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CHATS ON OLD LACE AND NEEDLEWORK
by
MRS. LOWES
* * * * *
BOOKS FOR COLLECTORS
_With Frontispieces and many Illustrations Large Crown 8vo, cloth._
CHATS ON ENGLISH CHINA.
By Arthur Hayden.
CHATS ON OLD FURNITURE.
By Arthur Hayden.
CHATS ON OLD PRINTS.
(How to collect and value Old Engravings.)
By Arthur Hayden.
CHATS ON COSTUME.
By G. Woolliscroft Rhead.
CHATS ON OLD LACE AND NEEDLEWORK.
By E. L. Lowes.
CHATS ON ORIENTAL CHINA.
By J. F. Blacker.
CHATS ON OLD MINIATURES.
By J. J. Foster, F.S.A.
CHATS ON ENGLISH EARTHENWARE.
By Arthur Hayden.
CHATS ON AUTOGRAPHS.
By A. M. Broadley.
CHATS ON PEWTER.
By H. J. L. J. Massé, M.A.
CHATS ON POSTAGE STAMPS.
By Fred. J. Melville.
CHATS ON OLD JEWELLERY AND TRINKETS.
By MacIver Percival.
CHATS ON COTTAGE AND FARMHOUSE FURNITURE.
By Arthur Hayden.
CHATS ON OLD COINS.
By Fred. W. Burgess
CHATS ON OLD COPPER AND BRASS.
By Fred. W. Burgess.
CHATS ON HOUSEHOLD CURIOS.
By Fred. W. Burgess.
CHATS ON OLD SILVER.
By Arthur Hayden.
CHATS ON JAPANESE PRINTS.
By Arthur Davison Ficke.
CHATS ON MILITARY CURIOS.
By Stanley C. Johnson.
CHATS ON OLD CLOCKS AND WATCHES.
By Arthur Hayden.
CHATS ON ROYAL COPENHAGEN PORCELAIN.
By Arthur Hayden.
LONDON: T. FISHER UNWIN, LTD.
NEW YORK: F. A. STOKES COMPANY
* * * * *
[Illustration: Mary Sidney, Countess of Pembroke.]
MARY SIDNEY, COUNTESS OF PEMBROKE.
Born about 1555. Died 1621.
Buried at Salisbury Cathedral.
Painted probably by MARC GHEERAEDTS.
"Underneath this sable hearse
Lies the subject of all verse.
Sidney's sister, Pembroke's mother.
Death! ere thou hast slain another
Fair and learn'd and good as she,
Time shall throw a dart at thee!"
CHATS ON OLD LACE AND NEEDLEWORK
by
MRS. LOWES
With 76 Illustrations
London
T. Fisher Unwin, Ltd.
Adelphi Terrace
First Impression 1908
Second Impression 1912
Third Impression 1919
[All rights reserved.]
PREFACE
This little book has been compiled to emphasise and accentuate the
distinct awakening of English women and Needlecraft Artists to the
beauty of the ancient laces and embroideries which we own in the
magnificent historic collections in our great public Museums.
We are fortunate in possessing in the Victoria and Albert Museum
monumental specimens of both lace and needlework. Among the sumptuous
lace collection there are most perfect specimens of the art of
lace-making, and priceless pieces of historic embroidery made when
England was first and foremost in the world in the production of
Ecclesiastical embroidery.
The lace collection particularly, without compare, is illustrative of
all that is best in this delightful art, being specially rich in
magnificent pieces that can never be again obtained. These have mostly
been given, or left as legacies, to the Museum by collectors and
enthusiasts who have made this fascinating hobby the quest of their
lives. In addition to the collection formed by the generosity of the
donors, the authorities have exercised a very catholic judgment in
selecting the choicest and most illustrative examples of the
lace-maker's craft.
In the section devoted to embroideries, more particularly English (as it
is with our own country's needlework I propose to deal), nothing more
glorious in the Nation's art records can be found than the masterpieces
of embroidery worked by the great ladies, the abbesses and nuns of the
Mediæval period. In almost every other branch of art England has been
equalled, if not excelled, by Continental craftsmen; but in this one
instance, up to the Reformation, English work was sought after far and
wide, and as _opus Anglicum_ formed part of church furnishing and
priestly vestments in every great cathedral in Italy, Spain, and France.
It cannot be too soon realised that, as with old furniture, porcelain,
and silver, much of the finest embroideries of England, and a vast
quantity of the ancient laces of Italy, France, and Belgium are being
slowly but surely carried off to the New World. American dollars are
doing much to rob not only the Old Country of the fairest flowers of her
garden, but the Continent of their finest and best examples of the
genius of the past. The Vanderbilts and the Astors, among others,
possess immense fortunes in lace, whilst that omnivorous collector Mr.
J. Pierpont Morgan gives fabulous sums for any fine old relic of
embroidery. Many pieces of both classes of needlecraft have found a
permanent home in the Metropolitan Museum of New York, and are lost for
ever to the English student.
It is, therefore, a pleasant duty to add my little quota of information
to the study of these fascinating and exquisite branches of fine art
which so specially appeal to all women by their dainty grace and
delightful handicraft. I hope I may arouse some little enthusiasm in my
countrywomen in the study of the past glories of both subjects, and in
the possibility of once again becoming first and foremost in the latter
branch.
I beg to acknowledge the pleasure and help I have received from the
perusal of the late Mrs. Bury Palliser's exhaustive "History of Lace,"
and Lady Alford's "History of Needlework," and Dr. Rock's invaluable
books on "Ecclesiastical Embroidery."
EMILY LEIGH LOWES.
HILLCREST,
BRIXTON HILL,
S.W.
BIBLIOGRAPHY
LACE.
The History of Lace. 1 vol. Mrs. Bury Palliser. Sampson,
Marston & Low. 1865. £2 2s.
Dentelles and Guipures. 1 vol. E. Lefebure. Grevil. 1888.
Ancient Needlepoint and Pillow Lace. Alan Sumnerly Cole.
London. 1873.
The Queen Lace Book. London. 1874.
Of Lace. Alan Sumnerly Cole. 1893.
Point and Pillow Lace. A. M. Sharp. George Newnes & Co. 7s. 6d.
Venice and Burano. Ancient and Modern Lace. M. Jesuram. Venice.
1883.
The History of Handmade Lace. Mrs. Jackson. Upcott Gill & Son.
1900. 18s.
Seven Centuries of Lace. Mrs. Hungerford-Pollen. 1st vol.
issued 1908.
NEEDLEWORK.
Textile Fabrics. Dr. Daniel Rock. South Kensington Handbook
Series. 1876. 1s.
Needlework as Art. Lady Marion Alford. London. 1886. £4 4s.
English Embroidery. A.F. Kendrick. George Newnes & Co. 7s. 6d.
Art in Needlework. Day & Buckle. Batsford. 7s. 6d.
CONTENTS
PAGE
PREFACE 7
BIBLIOGRAPHY 10
OLD LACE
CHAPTER
I. A BRIEF HISTORY OF LACE 21
II. THE ART OF LACE-MAKING 33
III. THE LACES OF ITALY 45
IV. THE LACES OF GENOA AND MILAN 57
V. THE LACES OF FRANCE: NEEDLEPOINT 69
VI. THE LACES OF FRANCE: PILLOW 85
VII. THE LACES OF FLANDERS 99
VIII. MODERN BRUSSELS AND MECHLIN 119
IX. OTHER CONTINENTAL LACES 131
X. A SHORT HISTORY OF LACE IN ENGLAND 139
XI. ENGLISH LACES 155
XII. SCOTCH AND IRISH LACE 169
XIII. HOW TO IDENTIFY LACE 179
XIV. SALE PRICES 199
NEEDLEWORK
CHAPTER PAGE
I. OLD ENGLISH EMBROIDERY 205
II. THE GREAT PERIOD 217
III. ECCLESIASTICAL EMBROIDERIES AND VESTMENTS 229
IV. TUDOR EMBROIDERIES 245
V. EARLY NEEDLEWORK PICTURES AND ACCESSORIES 253
VI. STUART CASKETS AND MIRROR 267
VII. EMBROIDERED BOOKS AND "BLACK WORK" 275
VIII. STUART PICTURES 289
IX. SAMPLERS 305
X. THE WILLIAM AND MARY EMBROIDERIES 317
XI. PICTORIAL NEEDLEWORK OF THE EIGHTEENTH CENTURY 331
XII. NEEDLEWORK PICTURES OF THE NINETEENTH CENTURY 347
XIII. EMBROIDERY IN COSTUME 355
XIV. SALE PRICES 365
XV. CONCLUSION 373
INDEX--OLD LACE 381
NEEDLEWORK 384
LIST OF ILLUSTRATIONS
MARY SIDNEY, COUNTESS OF PEMBROKE _Frontispiece_
OLD LACE PAGE
EGYPTIAN CUT AND DRAWN WORK 20
OLD ITALIAN "CUTWORKE" 20
EARLY ENGLISH SAMPLERS 23
ORIGINAL PATTERNS BY VINCIOLA 27
ORIGINAL DESIGNS OF RETICELLA EDGINGS BY VINCIOLA 31
CHART OF NEEDLEPOINT RÉSEAUX 36
CHART OF PILLOW RÉSEAUX 39
VENETIAN ROSE POINT 43
VENETIAN ROSE POINT COLLAR 48
EXAMPLES OF FLAT VENETIAN POINT 51
MARIE DE MEDICIS WEARING VENETIAN POINT COLLAR 52
EXAMPLE OF GROS POINT DE VENICE 55
LOUIS XIII. WEARING GENOESE COLLAR LACE 60
GENOESE COLLAR LACE 63
MILANESE LACE 67
OLD ITALIAN AND FRENCH LACES AND CUT AND DRAWN WORK 72
"POINT DE FRANCE" 75
POINT D'ALENÇON 76
"POINT DE FRANCE" AND D'ARGENTELLA 79
POINT D'ARGENTAN AND POINT D'ARGENTELLA 83
VALENCIENNES 88
"LILLE" 91
EMPRESS EUGENIE WEARING BLONDE LACE 95
POINT D'ANGLETERRE 102
POINT D'ANGLETERRE LAPPET 105
BRUSSELS LACE 109
BRUSSELS LAPPET 113
COMTESSE D'ARTOIS WEARING BRUSSELS LACE 117
MARIE ANTOINETTE 122
MECHLIN LAPPET 125
MARIE ANTOINETTE WEARING MECHLIN LACE 129
"DUCHESSE" LACE 135
QUEEN ELIZABETH WEARING VENETIAN POINT RUFF AND CUFFS 141
EDMUND SPENSER: COLLAR TRIMMED WITH RETICELLA 145
RETICELLA FALLING COLLAR 149
COLLAR OF GROS POINT 153
OLD BUCKINGHAM AND EARLY DEVONSHIRE LACES 159
OLD HONITON LACE 163
MODERN HONITON LACE 167
LIMERICK "FILLINGS" 173
CARRICK-MA-CROSS LACE 177
RETICELLA WITH GENOA BORDERS 182
POINT D'ANGLETERRE 185
ITALIAN ECCLESIASTICAL LACE 189
BRUSSELS LAPPET 193
"POINT DE GAZE" 197
NEEDLEWORK
EGYPTIAN EMBROIDERY 208
BAYEUX TAPESTRY 211
KING HAROLD FROM BAYEUX TAPESTRY 215
FRAGMENT FROM THE "JESSE" COPE 221
THE "SYON" COPE 225
THE STEEPLE ASTON ALTAR FRONTAL 232
THE "NEVIL" ALTAR FRONTAL 235
DIAGRAM SHOWING USE OF VESTMENTS 239
SET OF ECCLESIASTICAL VESTMENTS 243
EARLY "PETIT POINT" PICTURE 256
EARLY "PETIT POINT" PICTURE 259
STUART GLOVE 263
STUART MIRROR FRAME 271
STUART BOOK COVER 278
QUEEN ELIZABETH'S POCKET-BOOK 281
"BLACK WORK" CAP 285
EMBROIDERY PORTRAIT OF KING CHARLES I. 293
STUMP-WORK PICTURE 297
"PETIT POINT" PICTURE WORKED ON SATIN 301
A SEVENTEENTH CENTURY "SAMPLER" 309
EARLY ENGLISH "SAMPLER" 313
JACOBEAN HANGINGS 319
ENLARGEMENT OF SPRAY FROM HANGINGS 323
QUEEN ANNE PICTURE 327
EARLY GEORGIAN PICTURE 334
"THE LAST SUPPER" 337
EIGHTEENTH CENTURY SILK EMBROIDERED PICTURE 341
BLACK SILK AND HAIR PICTURE 345
A "GAINSBOROUGH" PICTURE 361
I
A BRIEF HISTORY OF LACE
[Illustration: EGYPTIAN CUT AND DRAWN WORK.
Found in a tomb in Thebes.]
[Illustration: OLD ITALIAN "CUTWORKE."
(_Author's Collection._)]
CHATS ON OLD LACE
I
A BRIEF HISTORY OF LACE
Early vestiges in Egypt--Lace found in St. Cuthbert's Tomb (685
A.D.)--Drawn Thread and Cutworks--Venetian Lace--Flanders
Lace--French Laces--English Lace.
In every other art or craft we can search the history of ages and find
some vestiges or beginnings among the earlier civilisations. Possibly
owing to the exquisite fragility of Lace, there is a complete absence of
data earlier than that of Egypt. The astonishing perfection in art
handicrafts of all descriptions which we find in China many hundreds of
years before the Christian era shows no vestiges of a manufacture of
lace; but, in the tombs of ancient Egypt, garments have been discovered
with the edges frayed and twisted into what we may call a primitive
lace, and in some of the Coptic embroideries threads have been drawn out
at intervals and replaced with those of coloured wools, making an
uncouth but striking design. Netting must have been understood, as many
of the mummies found at Thebes and elsewhere are discovered wearing a
net to hold or bind the hair; and also, a fine network, interspersed
with beads, is often discovered laid over the breast, sometimes having
delightful little blue porcelain deities strung amongst their meshes.
These early vestiges, however, are in no way representative of the later
exquisite fabrics which we now know and recognise as Lace. Far nearer to
them, as an art, are the early gold and silver laces of simple design
found amongst the tombs of Mycenæ and Etruria, and those of a later
date--_i.e._, the laces of gold used to decorate the vestments of the
clergy, and the simple but sumptuous gowns of the Middle Ages. Along
with the stole and maniple of St. Cuthbert, which are now at Durham
Cathedral, was found a piece of detached gold lace, which must have
formed a separate trimming. St. Cuthbert died in 685 A.D., and was
buried at Lindisfarne, his body being afterwards transferred to Durham
to save it from the desecration of the Danes who were ravaging the land.
Over the body was a cloth, or sheet, which was worked in cutworks and
fringes, showing that even at so early a date initial efforts at
lace-making had been attempted.
[Illustration: EARLY ENGLISH SAMPLERS, SHOWING CUT AND DRAWN WORK.
(_S.K.M. Collection._)]
As far as we can gather, the earliest endeavour at lace-making
originated with the drawing of threads in linen fabrics, then dividing
the existing threads into strands, and working over them, in various
fanciful designs, either with a buttonhole stitch or simply a wrapping
stitch. Exactly this method is used at the present day, and is known
as hem-stitching and fine-drawing. A later development suggested,
apparently, cutting away of some of the threads, their place being
supplied with others placed angularly or in circles. Many delightful
examples of the work are to be seen in our Old English samplers of the
sixteenth and seventeenth centuries, and even so recently as thirty
years ago specimens of this primitive and early lace-making were to be
seen in the quaint "smock-frock" of the English farm labourer, a garment
which, though discarded by the wearer in favour of the shoddy products
of the Wakefield looms, is now deemed worthy of a place in the
collector's museum.
It required little effort of fancy and skill, by the simple process of
evolution and survival of the fittest, to expand this plan of cutting
away threads and replacing them with others to doing away _entirely_
with existing and attached threads, and supplying the whole with a
pattern of threads laid down on some geometric fashion on a backing of
parchment, _working over_ and _connecting_ the patterns together, and
afterwards liberating the entire work from the parchment, thereby making
what was known at the time as "punto in aria," or working with the
needle-point in the air, literally "_out of nothing_."
Strange as this may appear, this was the origin, in the fifteenth
century, of the whole wonderful fabric which afterwards became known as
"Point lace," which altered and even revolutionised dress, made life
itself beautiful, and supplied the women of Europe with a livelihood
gained in an easy, artistic, and delightful manner. It also, however,
led to ruinous expenditure in every country, at times requiring special
edicts to restrain its extravagance, and even the revival of the old
Sumptuary laws to repress it.
The earliest known lace, and by far the most popular with all classes,
was "Reticella," which was the first kind evolved on the "punto in aria"
principle. Until the discovery of an easy and simple way of decorating
the linen ruffs and cuffs of the period these had been quite plain, as
many contemporary portraits show. Afterwards the fashion of trimming
garments of all descriptions with the pointed wiry edges of Venice
became a mania, and led to imitation in almost every country of Europe.
The convents turned out an immense quantity, thereby adding enormously
to the incomes of their establishments. It is assumed that it is to the
nuns of Italy we owe the succeeding elaboration of Reticella,
"Needlepoint," the long, placid hours spent in the quiet convent
gardens, lending themselves to the refinement and delicacy which this
exquisite fabric made necessary. However this may be, it is certain that
in a few years the rise and development of Needlepoint lace-making was
little short of phenomenal, and every convent was busy making it and
teaching their poorer lay sisters the art. Some of the wonderful Old
Point of this period is absolutely finer than the naked eye can see, a
powerful magnifying glass being necessary to discern how the marvellous
"toile" or "gimpe" is made.
[Illustration: ORIGINAL PATTERNS DESIGNED BY VINCIOLA.
Seventeenth Century.]
A little later, but still contemporary with the introduction of Venetian
lace, a Pillow lace was being made in Flanders, the origin of which
is not as yet discovered. It is possible that the fine flax thread grown
and manufactured there may, at the time of weaving, have suggested a
looser and more ornamental material, but that remains a matter of
conjecture. There must, however, have been an interchange of examples,
as about this time Pillow-made lace appeared in Italy, and led to the
making of the Milanese and Genoese varieties, and Needlepoint motifs
appeared amongst the woven network of Flanders.
Lace, under the name of "Lacis," had been known in France from the time
of Catherine de Medici, who patronised the manufacturers and used it
lavishly. About 1585 she induced Federico di Vinciolo, a lace-maker and
designer of Venice, to settle in France, and there the making of
Venetian lace was attempted. A mere slavish imitation of the Venetian
school resulted, and it was not until the age of the _Grande Monarque_,
Louis XIV., that French lace rivalled that of Venice.
Colbert, the great French Minister, becoming alarmed at the enormous
sums spent on Italian lace, determined to put a check to its
importation; and, by forbidding its use, establishing lace schools near
Alençon, and bribing Italian workers to come over as organisers and
teachers, started the manufacture of lace on an extensive scale, the
beautiful fabrics known as Point d'Alençon, Point d'Argentan, and Point
d'Argentella being the result. It is frequently said that the last-named
lace came from Genoa or Milan, but most of the present-day authorities
agree that this is one of the many fairy tales with which the passing of
time has adorned the history of lace.
The persecution of the Protestants when the Huguenots fled to England,
bringing with them their arts of silk-weaving and lace-making, led to
the introduction of English lace. Devonshire apparently received a
contingent of laceworkers quite distinct from those who settled in
Buckinghamshire and Bedfordshire, and from the first stages showed far
finer methods and designs. With the exception of "Old Honiton," England
cannot boast of anything very fine, and even this is merely a
meaningless meandering of woven tape-like design for the greater part.
The lace of Buckinghamshire ranks, perhaps, lowest in the scale of lace
products, its only merit being its extreme durability.
The laces of Ireland are of comparatively recent growth, and though in
many instances exquisitely fine, do not as yet show much originality.
[Illustration: ORIGINAL PATTERNS DESIGNED BY VINCIOLA.]
II
THE ART OF LACE-MAKING
[Illustration: NEEDLEPOINT RÉSEAUX.
No. 1.--Brussels.
No. 2.--Alençon.
No. 3.--Argentan.
No. 4.--Argentella.]
II
THE ART OF LACE-MAKING
Needlepoint--Pillow Laces--Charts of various Réseaux--Technical
Terms.
Lace-making naturally falls into two classes--the Needlepoint and Pillow
varieties. In some laces, more especially of the Belgian class, there is
a _mixed_ lace, the "toile" or pattern, being worked with the needle,
and the ground, or "réseau," made round it on the pillow and _vice
versâ_.
To the first-named class we must assign the Needlepoint laces of Italy
and the exquisite handmade laces of France. To the latter order belong
the early Macramé lace, called "Punto a Groppo"; the Genoese and
Milanese laces of Italy; Mechlin and Brussels of Belgium; Valenciennes,
Lille, and Chantilly of France; and the English laces of Honiton,
Buckinghamshire, and Bedfordshire.
Pillow lace may be easily distinguished from Point lace, as in the
former the ground, or réseau, is made of plaited threads. That of Point
lace is composed of threads made by the use of the buttonhole stitch
only, or, in the case of Alençon point, the mesh is worked in a special
manner. The later laces, _i.e._, those made during the last hundred
years, have frequently a ground of machine lace, and thus, strictly
speaking, are not lace at all, but only embroideries or appliqués. The
machine-made ground can be distinguished by sense of touch alone. If we
take a piece of hand-made net between the finger and thumb and slightly
roll it, it will gather in a soft little roll, with the touch almost of
floss silk. The machine-made net is hard, stiff, and wiry, and remains
perceptibly so in this test. Also, the mesh of machine-made lace is as
regular as though made with a fine machine fret-saw, that of hand-made
lace being of varying sizes, and often following the pattern of the lace
design.
The accompanying diagram illustrates the various grounds, and will
prove an infallible guide in distinguishing the points of difference
between Point and Pillow lace.
Various special and technical terms are used in describing the method of
making lace. Without burdening the reader too much, a few special terms
must be explained.
_Brides_ (literally "bridges").--These are the connections between the
various parts of a lace design, both in Needle-point and Bobbin lace. In
the former, they are made entirely of a strand or two of thread thrown
across, and then buttonholed over, sometimes with tiny loops on the
edges, and in Venetian lace often having minute stars worked upon them.
[Illustration: PILLOW RÉSEAUX.
No. 1.--Valenciennes.
No. 2.--Brussels.
No. 3.--Lille.
No. 4.--Mechlin.]
_Beading._--A tiny looped edge used to finish woven or Pillow-made lace.
_Bobbins._--One of the essential parts of a Pillow worker's outfit.
These are small, elongated bobbins made of ivory, bone, or wood, on
which is wound the lace-maker's thread. Sometimes they have been made
very ornamental with carving and other decorations, and frequently have
"gingles," or a bunch of coloured beads attached to one end. The terms
"Bobbin lace" and "Bone lace" are derived from these and are synonymous
with "Pillow lace."
_Cordonnet._--In most _Point_ laces the design is outlined with a raised
_cord_ either worked over closely with buttonhole stitches, or made
separately and then stitched down. The Cordonnet is one of the
characteristic features of the raised Venetian points and the French
laces of Alençon or Argentan.
_Couronnes._--These are decorations of the Cordonnet especially
noticeable in the raised Venetian laces, in which sometimes the lace is
raised and worked upon no less than four separate times.
_Dentelé._--Lace designed in scallop-form, chiefly used for border
laces.
_Fillings._--This word most easily explains the ordinary terms of
"modes" and "à jours." The inner parts of the pattern in Needlepoint and
Pillow lace are filled in with various ornamental stitches, showing an
amazing variety of design. By these fillings various laces may often be
distinguished, as each factory had its favourite "modes."
_Grounds._--There are two varieties of grounds, one made with Brides,
and the other either with Needlepoint or Pillow network. Other names
for these are "Réseaux" and "Fonds." The method of making Needlepoint or
woven ground often decides the date and class of the lace.
_Guipure._--Literally a _tape lace_. The name however is applied to all
Pillow laces having a tape-like design on them.
_Picots._--The little loops used to ornament a plain bride or tie.
[Illustration: VENETIAN ROSE POINT.
(_S.K.M. Collection._)]
III
THE LACES OF ITALY
[Illustration: VENETIAN ROSE POINT.
Seventeenth Century. (_Author's Collection._)]
III
THE LACES OF ITALY
_The Venetian Laces_
Venetian lace--"Rose Point"--"Point de Neige"--"Gros
Point"--"Punto Tagliato a Foliami"--The South Kensington
Collection.
Needlepoint lace is made with needle and thread and principally in
buttonhole stitches. A traced parchment pattern is procured, the outline
made with a solitary thread stitched down to the parchment at frequent
intervals. The thread is then worked over with fine buttonhole stitches;
the modes or fillings have a fine network of threads stretched across,
afterwards being buttonholed into a variety of designs. The edges are
then again worked upon with loops or picots, and in "Rose Point" tiny
stars or roses are worked on suitable parts of the design, sometimes the
"roses" or "stars" being three in numbers, one poised upon the other.
This is known as "Point de Neige" the whole surface of the lace being
literally sprinkled with tiny stars somewhat representing a fine
snowfall. The design is then connected with fine "brides," these in
their turn being dotted and purled with stars and loops. Most of this
exquisite lace requires a powerful magnifying-glass to discern the
intricacy of the work.
The finest lace of this variety was produced in the sixteenth century,
the designs being bold, handsome, and purely Renaissance in type. That
of the Louis Quatorze period shows the personal influence of his reign,
frequently having tiny figures worked in the design. A collar in my
possession has the Indian worshipping the sun (the King's glory was said
to rival that of the sun) repeated in each scallop. This was a favourite
design in the magnificent "Point de France" which was made during the
long reign of Louis, under the management of Colbert.
It is absolutely certain that the laces known as Venetian Point
originated in Italy. Pattern books still exist showing how the early
Reticella developed into this magnificent lace. In the National Library
at the South Kensington Museum, may be seen the very patterns designed
by Vinciolo, Vicellio, and Isabella Parasole. These publications
actually came from Venice, and being reproduced in France, Germany,
Belgium, and England, quickly aroused immense enthusiasm, and
lace-making spread far and wide, at first all other laces being mere
imitations of the Venetian.
[Illustration: CORALLINE POINT (VENETIAN).]
[Illustration: POINT PLAT DE VENISE (FLAT VENETIAN).
(_Author's Collection._)]
[Illustration: MARIE DE MEDICIS WEARING THE MEDICIS COLLAR TO DISPLAY
VENETIAN LACES.]
The chief varieties of the Venetian laces are known as Rose Point, Point
de Neige, Gros Point de Venise (often erroneously attributed to Spain
and called Spanish Point), and Point Plat de Venise. A much rarer
variety is "Venetian point à réseau," which is the flat point worked
round with a Needlepoint ground or mesh, the network following no proper
order but being simply worked round the pattern and following its
curves.
The chief characteristics of Venetian lace are the buttonhole Cordonnet,
fine or thick according to the style of lace; the wonderful diversities
of the fillings worked in buttonhole stitches; the elaborate decoration
of the Cordonnet; and the starry effects of the brides or ties. In the
flat Venetian Point there is no Cordonnet.
These Italian laces were admired and purchased by all the European
countries, and the cities of Venice and Florence made enormous fortunes.
The fashions of the day led to their extensive use, Marie de Medicis
introducing the Medici collar trimmed with Venetian points specially to
display them. At a little later period the collar became more falling
and the heavier "Gros point" was used. Men and women alike wore
lace-trimmed garments to an excessive degree, the collar and cuff
trimmings being composed of wide Venetian lace and the silken scarf worn
across the body being edged with narrower and finer lace.
The principal designs for the Venetian lace of all periods were scrolls
of flowers conventionalised in the Renaissance taste of the time. The
generic name for all laces of the finest period is "Punto tagliato a
foliami." The laces of this time are now almost priceless. They are
genuine works of art, worked slowly and patiently under the clear light
of the Italian skies by women who were naturally artistic and beauty
loving, and who, while working the shining needle and fairy thread in
and out of the intricacies of the design sang the pretty "Lace Songs"
which may be heard at the Burano Lace School even now, although 200 or
300 years old. Many specimens of this exquisite lace are to be found in
the South Kensington Museum, where the flounce given by Mrs. Bolckow at
once explains the whole scheme of Venetian lace-making.
Such lace is not to be purchased now except at great price. The piece
illustrated, see page 55, was only 1-1/8 yards in length, and was sold
for £145 by one of our leading lacemen. Barely 5 yards of Venetian lace,
only 2 inches wide and _in rags_, was sold at Debenham & Storr's in
August, 1907, for £60; and even the smallest collar or a pair of cuffs
runs well into £10.
Even in the days of its manufacture this lace commanded high prices. In
the inventory of Queen Elizabeth's gowns we find such entries as--
"To 1 yard Double Italian Cut-worke, 1/4 yd. wide. 55/4.
" 3 yds. broad needlework lace of Italy, with purls. 50/- per yd."
James II. paid £29 for a cravat.
[Illustration: VERY FINE EXAMPLE OF "GROS POINT DE VENISE."]
IV
THE LACES OF GENOA AND MILAN
[Illustration: LOUIS XIII. OF FRANCE, SHOWING VANDYKE LACE COLLAR AND
NARROWER LACE ON SCARF.]
IV
THE LACES OF GENOA AND MILAN
Argentella wrongly called Italian--Genoese--Mixed
laces--Milanese--Macramé.
These are mostly Pillow laces, but fine Point laces were also
manufactured in these towns. In the first-named town it is said that the
lace called "Argentella" was made, but this is extremely doubtful, most
authorities arguing that it was certainly a French lace made at the best
period.
A very representative lace of Genoa is known as collar lace, very widely
used for the falling collars of the Vandyke period. It was an
exceedingly beautiful and decorative lace, and almost indestructible.
Specimens of this lace can even now easily be secured at a fair price.
The laces known as "Pillow Guipure" are somewhat open to question, the
authorities at South Kensington Museum agreeing to differ, and labelling
most of the specimens "Italian or Flemish." The finer pieces of this
type of lace may safely be described as "Flemish," as the flax-thread
grown and made in Flanders was much finer than that grown in the
Southern Countries.
Much of the Genoa lace was worked in what we term "mixed lace," the
design being woven on the pillow, and the ground and fillings worked in
with the needle either in a network or by brides and picots. A much
inferior kind is made with a woven braid or tape, the turns of the
pattern being made in twisted or puckered braid, much after the style of
the handmade Point lace made in England some thirty years ago. This lace
was known as "Mezzo Punto," though the French were discourteous enough
to term it "Point de Canaille," as undoubtedly it was an imitation of
the finer laces made in a loose, poor style.
The lace of Milan is unquestionably the most beautiful of the Pillow
laces of Italy. While resembling the plaited lace of Genoa, there is
more individuality about it. Much of this fine lace was worked for
church vestments and altar cloths. Various heraldic devices are
frequently introduced, surrounded with elegant scroll designs, the whole
being filled up with woven réseau, the lines of which are by no means
regular, but are made to fill in the interstices.
Yet another Italian lace is known as
_Punto a Groppo, or Macramé_.
No doubt this was the earliest form of woven lace, and, indeed, it may
claim an origin as early as the first garments worn by mankind. In the
earliest remains of antiquity a _fringe_ often decorates the edges of
garments, curtains, and floor-covering, and seems to be a natural and
fitting finish to what would otherwise be a hard, straight line. In
the various Assyrian and Egyptian monuments this is noted again and
again.
[Illustration: GENOESE LACE.
Sixteenth or Seventeenth Century.
(_S.K.M. Collection._)]
Some of the sixteenth-century pieces which we possess show simply an
elaboration of the knotted fringe, while much of the later work is
exceptionally fine. The work is so well known, owing to its revival
during the last thirty years in a coarse form, that it needs little
description. Its use, even at its best period, was confined to household
use, for which purpose it seems particularly adapted.
[Illustration: MILANESE LACE.
(_Author's Collection._)]
V
THE LACES OF FRANCE
[Illustration: "CUT-WORKE."]
[Illustration: LACIS.]
[Illustration: OLD ITALIAN AND FRENCH CUT AND DRAWN WORK AND "LACIS."
(_Author's Collection._)]
V
THE LACES OF FRANCE
_The Needlepoint Laces of France_
Catherine de Medici's collection of "Lacis"--Establishment of
lace-making by Colbert--"Point de France"--"Point
d'Alençon"--"Point d'Argentan"--Modern reproduction of these at
Burano, Italy.
France in the sixteenth century, as always, led the van of fashion. Lace
appears to have been extensively used long before its apotheosis at the
Court of Louis le Grand, otherwise Louis XIV. Catherine de Medici
patronised the manufacture of "_Lacis_," which was merely darned
netting, more or less fine. At this time "Lacis" and "Cut-worke" were
practically all that was known or used. Bed-hangings, curtains, and
furniture-coverings were covered with alternate squares of lacis and
cutwork. Afterwards the Reticella laces of Italy were imported and had
an immense vogue, but it was not until the artistically glorious time of
Louis XIV. that an attempt was made to encourage a manufacture of French
laces.
Colbert, the astute Minister of Louis XIV., became alarmed at the
immense sums of money which went out of the country to purchase the
laces of Venice, and, by means of bribing the best workers of the
Venetian schools, he induced them to settle at L'Onray, near Alençon. In
1665 he had so far succeeded that lace rivalling that of Venice was
being produced. The Venetians became alarmed in their turn (as, indeed,
they had need to be) and issued an edict, ordering the lace-workers to
return forthwith, or, failing this, the nearest relative would be
imprisoned for life, and steps would be taken to have the truant
lace-worker _killed_. If, however, he or she returned, complete
forgiveness would be extended, and work found them _for life_ at
handsome remuneration. History does not tell us the result of this
decree, but it evidently failed to destroy the lace manufacture of
France.
At first the lace manufactured at Alençon received the name of "Point de
France," and was absolutely indistinguishable from that of Venice. Its
magnificence of design, indeed, may be said to have exceeded anything
before attempted. The introduction of tiny figures was attributable to
the overwhelming personality of Louis XIV., and was symbolical of his
magnificent sway and far-reaching influence. In the illustration, page
55, an especially fine specimen of the lace, Madame de Montespan is seen
seated under the crown, two small Indians are on either side; a tree
bearing flags and trophies completes this tribute to the genius of the
lace-makers and the splendour of the Court.
[Illustration: "POINT DE FRANCE."
(_The property of Lady Kenmare._)]
[Illustration: POINT D'ALENÇON.
(_Author's Collection._)]
The name "Point de France" is given to all lace made from its
commencement by Colbert's direction until about 1678, when the
lace-workers, perhaps forgetting the traditions of the Venetian school,
developed a style of their own and the work became more distinctly
French, being more delicate, finer in substance, the patterns clearer
and more defined. The importation also of the finer flax thread from
Flanders brought the more exquisite Pillow lace of Brussels to the
notice of the French lace-workers. The French, as a nation, have always
been foremost in seizing upon new ideas and adapting them to their own
artistic requirements. In this instance the result was admirable, and it
gave to the world, not the finest lace, as it was impossible to surpass
the earliest Venetian Point laces, but certainly the next lace in order
of merit, "Point d'Alençon." The chief characteristic of the lace is the
fine, clear ground, the stiff Cordonnet outlining the pattern, and the
exquisite patterns in the "jours" or fillings.
The cordonnet of Alençon is the only one which has horsehair for its
foundation. A strand of hair is carefully stitched down to the edges and
is buttonholed over with the finest thread, and is said, although giving
the lace quite a character of its own, to have been the cause of much of
its destruction, as, in washing, the hair contracts and curls. It will
be noticed also that the ground is worked in strips, _shortways of the
lace of less than an inch in length_, afterwards being stitched together
in what is known as "fine joining." So elaborate was the original Point
d'Alençon that no less than eighteen workers were engaged on one single
piece. Later the number was reduced to twelve, when the patterns became
less ornate.
Although the factory of Alençon existed well into the early nineteenth
century, the style of lace gradually deteriorated, until it is now
non-existent! The lace made during the long reign of Louis XIV. is
considered by far the finest and best, showing both grandeur of style
and pattern and exquisite workmanship. Under Louis XV. the lace was
equally well made, but the patterns followed the Rococo designs which
were now introduced into all other decorative work, while in the reign
of the ill-fated Louis XVI. it went completely out of fashion, Marie
Antoinette affecting a much simpler style of lace. The Revolution
finally caused the complete overthrow of Alençon lace, as of all fine
art work in France. An attempt was made by Napoleon I. to revive it, but
its glories had passed, and the hands of the workers had lost their
cunning, the result being known as the worst type of lace, stiff and
ugly in design and coarse of execution.
"_Point d'Argentan._"
This lace is practically the same as Alençon with a variation of ground,
which, to the uninitiated, appears coarse. A magnifying glass, however,
will speedily dispel this illusion. The ground in itself is a marvellous
piece of work, each of the sides of the mesh being covered with ten
buttonhole stitches. Very frequently a mixed lace of Alençon and
Argentan is found, the result being very fine.
[Illustration: "POINT DE FRANCE."
(_Author's Collection._)]
[Illustration: POINT D'ARGENTELLA.]
_Point d'Argentella._
About this lace most authorities dispute, some stoutly advocating its
claims to be French lace entirely and others averring that it was made
_in imitation_ of the Point d'Alençon by the Genoese. Be this as it may,
the lace known as Point d'Argentella is exceptionally fine even amongst
other fine laces, and is noted most specially for the fine "jours" which
form an essential part of the pattern, every effort apparently being
made to give extra scope for their employment. The specimen illustrated
shows some of these "jours" having the characteristic mayflower,
lozenge, and dotted patterns.
Much modern lace of this type is now made at Burano, Italy, where the
coarse Italian lace formerly made there has been entirely superseded. It
strongly imitates Alençon and Argentan lace, but is without the raised
cord which is so typical of these, having the pattern outlined with flat
buttonhole stitches only. By many connoisseurs this is considered the
finest lace of this age, being far superior to modern Brussels. It is
entirely handmade, which cannot be, unfortunately, averred for Brussels,
as the fine machine-made net, woven from the exquisitely fine thread
manufactured in Flanders and Belgium, serves as the ground for all
Brussels lace made at the present time, except when special orders like
Royal trousseaux are in hand. The lace-makers of Burano, it may be
added, imitate the finest Venetian Rose Point, Point de Gaze, Alençon,
ever produced, the prices comparing very favourably with the old work,
though still very costly.
[Illustration: POINT D'ARGENTAN WITH POINT D'ALENÇON BORDER.
(_S.K.M. Collection._)]
[Illustration: ARGENTELLA LACE, SHOWING THE "PARTRIDGE-EYE" GROUND.
(_S.K.M. Collection._)]
VI
THE PILLOW LACES OF FRANCE
[Illustration: EARLY VALENCIENNES.
(_S.K.M. Collection._)]
[Illustration: OLD VALENCIENNES.
(_Author's Collection._)]
VI
THE PILLOW LACES OF FRANCE
Valenciennes, "Vraie" and "Fausse"--Lille--Chantilly--
Blonde--Caen and Brittany.
_Valenciennes._
Valenciennes was formerly part of Flanders, being in the province of
Hainault. It became a French town in 1668 by treaty. Being a Flemish
town, the lace made there was purely Pillow lace, and in fineness of
thread and beauty of design it rivalled in its early stages some of the
fine old Flemish laces, which are more like ornamental cambric than
anything else.
There are two kinds of Valenciennes lace, known as "Vraie" and "Fausse."
These names are very misleading, as they merely denote the laces made in
the town itself, or in the outskirts.
Early Valenciennes can only be distinguished from Flemish laces of the
same age by the difference in the _ground_. By reference to the little
chart of lace stitches the distinction will easily be seen, the
Valenciennes being much closer and thicker in the plait, and having
four threads on each side of its diamond-shaped mesh. Conventional
scrolls and flowers were used as designs for the toile, the ground and
the pattern being made at the same time.
This lace is said to have been worked, like that of Brussels, in dark,
damp cellars, the moist atmosphere being necessary to prevent the tiny
thread breaking. The lace-workers became nearly blind, and quite
useless, long before they reached thirty years of age.
So expensive was the fabric that a pair of ruffles for a gentleman's
coat would sell for 4,000 livres. Madame du Barri made extravagant use
of this lovely lace. In her wardrobe accounts are mentioned, in 1771,
head-dress, throatlets, fichus, and ruffles, "all plissé de Vraie
Valenciennes." The amount of lace used for a head-dress alone is said to
have cost 2,400 livres.
The "Vraie Valenciennes" was practically indestructible, earning the
nickname of the "Eternal Valenciennes" from its durability. The
well-to-do bourgeoise used to invest her savings in real lace,
treasuring and wearing it on all best occasions for a lifetime.
The lace-makers of the town itself were so satisfied with their own lace
that they proudly boasted that if a length commenced in the town of
Valenciennes were taken and completed _by the same worker, and with the
same thread_, outside their own damp atmosphere, the exact point of
difference would be shown in the piece.
[Illustration: "OLD LILLE."
(_Author's Collection._)]
The earliest Valenciennes laces show a closer design than that made
later, which, by the way, many connoisseurs much prefer. The latter type
is of clearer ground and more open design. The flowers do not follow the
large scroll-like pattern of Flanders, but suggest the detached sprays
and festoons of Alençon and Argentan. In both types there is no cord
outlining either pattern or edge. All is flat as a piece of fine lawn.
_Lille._
By no means a _favourite_ lace at any time, Lille ranks next in merit as
a hand-made lace. The mesh is clearer and larger than most French or
Belgian laces, being made by the simple twisting of two threads on four
sides. The patterns are simple, and are outlined with a loose flax
thread of silky appearance. The straight edges which characterise Old
Lille lace certainly did not lend elegance to it. A large manufacture in
black lace was commenced, and the black silk mantles of the eighteenth
century were lavishly trimmed with it. It is entirely out of favour at
this day, however, only the finest white variety being sought after.
Lace is still manufactured at Lille, but the patterns of Mechlin are
copied, although the tiny square dots, one of the distinguishing points
of old Lille, are still used.
_Chantilly._
The white laces of Chantilly much resemble Lille, having the same fine,
clear ground and a thick, silky-looking thread outlining the pattern. A
little lace school was established by the Duchesse de Rohan early in
the seventeenth century, and for quite a hundred years white laces were
made, and became popular. Marie Antoinette used this pretty lace as well
as Valenciennes extensively to trim her favourite lawn dresses and
fichus when she and the ladies of her Court retired to the Petit Trianon
to play at being shepherdesses.
About the middle of the eighteenth century Chantilly began to produce
black silk lace of very fine quality. This is practically the only black
lace for which there is any market. A Chantilly fan or a Chantilly shawl
will always find purchasers. The exquisite fineness of its ground, the
elegance of its floral festoons and bouquets, make it a desirable
possession. With the Revolution the manufacture of real old black
Chantilly ceased, and was only revived with the Empire, when, in
addition to copying the old designs, the manufacture of the famous
_blonde_ laces was commenced.
_French Blonde Lace._
At first these filmy silk laces were made in the natural colour floss
silk imported from China, hence its name "Blonde." Some of the finest
specimens are in this colour. Afterwards, when the art of bleaching the
silk was discovered, it was made in a peculiarly silvery colour, the
loosely woven silk being worked in patterns on what appears a ground of
gossamer. Black Blonde was afterwards manufactured, the lace being very
different to that of nineteenth-century manufacture, the mesh being
large and open. This was a favourite lace with the Spaniards for
mantillas, and much prosperity resulted to the little town of Chantilly.
As with all other laces, the introduction of machinery killed the
industry as an art, and the only Blonde laces now made are by machine,
and are quite inartistic and inelegant. Hand-made Chantilly in black
silk is still manufactured, but it has only a limited output.
[Illustration: "THE EMPRESS EUGENIE" WEARING BLONDE LACE.
(_From a Baxter print._)]
_Other French Laces._
Lace has been made in many smaller towns in France, but in no instance
has it been of sufficient artistic merit to have made a name. Caen
manufactured Blonde lace in imitation of Chantilly. In Normandy the
peasant women and girls in the eighteenth century were specially
diligent, and made praiseworthy imitations of Mechlin, Flemish guipure
laces, and Brussels, and also introduced the working of gold and silver
thread and even beads, which was much used in churches. Some really
exquisite Blonde lace made in this manner was produced at Caen, fine
pearls were used in the place of beads, and this lace became extremely
popular in England. The Empress Eugénie was particularly fond of it, and
in most of the portraits of her at the zenith of her beauty she is seen
wearing decorated Blonde lace. It is said that this lace so soon soiled
and spoiled in the making that only women having specially dry hands
could be employed, and that during the summer months the lace was worked
in the open air, and in the winter in rooms specially built over
cow-houses, so that the animals' breath might just sufficiently warm
the workers in this smokeless atmosphere. Other towns engaged in
lace-making were Havre, Dieppe (the latter town making a lace resembling
Valenciennes), Bayeux, which carried on an extensive trade with the
Southern Islands; Mexico and Spain taking an inferior and heavy Blonde
lace for mantillas.
In Bretagne so dear is lace to the heart of the French peasant woman
that every garment is trimmed with lace, often of her own making; and
along with the provision of a little "dot" for her daughter she makes
pieces of lace for her wedding dress. A curious custom is noted, that
the peasant woman often wears this treasured garment only twice, once
for her wedding and lastly for her funeral!
VII
THE LACES OF FLANDERS
[Illustration: POINT D'ANGLETERRE.
Period Louis XIV.
(_Author's Collection._)]
VII
THE LACES OF FLANDERS
Early Flemish--Brussels lace--Point d'Angleterre--Cost of real
Flanders flax thread--Popularity of Brussels lace--Point Gaze.