LUXEUIL.--A term applied to several varieties of hand-made lace produced at
Luxeuil, France. They are stout, heavy laces, mostly made with the use of
braid, and are much used for curtains and draperies.
MACRAME.--A word of Arabic derivation, signifying a fringe for trimming,
whether cotton, thread or silk, and now used to designate an ornamental
cotton trimming, sometimes called a lace, made by leaving a long fringe of
coarse thread, and interweaving the threads so as to make patterns
geometrical in form. It is useful in decorating light upholstery. Macrame
cord is made of fine, close-twisted cotton thread, prepared especially for
the manufacture of Macrame trimming, and also for coarse netting of various
kinds. The foundation of all Macrame lace or trimming is knots, made by
tying short ends of thread either in horizontal or perpendicular lines, and
interweaving the knots so as to form a geometrical design, as above
mentioned, and sometimes raised, sometimes flat. This necessitates the
forming of simple patterns. This lace is really a revival of the old
Italian knotted points, which were much used three centuries ago in Spain
and Italy for ecclesiastical garments. It appears in some of the paintings
of the early masters, notably Paul Veronese. The art has been taught during
all the nineteenth century in the schools and convents along the Riviera.
It is developed in great perfection at Chiavari, and also at Genoa.
Specimens of elaborate workmanship were in the Paris Exhibition of 1867.
MACKLIN.--Another name for Mechlin lace.
MALINE.--A name sometimes applied to Mechlin lace, especially to the
varieties whose ground is distinguished by a diamond-shaped mesh.
{51}
[Illustration: Real Cluny.]
[Illustration: Real Bruges.]
{52} MALTESE.--A heavy but attractive pillow lace, whose patterns, of
arabesque or geometric design, are formed of plaiting or cloth-stitch, and
are united with a purled bar ground. It is made both in white silk and
thread, and also in black Barcelona silk. There is also a cotton
machine-made variety, used chiefly in trimming muslin underwear. The
history of Maltese lace is interesting from the fact that the kind
originally made in that island by the natives, which was a coarse variety
of Mechlin or Valenciennes, of an arabesque pattern, was in 1833 superseded
by the manufacture of the white and black silk guipures now so widely known
as Maltese lace. This improvement was due to Lady Hamilton Chichester, who
brought laceworkers over from Genoa to teach their craft in the island.
Some of the patterns from that time showed the influence of the Genoese
instruction. Maltese lace is made not only in Malta, but in Auvergne and
Lepuy in France; in Buckinghamshire and Bedfordshire, in England, and also
in the Irish lace schools. Ceylon and Madras lace also resembles Maltese.
Formerly shawls and veils of much beauty and value were made of this lace,
but the manufacture is now confined chiefly to narrow trimmings.
MECHLIN.--A pillow lace originally made at Mechlin, Belgium, and whose
special characteristics are the narrow, flat thread, band or cord, which
outlines the pattern, and the net ground of hexagonal mesh. Sometimes the
mesh is circular. The net ground is made of two threads twisted twice on
four sides and four threads plaited three times on the two other sides. In
this it differs from Brussels lace, whose plait is longer and whose mesh is
larger. The lace is made in one piece upon the pillow, the ground being
formed with the pattern. The very finest thread is used, and a high degree
of skill is necessary, so that the resulting fabric is very costly. It is a
filmy, beautiful and highly transparent lace, and preserves for a very long
time its distinguishing peculiarity of a shiny thread or band surrounding
the outlines of the sprigs and dots of the design. The earliest Mechlin
designs were very like those of Brussels lace, though not so original and
graceful; but in this respect later Mechlin laces showed marked
improvement. The fundamental difference between the two, however, was that
Mechlin was worked in one piece upon the pillow, while the Brussels pattern
was first made by itself, and the reseau or net ground was afterward worked
in around it. The manufacture of Mechlin has long been on the decline, the
French Revolution seriously injuring the industry; and when the trade was
revived and encouraged under Napoleon, the exquisite patterns of former
times had been partly forgotten or were too expensive for popular demand.
At the time of its highest popularity it was called the Queen of Laces,
sharing that title with the finest Alencon point. Mechlin sometimes had an
ornamental net ground called Fond du Neige, and also a ground of
six-pointed Fond Champ, but these kinds were rare. It has always been a
very great favorite with the English, and appears in most of their family
collections of laces. There was a fine collection of this lace at the Paris
Exhibition of 1867 from Turnhout, Belgium, as well as from other lace
manufacturing centers. {53}
[Illustration: Imitation Mechlin.]
[Illustration: Imitation Torchon.]
{54}
MEDICI.--A name for a variety of modern torchon lace, whose distinguishing
peculiarity is the insertion effect, the lace being very like an ordinary
insertion, with the exception of having one edge finished with scallops.
The Medici design is also characterized by plain, close-woven work, the
close work alternating in equal amount with the openwork, the contrast
between them heightening the effect.
MELANGE.--A heavy, black silk lace, distinguished by its mingling of
Spanish patterns with ordinary Chantilly effects. The edge is usually plain
and straight, but is sometimes ornamented with a fine silk fringe.
MIGNONETTE.--A light pillow lace, with an open ground resembling tulle,
made in narrow strips. It was one of the earliest of pillow laces, and
flourished greatly during the sixteenth, seventeenth and eighteenth
centuries. It was made of Lille thread, and the chief places of its
manufacture were Arras, Lille and Paris, in France, and in Switzerland.
{55}
MIRECOURT.--A lace made of detached sprigs upon a net made at the same time
with the pattern. In the seventeenth century it was a French guipure lace
of more delicate texture and varied design than other guipures. Mirecourt,
in the Department of the Vosges, and its environs, were the center of the
industry. The manufacture was begun at an early date, and for centuries
only hempen thread was used, the result being a coarse guipure; but during
the early part of the seventeenth century a finer lace of more delicate
pattern was produced, and it began to be exported in considerable
quantities. Before the union of Lorraine with France, in 1766, there was
less than 800 laceworkers in Mirecourt, but in 1869 the number had
increased to 25,000. During the last century the French demand for this
lace increased far beyond the foreign demand, and it became desirable to
produce a greater variety of pattern. This was done with great success by
imitating the best designs. Another recent improvement at Mirecourt is the
making of application flowers, and though these are not yet as finished as
the Brussels sprigs, they bid fair to supply the French market, so as to
make it to that extent independent of Belgium. The lace made at Mirecourt
is mostly white. The work is similar in process and equal in quality to
that of Lille and Arras.
NANDUTI.--A lace made by the natives of Paraguay, Ecuador and Peru, South
America, from the soft, brilliant fiber of the agave plant. It is made in
silk or thread by a needle on a cardboard pattern. In Peru and Ecuador it
is also needle-made in the form of small squares and united together.
NEEDLE-POINT.--Real lace of any kind worked with a needle, on a parchment
pattern, and not with bobbins or on a pillow. The distinction between
needle-point and bobbin-made, or pillow lace, is also illustrated by the
solid part of the pattern, and also the ground of the former. In
needle-point the solid parts are invariably made of rows of {56} buttonhole
stitches, sometimes closely worked and sometimes with small open spaces
left in the patterns. The "brides" in needle-point consist of one or two
threads fastened across from one part of the pattern to another, and then
closely buttonholed over; it will be found, also, that true needle-point is
made with only one kind of stitch, the looped or buttonhole stitch already
mentioned, and that this is constant amid all varieties of design in this
kind of lace. Pillow lace, on the contrary, has a "toile" made of threads
crossing each other more or less at right angles; its "brides" consist of
twisted or plaited threads, and the "picots" are simple loops, while the
network ground of pillow lace is of far greater variety than that of
needle-point. In all kinds of pillow lace the net groundwork is made by
twisting and plaiting the threads, sometimes in twos and sometimes in
fours. Briefly speaking, the fundamental difference between needle-point
and pillow lace is that the former is made with looped stitches throughout,
while the latter is made with twisted or plaited threads, which last is
really weaving, though it is done with bobbins and the hand instead of with
the loom.
ORIENTAL.--A lace made on the embroidering machine, which by combined
needle and shuttle action produces either simple or complex designs upon
netting. The action of the Schiffli machine somewhat resembles that of a
sewing-machine, and the product is more properly called embroidery than
lace. The openwork effects are produced either by the action of chemicals
upon the foundation material, or by the use of the scissors. The threadwork
results from the combined action of the shuttle and needles. St. Gall,
Switzerland, and Plauen, Saxony, are the chief manufacturing centers for
these laces, which include trimming and border laces, curtains, bed sets,
shams, and the like. In the broad historical sense, Oriental laces and
embroideries refer to the products of the East, especially to the Chinese,
Indian, Japanese, Persian and Turkish. All these were remarkable for the
labor expended upon them, their great cost, and the originality and
boldness of idea and coloring which marked their design. {57}
[Illustration: Real Renaissance.]
[Illustration: Machine Valenciennes.]
{58}
OYAH.--A guipure lace or openwork embroidery, made by means of a hook in a
fashion similar to crochet. The pattern is often elaborate, and in silks of
many colors, representing flowers, foliage, etc. It is sometimes in relief.
PARCHMENT.--Lace in whose manufacture parchment has been used, whether in
the pattern for the worker's guidance, or for stiffening the fabric, as in
Cartisane lace. In old accounts of laces, the term was often applied to
those made on the pillow to distinguish them from needle-point laces, and
it was derived from the pattern on which pillow laces were worked.
{59}
[Illustration: Imitation Point de Venise Combined with Point Gaze.]
{60}
PASSEMENT.--A term applied to the oldest class of pillow laces, at a time
when they were of comparatively simple construction, being little more than
open braids and gimps. This designation was in use until the middle of the
seventeenth century. The word is now applied to a decorative edging or
trimming, especially a gimp or braid. It is an old French word, and in the
country of its origin included in its meaning both lace and embroideries.
It has an interesting literary association, having figured, under the
slightly altered form of "passemens," in a satirical poem published at
Paris in 1661. The poem, which is entitled "La Revolte des Passemens," is
dedicated to Mademoiselle de la Trousse, a cousin of Madame de Sevigne, and
was probably composed by one of her literary friends. It is a protest
against a sumptuary law passed in the previous year to check the lavish
expenditure on laces imported from Venice and Italy, and is interesting as
an account of the best laces of that day, among which are "Pointes de
Genes, de Raguse, de Venise, d'Angleterre et de Flanders," as well as the
"Gueuse" of humbler pretensions. The various laces are supposed to revolt
against the law excluding them from France, and especially from their place
in the exalted society of the court. Mesdames les Broderies--
"Le Poincts, Dentelles, Passemens,
Qui par une vaine despence,
Ruinoient aujourd'hui la France"--
call an indignation meeting. One of them hotly demands what punishment
shall be meted out to the court for such treatment--
"Dites moi je vous prie,
Poincts, dentelles ou broderies,
Qu'aurons nous donc fait a la cour," etc.
Various laces speak their mind freely in reply, but most of them are gloomy
as to the future, while a few try to take a philosophical view of the
situation, and resign themselves to an humbler though still useful fate. An
English lace, "une Grande Dentelle d'Angleterre" answers
"Cet infortune sans seconde
Elle fait bien renoncer au monde
* * * * * *
Pour ne plus tourner a tout vent
Comme d'entrer dans un Convent."
The laces of Flanders are not so submissive as that, being too vain and
ambitious for renunciation of the world and life in a convent, and their
angry opposition starts a little tempest of debate, fierce resolution
alternating with despair. A black lace in hopeless mood hires herself out
with a game merchant, for nets to catch snipe and woodcock. An old gold
lace, in grandmotherly style, tries to comfort the younger ones, by
reminding them of the vanity of the world. She knows all about it--she, who
has dwelt in king's houses. The Flanders laces cry out that rather than
give in they would sooner be sewn to the bottom of a petticoat. Some of the
younger ones declare they must still have amusement, having had so much,
and rather than renounce the world they will {61} seek refuge in the
masquerade shops. The point laces, with the exception of Aurillac, then
resolve to go each to his own country, when suddenly the humble but plucky
Gueuse lace, the lace of the common people, arrives from a village near
Paris and encourages the others to fight it out.
The next morning they all assemble and agree upon a plan of campaign, but
before doing so take stock of their qualifications and prospects. Poinct
d'Alencon has a good opinion of herself; a Flanders lace says she made two
campaigns under the king, as a cravat; another had been in the wars under
the great Marshal Turenne; another was torn at the siege of Dunkirk; and
all had done something worth notice. "What have we to fear?" asked an
English lace. A Poinct de Genes, of rather flabby character, advises the
English lace to go slow. Finally open war is declared, and the laces all
assemble at the fair of St. Germain to be reviewed by General Luxe. The
muster roll is called by Colonel Sotte Depense, and the various regiments
and battalions march forth to victory or death. But they got neither, for
at the first approach of the royal artillery they take to their heels, are
captured and condemned to various punishments.
The gold and silver laces, the leaders of the rebellion, are sentenced to
the fate of Jeanne D'Arc, to be burned alive; the points are condemned to
be made into tinder for the sole use of the King's Musketeers; others are
to be made into cordage or sent to the galleys. But pardon is obtained
through the good offices of cunning little Cupid--"Le petit dieu plein de
finesse," and the rebels are restored to their former position.
The poem illustrates the policy of most European governments at that time,
a policy of excluding foreign manufactures of all kinds; and in the case of
laces, the fear of encouraging wasteful habits among the rich, who offered
a tempting opportunity for royal extortion, was too {62} useful a pretence
to be passed by. But all these efforts were fruitless to discourage the
growth of lacemaking. The passion for beauty in personal adornment would
not down. The engravings of Abraham Bosse, which portray the dress and
manners of that time, humorously depict the despair of the fashionable lady
over the prospect of giving up her laces. She is represented as attired in
plain hemmed linen cuffs, collar and cap of Puritanical severity, bemoaning
her sad fate, in heartbreaking strains, as she sorrowfully packs away her
rich lace-trimmed costumes. Her sadness was not unduly prolonged. Colbert,
the great French statesman, saw that laces would be smuggled if they were
legally prohibited, that the rich would have them at any cost, so he
encouraged foreign lacemakers to come to France, and the manufacture was
thus promoted.
PILLOW.--Lace made on the pillow or cushion, both pattern and mesh being
formed by hand. See Needle-point lace.
PLAITED.--A pillow lace of simple geometrical design, often made of strong
and stiff strands, such as gold thread or fine braid. The pattern, besides
being geometrical in design, is open, and has no grounds. For ordinary
purposes tinsel is used instead of real gold, and the lace is then employed
for theatrical purposes. Historically considered, the plaited laces made of
gold, silver or silk thread, took the place of the Italian knotted laces of
the sixteenth century. Those produced at Genoa and in Spain were the best,
and they are made in Spain to-day, chiefly for church uses. The thread
plaited laces of the seventeenth century were used to trim ruffs and
falling collars, but went out of fashion when flowing wigs came in, as the
latter hid the collar and would not allow ruffs to be worn. At the present
time plaited laces have become known under the name of Maltese and Cluny,
and are made at Auvergne, in France, Malta, and in the English counties of
Bedfordshire and Buckinghamshire. {63}
[Illustration: Real Maltese.]
[Illustration: Real Guipure.]
{64}
PLAUEN.--A name applied to any kind of lace made at Plauen, Saxony, or
elsewhere, upon the embroidering machine, such as Oriental, tulle and
chiffon lace, Point de Venise, Point d'Irlande. Plauen led in the
manufacture of this kind of lace, having begun it in 1881, from which year
dates the importance of that city as a lace market. The manufacture was
gradually developed. Only the tulle variety of embroidery lace was produced
until 1886. The distinguishing feature of this was that the hollow effects
were made by opening the tulle meshes by hand. Then, in 1886, an openwork
process was invented by which chemical action was employed to remove a
woolen or silk foundation from the cotton-embroidered pattern, or a cotton
foundation from a silk embroidery that had been worked on it. This made it
possible to form the pattern by the embroidery machine in the same way as
in the case of ordinary embroidery. The wool foundation, which is necessary
to be removed in finishing the goods, is dissolved by the action of certain
chemicals without changing the cotton or silk pattern. In this way the most
difficult and complicated patterns of real lace can be imitated. Plauen
manufacturers have for the most part taken the old and costly hand-made
laces of former times for their models; but they have also originated new
and tasteful designs from time to time.
POINT APPLIQUE.--Point lace whose design is separate from the net ground,
to which it is afterward applied. At the present time the net ground is
usually machine-made. The word "point," however, in this connection, is of
variable application, sometimes signifying Point Applique, and sometimes
denoting lace, whether pillow or needle-point; that is, worked in sprays
and laid upon a machine-net ground. (See Application lace.)
POINT D'ALENCON.--See Alencon.
POINT D'ANGLETERRE.--See English Point.
POINT DE GAZE.--A very fine, gauze-like lace, made entirely with the {65}
needle and grounded with its own net. Point de Gaze is the result of an
attempt of the Brussels lacemakers to return to the best early traditions
of needle-point. Point de Gaze differs, however, from the finest old
needle-point in certain respects, partly necessitated by modern taste in
design, and partly from the need of great economy in labor costs. For
example, the execution is much more open and delicate than in the early
lace of this description, but this very delicacy and slightness are made
use of to produce a very elegant effect. Part of the toile, or substance of
the pattern, is made in close and part in open stitch, giving an appearance
of shading, and the open parts are very tastefully ornamented with dots.
The result does not in all respects equal the softness and richness of the
early lace, but if Point de Gaze seems thin and loose in comparison, and if
the patterns seem less ideally beautiful, nevertheless the later work has a
unique lightness and delicacy to which the earlier lace did not attain. It
certainly is the most etherial and delicately beautiful of all point laces.
Its forms are not emphasized by a raised outline of buttonhole stitching,
as in Point d'Alencon and Point d'Argentan, but are simply outlined by a
thread.
POINT DE GENE.--A name at present applied to a species of lace made both in
cotton and silk at St. Gall and Plauen, and recognized by its regular net
ground and large, open patterns in heavy stitchwork. It is a popular
trimming for women's dresses. Point de Gene, or Genes, was originally one
of the laces made at the city of Genoa and in the surrounding country
during the seventeenth century, both the pillow and needle laces made there
being deservedly famous. Gold and silver thread and gold wire were used in
the manufacture of the earliest needle-point laces at Genoa, and the gold
wire was drawn out in exact imitation of the early Greek method. One of the
best Genoese laces resembles the early Greek points in patterns. There was
also a guipure lace, made from aloe fiber, as well as the knotted lace now
{66} known as Macrame. The last named is the only lace at present made in
Genoa, and along the seacoast.
POINT D'ESPRIT.--A term applied to a small oval or square figure, peculiar
to certain varieties of early guipure, and ordinarily composed of three
short lengths of parchment or cord, placed side by side and covered with
thread. These oval or square figures were most commonly arranged in the
form of rosettes. At present the term Point d'Esprit denotes a much smaller
solid or mat surface, used to diversify the net ground of some laces. It is
in the form of small squares that set at close and regular intervals. In
standard histories of lace the term is also used as synonymous with
embroidered tulle, made in Brittany, Denmark and around Genoa.
POINT D'IRLANDE.--A coarse, machine-made imitation of real Venetian point
lace. It is popular for dress trimmings, and is manufactured in a great
variety of widths in cotton and silk. It has no net ground, the patterns
being united by brides.
POINT DE MILAN.--A guipure lace with a small mesh ground, and the pattern
distinguished by striking scroll designs. The flowers in the pattern of
hand-made Point de Milan are flat, and have the appearance of having been
wrought in close-woven linen. Milan point was made at the city of that name
in 1493. Gold and silver thread were first used, but the Milan points were
finer than these, and fully equal to the best Spanish and Venetian points.
POINT DE PARIS.--Originally a narrow pillow lace, resembling Brussels. The
term is now generally applied to a machine-made cotton lace of simple
pattern and inferior quality. In its making a design whose figures, such as
flowers and leaves, are outlined with a heavy thread, is worked upon a net
ground. Point de Paris is distinguished by the net, which is hexagonal in
form.