticello or cut-work.

3 ft. 8 in. × 2 ft. 4 in.

_Italian, 15th century_]

Of square mesh net worked in linen stitch with bold and graceful scrolls, leaves, etc., amidst which are cartouches of foliated shields bearing a heraldic lion in the centre. The pattern is outlined and enriched with gold thread, and the cartouches have a variety of stitches. It has a bobbin-made vandyke edging of lace (merletti a fuselli) with gold thread introduced into it.

5 ft. 6 in. × 22 in.

_Italian, 16th century_]

No. 1. Vandyke border of lacis knotted square mesh net darned in linen stitch with repeated large and small blossoms; the larger ones resemble Tudor roses. 4 ft.

_English, 16th century_

No. 2. Part of a quilt of squares of lacis, the one shown has a pattern of a vine: alternating with rectangles of linen decorated with small cut-work. 3 ft. 3 in. × 2 ft.

_German, 16th century_

The pattern in both pieces is outlined and partly worked with punto riccio]

The design is worked in punto a rammendo with numerous armed men and animals.

5 ft. 9 in.

_Italian, 15th century_]

The darning or punto a rammendo of the edge pattern is in each case worked the reverse way to that employed for the main design.

Together 4 ft. 7 in.

_Italian, 16th century_]

The pattern left in the linen represents a variety of sacred and other subjects. A king and a queen between whom is an angel: St. Michael engaging Satan: St. Rafael holding Tobit by the hand, etc. The photograph shows a portion, representing St. Francis receiving the Stigmata; below are the words: S. Francisca. ora pr., above to his left a church

6 ft. 7 in. × 12½ in.

_Italian, early 14th century_]

The pattern left in the linen includes a man in armour, about to slay a curious beast; elsewhere are archaic birds. 3 ft. 2 in. × 21 in.

_Italian, early 14th century_]

The pattern includes various figures, a wedding-party above two lions flanking a flower-pot: a hawking-party below

6 ft. 1 in. × 14 in.

_Italian, about 1540_]

The pattern is of a conventional stem and leaf design. The edging on the sides is of bobbin-made lace of two patterns

3 ft. × 6 in.

_Sicilian, 16th century_]

With a darned pattern in heavy thread of female figures alternating with birds; the vandyked edging is of punto avorio

10 ft. 6 in. × 5½ in.

_Sardinia, 16th century_]

Of tela tirata worked with looped and knotted stitches and reticello: the geometrical pattern is repeated without variation

25 in. × 17 in.

_Italian, 15th century_]

No. 1. Band of a variety of tela tirata or drawn-work: pattern a scroll with a flower: there are no cut threads in this work. 3 ft. 8 in.

No. 2. Band of punto reale and tela tirata with a bobbin-made edging. 4 ft. 11 in.

_Italian, 17th century_]

This interesting piece is a survival from pre-reformation times. It is 2 ft. 4 in. square and has no cut threads in it. The pattern is made by drawing 12 threads both of warp and woof and leaving small squares of 12 threads. The loose threads are then most ingeniously whipped over, forming a star-like pattern between the squares. The worker has passed her needle behind the squares 8 times so as to form a star at the back of each square, the corners have wooden balls gilt: and a silk fringe surrounds the whole]

No. 1 has a geometric effect worked on the drawn foundation: this style is called sfilatura in Italy; the knotted fringe is of macramé. 4 ft. × 2 ft.

No. 2 has a design of birds and scrolls in punto riccio, a border worked in punto avorio, and a curious hand-made fringe. 6 ft. 6 in. × 2 ft.

No. 3 is ornamented with reticello and punto riccio and has a bobbin-made edging and fringe. 3 ft. 6 in. × 2 ft.]

No. 1. Border of reticello or needle-point cut-work: the geometrical rosettes are repeated with very slight internal alteration. 9½ in.

No. 2 is a curious piece consisting of two borders and an edging; the upper border is a mixture of punto a festone, punto di treccia and punto a stuora work. The vandyke edge is of bobbin-work (merletti a fuselli). 2 ft. 8 in.

_Italian, 15th century_]

Of needle-point on linen, called reticello or cut-work. The pointed edgings of both pieces are bobbin-made lace, sometimes called plaited lace

Together 9 ft. 2 in. × 4 in.

_Italian, 16th century_]

Of dentated or vandyke edgings of needle-point called punto in aria, because it is made independently of any foundation.

Together 4 ft. 8 in.

_Italian, about 1550_]

13½ in. × 7½ in.

_17th century_]

A pointed edge is also finely worked in punto avorio.

5 ft. 8 in.

_Italian, 17th century_]

In which the repeating conventional semi-floral forms are connected by small brides.

6 ft.

_German, early 17th century_]

The border has a figure in each vandyke, either a lady with two birds or a siren; the insertion has strange winged and tailed animals supporting vases of flowers: all the figures, birds and animals have tiny black beads for eyes.

6 ft. 4 in. × 3 ft.

_Italian, 16th century_]

The design of open scrolling and continuous floral stems is arranged to form points alternately of carnations and hyacinths and includes stags, hounds, peacocks and other animals: the Visconti crest--a crowned serpent--is introduced, and the stems sometimes twist into true lovers' knots. This piece was probably made for a wedding.

4 ft. 3 in. × 5½ in.

_Venetian, 16th century_]

The Madonna, in a robe sprinkled with stars and crowned, is seated on clouds, her foot resting on the head of a cherub. The three persons of the Trinity are above. Cherubs and conventional flowers are introduced into the background: the robes are worked apart from the figures in a lacis stitch called mezza mandolina. Small glass beads are added to the eyes.

18 in. × 6½ in.

_16th century_]

No. 1. Border of needle-point lace, called punto in relievo or rose-point. Birds and serpents occur in the design and each portion of the pattern is outlined by a thick cordonnet worked in buttonhole stitch, punto à festone. This thick cordonnet is also used to denote the scales of the serpent and to accentuate the features of the birds, the narrow braid at the top of the lace is bobbin-made, the edging is of very fine needle-point called punto avorio.

11 in. × 3½ in.

_Italian, 16th century_

No. 2. Edging of flat needle-point lace à brides. The pattern is a somewhat confused rendering of a continuous scrolling stem type; the brides irregularly introduced have pronounced picots; and this feature has given rise to the title of coraline lace, on account of its suggestion of coral forms.

_Venetian, about 1660_]

The back and front are in one piece with a square opening for the head: this is worked all round with a fine insertion and vandyked edge of punto in aria: the sleeves have oblique insertions of reticello work. In the cuffs bobbin-made lace has replaced the original work

_Italian, 16th century_]

The pattern is of bold flowing scrolls, cut in linen, edged by buttonhole stitch, and joined by brides: a few modes are introduced into the blossom forms, the edging is of bobbin-made lace (merletto a fuselli).

7 ft. 6 in. × 4 ft. 8 in.

_Venetian, 17th century_]

The pattern is of well-balanced scrolls and conventional flowers enriched with a few simple modes and joined by brides variously picotées

11½ in. × 7½ in.

_Venetian, about 1640_]

The pattern wrought chiefly in close toilé consists of scrolls and conventional flowers joined by very few brides. Intermixed with the toilé are variations of simple modes.

31 in. × 10 in.

_Venetian, about 1640_]

Pattern of continuous scrolls and conventional flowers frequently enriched on their raised cordonnets with picots and joined by brides picotées

5 ft. 9 in. × 3½ in.

_Venetian, 17th century_]

(PUNTO TAGLIATO A FOLIAMI)

Pattern of conventional flowers joined by brides picotées: the clothing or toilé of these flowers is of very close work

10 in. long.

_Venetian, 17th century_]

(PUNTO TAGLIATO A FOLIAMI)

A splendid scroll occurs in the pattern here shown which is rich with conventional flowers and double brides picotées

17 in. × 9½ in.

_Venetian, 17th century_]

The pattern consists of well-balanced elegantly scrolling devices, terminating in conventional leaves and flowers with occasional raised work on them, and is set in a ground of brides picotées arranged in hexagons. The style of many features in the design is French (Louis XIV.) and the specimen seems to be of Franco-Venetian origin

17½ in. × 19½ in.

_Venice, 17th century_]

The pattern consists of slender scrolls, with flowers enriched with massings or galleries of picots surrounding the letters I.H.S. at the centre

6½ in. square.

_Venetian, about 1670_]

Sometimes called point de neige on account of the massings or galleries of picots on the raised rosettes. It is also called rosaline in Italy. Some authorities claim this style as French, and it is one that may be fairly termed _Franco-Venetian, about 1670-80_

Together 4 ft. 8 in. × 2 in.]

This handsome design, in the rendering of which the play of contrast as between toilé and simple modes is a salient feature, is composed of semi-realistic leaf, fruit and flower forms arranged symmetrically in groups which are repeated alternately through the whole length of the flounce. Accentuations of raised cordonnet are occasionally introduced.

9 ft. 2 in. × 13½ in.

_French (Alençon or Sedan), about 1690_]

The fond or toilé of this lace is partly made of bobbin-made tape; on this is raised work, and gimps as well as buttonhole-stitched cordonnets of different dimensions outline and accentuate the rounded serrations and inner portions of the conventional foliage forms, into which are introduced many varieties of modes.

4 ft. 6½ in.

_Spanish, 17th century_]

(SLIGHTLY REDUCED IN SIZE)

This fond is partly of bobbin-made tape: on this is raised work of gimp and various cordonnets buttonhole stitched and edged with loops. These latter, from their sort of caterpillar effect, originate the fanciful name sometimes given of caterpillar point

_Spanish, 17th century_]

No. 1 is of silk needle-point lace with cordonnet, buttonholed in different sizes. This is a small portion, actual size, of the lace used to embellish the Jewish talith or silk mantle or scarf worn at prayers.

_Venetian, 17th century_

No. 2. Border of needle-point lace sometimes called mezzo-punto, as fine bobbin-made tape or braid is used to outline the pattern, two or three varieties of needle fillings are wrought within the tape forms. 19 in.

_17th century_]

The design consists of a waved open ornamental riband device crossing a spray of conventional flowers. This lace may be distinguished from Alençon by the use of a single thread instead of a buttonholed stitch in the cordonnet as well as by the make and lay of the meshed ground, point de Venise à réseau. The style of the design is borrowed from the French of the latter part of the 17th century.

2 ft. 8 in. × 6 in.

_Venetian, late 17th century_]

The leading masses of the pattern undulate, and between the undulations are either conventional leaves or flowers filled in with simple diaper modes and more openly arranged brides picotées.

3 ft. 5 in.

_Venetian, late 17th century_]

No. 1. Needle-point lace usually called Venetian point à réseau. The pattern entirely covers the lace and is of conventional floral type: the fillings are very varied. This lace is not Venetian in design, and was probably made at Sedan.

6 ft. 5 in.

_Sedan, early 18th century_

No. 2 is a beautiful fragment, actual size, of Venetian point à réseau.

_Venice, late 17th century_]

The pattern is of leafy scrolls and conventional flowers well marked, enriched with light fillings and outlined with cordonnet of fine buttonhole stitching. The ground is of buttonholed brides arranged into hexagons strongly suggestive of Point d'Argentan.

6 ft. 6 in.

_(French (?) Alençon or Sedan) late 17th century_]

In No. 1 the pattern is Venetian in style and the fillings and réseau also mark it as from Burano. In No. 2 the style is more French and it may be from Alençon: every detail of the patterns is outlined with a buttonhole-stitch cordonnet.

Together 9 ft. 6 in.

_Late 17th century_]

In the border small compartments are treated with modes or à jours and occasional brides picotées: a buttonhole-stitch cordonnet outlines every detail of the pattern.

4 ft. 8 in.

_Alençon, about 1710_]

Together 13 ft. 6 in.

_Alençon, about 1740_]

The pattern consists of a waved stem serrated, from which spring small sprays of flowers. The width is graduated and the length is without a join. The modes or fillings, at intervals along the edge, are of dainty star and other geometric devices and all particularly characteristic of French (Alençon) lace.

3 ft. 4 in.

_Alençon, middle 18th century_]

The pattern is of tiny wavy stems, having little leaves and peapods, which recur in the design of the outer border with lattice and honeycomb fillings enriched with minute picots.

4 ft.

_Alençon, late 18th century_]

The ornamental design is mainly confined to the border, the réseau being sprinkled with dots, called pois or sometimes larmes (hence the expression semé de larmes).

Together 7 ft. 6 in.

_Alençon, late 18th century_]

The main ornamentation is along the border. The ground is semé de pois and little sprays, after the style of other such small devices, some of which gave rise to the term semé de larmes.

Together 9 ft. 10 in.

_Alençon, late 18th century_]

This piece shows two sizes of mesh in the réseaux: the large forms the main ground, semé de larmes, whilst the finer is introduced as a mode in the border of pointed leafy forms.

5 ft. 3 in. × 5½ in.]

Called point d'Argentan, on account of the make of the big mesh ground. The pattern of the first is similar to that of No. LXIII.; in the waved garland is a filling of very fine mesh (the Alençon ground). The pattern of the second is of the semé de pois or de larmes style and in the edge is a recurrent filling of fine Alençon ground. The main ground of both pieces is composed of hexagonal meshes worked over in buttonhole stitch, as in Argentan lace.

Together 4 ft. 10 in.

_Argentan. No. 1 about 1750. No. 2 about 1780_]

The edge is formed by repeated curved sprays enclosing small spaces which are filled by a fine Alençon réseau: sprays of flowers also occur at intervals along the lace. The ground is entirely composed of hexagonal meshes worked over in button-hole stitch of Point d'Argentan.

4 ft. 2 in. × 7 in.

_Argentan, late 18th century_]

No. 1 is of silk lace à réseau and has a quaint stiff pattern of branches with birds introduced; a stout thread cordonnet outlines most of the pattern, that of the eye, wing and tail of each bird is overworked with buttonhole stitch.

_Probably Portuguese, 18th century_

No. 2 is from a floral design treated with occasional buttonhole cordonnet as in No. 2.

No. 3. Border of needle-point, called "point de gaze" on account of the extreme delicacy of the bobbin-made réseau (vrai réseau de Bruxelles): the pattern is a flowery border with small sprays recurring in the ground in the style of the Louis XVI. period.

Together 3 ft. 3 in.

_Brussels, 18th century_]

Called point de gaze on account of the delicacy of the réseau. The design of scrolls and flowers is chiefly worked in a rather loose toilé, outlined with a stout thread cordonnet and enriched with various open modes or fillings.

3 ft. 3 in. × 4½ in.

_Brussels, 1830_]

Or veil of light needle-point fine stem floral pattern worked on a foundation of machine-made net

6 ft. × 2 ft.

_Brussels, 1840_]

This class of work is now usually called Limerick lace, but it was often made in England and in many places abroad

3 ft. × 7 in.

_Italian, about 1830_]

The work is very evenly done

_French, about 1839_]

This is formed of two thicknesses of muslin sewn in different patterns by the needle: in places the second thickness of muslin is cut away when the needlework is completed. The design is composed of leaf and floral ornaments gracefully shaped and somewhat French in style

12 in. × 8 in.

_Danish, 18th century_]

In No. 1 only one thickness of muslin is employed: the thicker looking parts of the toilé result from the passing of very evenly darned threads at the back of it

In No. 2 two thicknesses of muslin are used. The floral forms, much more slender than in No. 1, are defined with a stout thread cordonnet.

Together 5 ft. 10 in.

_Danish, 18th century_]

From German Bohemia. Two thicknesses of muslin are used.

Together 7 ft.

_18th century_]

The outlines of conventional floral patterns are in chain stitch, and the fillings very various and finely executed

Together 8 ft. 9 in.

_Gouda, 18th century._]

No. 1. A specimen of needlework called Manila lace, made upon a light cambric-like stuff woven from fibre of great fineness. The flowers are embroidered and the whole ground of square meshes is worked by the needle, in the same way as the tela tirata work

_Manila, about 1840_

Nos. 2 and 3. Lace worked in fine needlepoint stitches with human hair of different shades--the pattern is evidently copied from the Venetian

_English, about 1800_]

No. 1. Infant's Baptism cap with insertions of needlepoint lace called Hollie or Holy point: the design in the crown shows the doves and the pot with flowers reminiscent of the Annunciation

_English, 16th century_

No. 2. A cap border of Limerick run lace

_Irish, 19th century_]

No. 1 has a tape introduced. No. 3 is the so-called Carrickmacross lace (first made about 1848)

Together 6 ft.

_About 1848_]

This sort of work is often made by knotting the frayed ends on the edge of a woven material, or else separately by knotting strings of cords of linen or silk, the ends of which are fastened to a small cushion or pillow, but bobbins are not used in this work.

10 in. × 12 in.

_Italian, 18th century_]

For an alb of bobbin-made lace, in the making of which a continuous braid is used to form the pattern. The lace is shaped on its lower edge into flatly curving scallops or mitres.

9 ft. 4 in. × 10½ in.

_Maltese, early 16th century_]

No. 1 a design decidedly Eastern. No. 2 has a floral design. Both are made in the first manner, the pattern entirely carried out with the tape it was begun with, no brides or réseau being added

Together 4 ft. 7 in.

_Venetian, 16th century_]

No. 1 is peasant lace of the familiar type

No. 2 a fine insertion to ornament bed-linen, with a conventional floral design

No. 3 a similar design in a coarser lace

_Italian, 16th century_

No. 4 is a Maltese lace of the 16th century

Together 10 ft. 2 in.]

No. 1 is a reticello pattern }
No. 2 is a vandyked pattern in so-called plaited lace} _Italian, 16th
No. 3 is a simple plaited lace or gimp } century_
Nos. 4 and 5 are very fine examples of early Italian bobbin laces of
16th century.

Together 23½ yards]

No. 1. Fringed edging of bobbin-made lace. In both pieces the characteristic little seed shapes are freely used

No. 2. Scalloped border of bobbin-made lace called collar lace, in which the ornament is formed chiefly by a continuous narrow toilé or braid. The same threads are used in the whole width of the lace

Together 3 ft. 2 in.

_Genoese, late 16th or early 17th century_]

No. 1 a curious early pattern of lace made in Umbria

Nos. 2 and 3 are Sicilian peasant laces

No. 4 a lace called in Umbria piedi di gallina

No. 5 a peasant lace called zeccatello

Together 10 ft. 4 in.

_Italian, 16th century_]

One each in Russia, Madeira, Portugal, and Ceylon, and two from Le Puy in France

Together 14 ft.]

The pattern of scrolls and leaves is made separately and joined on the pillow by single and knotted brides in the smaller piece and by double and knotted brides in the larger one.

Together, 8 ft. 7 in. × 5 in.

_Genoese, 17th century_]

The pattern is of large conventional sprays made separately on the pillow and afterwards joined by bobbin-made knotted brides.

5 ft. 7 in. × 6 in.

_Italian, early 17th century_]

The pattern includes birds (an eagle, a peacock, a parrot, a crow, etc.) set amidst conventional scrolls and flowers. These are all made separately and joined on the pillow by double and knotted brides

9 ft. 11 in. × 9 in.]

The lace, as XCII actual size.

_Genoese, 17th century_]

The pattern of beautifully arranged scrolls and flowers includes an eagle with a "marquis" coronet and other small birds: a réseau connects the whole.

3 ft. × 12 in.

_Milanese, 18th century_]

The pattern is made separately and arranged to form conventional scrolls and flowers: a réseau unites the whole.

16 in. × 8 in.

_Milanese, 17th century_]

The pattern is of graceful conventional floral and other forms arranged symmetrically in groups repeating one another. A variety of noticeable fillings is introduced. This specimen is reduced in size.

9 ft. 8 in. × 14½ in.

_Milanese, 18th century_]

No. 1. Border of bobbin-made lace. The pattern consists of repeated groupings of scrolls and pendant forms; the same thread is used throughout

_Italian, 17th century_

No. 2. Border of bobbin-made lace à réseau. The pattern is composed with a slender toilé arranged to form continuous scrolls with leafy offshoots: the réseau ground is of the fond chant type: the same thread is used throughout.

Together 11 ft.

_Italian, 17th century_]

Together 10 ft. 7 in.

_Maltese, 18th century_]

No. 1 is made up of three lengths of lace sewn together. The straight edge indicates perhaps an earlier date for this interesting specimen than that of the narrower piece.

Together 5 ft.

_Flanders, 17th century_]

The ornamental details were made separately and then joined by bobbin-made brides: the modes or fillings are in the style of the cinq trous réseau.

12 in. long

_Flanders, late 17th century_]

The patterns are in the style of the Point d'Angleterre, but the toilé is outlined with a thread cordonnet: the same quality of thread is used for both toilé, réseau and fillings: the réseau is peculiar to this beautiful lace.

Together 6 ft.

_Mechlin, early 18th century_]

The patterns of the later style of lace are much lighter in effect and gradually become merely a border of small floral ornament.

Together 9 ft. 8 in.

_Mechlin, late 18th century_]

The same threads are used for the whole width of the lace.

Together 6 ft. 6 in.

_Binche, late 17th century_]

The toilé details were made separately and joined on the pillow by a réseau. The fillings are very varied and beautiful. These borders are worked from Louis XV. designs.

Together 8 ft. 8 in.

_Brussels, 17th century_]

Leafy, blossom and other shapes in toilé are arranged to form the outer waved edges between which are baskets of flowers, etc. The toilé forms are partially accentuated with a plaited cordonnet. The details of the pattern are made separately on the pillow, and then joined by a fine réseau, called vrai réseau de Bruxelles. The fillings are wonderfully fine.

4 ft. 10 in. × 3 in.

_Brussels, 18th century_]

The flowers made separately and almost entirely of a plaited cordonnet are joined on the pillow by a fine vrai réseau de Bruxelles. The design is in the style of Louis XVI. point d'Alençon. The reverse of the lace is shown in No. 2. The thread of the réseau can be seen passing behind the patterns.

5 ft. 3 in. × 5 in.

_Brussels, 18th century_]

No. 1. A scarf of bobbin-made lace, called Antwerp lace, or Potten Kant or Pot Lace. The réseau is somewhat similar to that of the point de Paris, a variant of the cinq trous. The lace is made on the pillow in strips which are almost imperceptibly joined together. The toilé details are outlined with a stout thread cordonnet

12 ft. × 8 in.

_Antwerp, late 18th century_

No. 2. A cap of bobbin-made lace, called Lille lace. The lace is made on the pillow in strips, joined together. The réseau is of simply twisted threads.

11 in. × 11 in.

_Lille, late 18th century_]

This early Valenciennes has a round plaited mesh, in distinction to that of the later Valenciennes lace, which has a square mesh

Together 8 ft. 5 in.

_Valenciennes, 18th century_]

Together 7 ft.

_Yprès, 19th century_]

An eagle, with shield, dogs and stags are repeated in the pattern. The réseau and the toilé are both made with the same thread.

4 ft. 10 in. × 3 in.

_Paris, late 17th century_]

Pattern of repeated heavy flowers in sprays, forming a waved edge

_Made at Chantilly, 1820-30_]

No. 1 is of linen thread with a heavy thread introduced, not as in some Flemish laces to outline the pattern, but to form strong leading lines in it.

Nos. 2 and 3 are bobbin-made silk lace, a coarser silk thread is introduced. These were the ruffles for a coat sleeve

Together 9 ft.

_Spanish, late 18th century_]

Some of the fillings are of the point de Paris réseau, also called fond chant from Chantilly, where much of the so-called Spanish silk lace was made

9 ft. × 30 in.

_Bought in Madrid in 1840_]

No. 1. Spanish bobbin-made insertion: the stems are of gold and the flowers of silver

_16th century_

No. 2. Genoese bobbin-made insertion of silver with shell pattern edge.

Together 3 ft. 6 in.

_17th century_]

Probably made at Lucca.

Together 11 ft. 6 in.

_17th century_]

No. 1. Lappet of bobbin-made black Bedfordshire silk lace

No. 2. Lappet of bobbin-made black Brussels silk lace

Together 7 ft.

_About 1848_]

No. 1. Bobbin-made lace. The pattern of leaves is outlined in parts by a stout thread

No. 2. A large flower repeated forms the edge. The characteristic very simple réseau is spotted with groups of six small square dots

Together 4 ft. 10 in.

_Bucks, 18th century_]

Of Devonshire make in the style of Point d'Angleterre or Brussels lace. The toilé details are made separately and joined partly by réseau and partly by brides picotées. The upper piece shows the back of the lace, with the threads from the réseau carried across the toilé of the pattern. The convolutions of the toilé in the blossoms are considered to be characteristic of Honiton lace.

3 ft. 4 in.

_Honiton, 18th century_]

The toilé flowers and leaves, chiefly rose, shamrock and thistle, are joined by an irregular mesh simple réseau made by hand. The original design was perhaps to celebrate the Union.

5 ft. × 5½ in.

_Honiton, about 1840_]

The flowers are of bobbin-made lace with accentuations of plaited cordonnet as in Point d'Angleterre, and then applied and sewn to machine-made net.

Together 4 ft. 5 in.

_Devonshire (Honiton)_]

INDEX

A

Alb, 9, 23, 27, 30, 33

Alençon, 10, 15, 31, 37, 50

Alexandria, 26

Alva, Duke of, 52

Angleterre, 38

Angoulême, Marguérite d', 31, 32

Antwerp, 50

Apparels, 24

Appliqué, 9, 52

Argentan, 15, 39

Argentella, 9

Arras, 16, 50

Assisi, 25

Assisi, Basilica of, 29

Avorio, punto, 9, 14, 31, 34, 35

B

Bar Convent, The, 40

Bedfordshire, 51

Benedictine Order, 24

Bible of St. Martial, 23

Bibliothèque Nationale, 23, 24

Binche, 38, 49

Blonde, 16, 51

Bobbin Lace, Classification of, 4

Bock, Dr. Franz, 28, 53

Bone point, 9

Boniface VIII., 27, 28

Braun, S. J., Father, 53

British Museum, 21

Brussels, 16, 39, 47, 51

Buckingham, 16, 50, 51

Burano, 37

Buratto, 4, 10, 31

Buttonhole stitch, 10, 28

Byssus, 28

C

Camisia, 35

Carrickmacross, 41

Cartiglia, 27

Catacombs, 26

Catherine de Marcq, 38

Ceylon, 45, 47

Chalice cover, 34

Chantilly, 16, 51

Charlemagne, 23

Charles II., 38

Church vestments, 22

Clare, Saint, 25

Colbert, 38

Cole, Mr. Alan, 53

Copes, 22

Coptic design, 4, 21, 25

Coraline point, 35

Corporal border, 34

Cotta, 10

Crypt of St. Peter's, 29

D

Dalmatia, 45

Dalmatic, 22

Darned work, 39

Denmark, 39

Dentelle, 23, 34

Dentelle de chasse, 51

Devonshire lace, 52

Dreger, Dr. Moritz, 53

Duccio di Buoninsegna, 30

Dugdale's History, 22

Dutch lace, 40

E

Egyptians, 26

English Nuns Rule, 22

Entrelacs, 25

F

Festone, Punto a, 14, 28

Flanders, 16, 48, 51

Florence lace, 32

Fogliami, Punto tagliato a, 36

Fortescue, Dr. Adrian, 27

France, Point de, 37

Francis I., King, 32

Francis, Saint, 25, 27, 32

G

Gammadion Symbol, 21, 22, 26, 27, 31

Gayet, Mr. A., 25, 30

Genoa, 13, 46, 47, 51

German lace, 31, 34, 40

Giotto, 29

Gnostic definition, 25

Gouda lace, 40

Gozo, 46

Greek work, 21, 25

Gregory V., 27

Grottaferrata, 27

H

Hair lace, 40

Heraldic lace, 30, 31, 35, 48, 50

Hermitage, Petersburg, 21

Hexagonal meshes, 39

Holy or Hollie lace, 40

Honiton, 47, 52

I

Ilg, Dr., 53

Irish lace, 41

Ivory stitch, 11, 34

L

Lace-making, Revival of, 4

Lace Pattern Books, 21

Lacis, 4, 11, 22, 23, 30, 31

Lateran, St. John, 29

Leipzig, 40

Le Puy, 47

Lille, 16, 50, 52

Limerick, 40

Lorenzetti, 30

Louis XIV., 38

Louis XVI., 38

Louvre, 29

Lucca, 51

M

Macramé, 12, 33

Madeira, 47

Madrid, 51

Malta, 45, 46, 48

Manila Lace, 40

Manuscripts, illuminated, 23

Marie Antoinette, Queen, 39

Marot, Clément, 32

Martial, Saint, 23

Mary Stuart, Queen, 40

Mechlin, 16, 49, 52

Mezza Mandolina, 35

Michael, Saint, 32

Milan, 47, 48

Modano, 4, 12, 22, 30

Moresco, 12

N

Navarre, Queen of, 31

Needle-point, Classification of, 5

Nilos, Saint, 27

O

Opus sfilatorum, 22

Oriental design, 21

Otho III., 27

P

Palliser, Mrs. Bury, 52, 53

Paris, 16, 37, 50

Passemens, 24

Paten Cover, 37

Peter, Saint, 34

Pizzi, 24, 34

Point à réseau, 15, 37, 49

Point de gaze, 39

Point de neige, 13, 17

Pollen, Mr. John Hungerford, 53

Polygonal Design, 25, 27, 30