when the workers of Alençon and Argentan had developed a purely French
style. Note the Point d'Alençon, illustration page 83, where the
characteristics of the period are fully shown. The illustration shows a
mixed lace, which only recently has been acknowledged by the South
Kensington people as Point d'Argentan. Along with the typical Argentan
ground of the upper portion is the fine Alençon mesh and varied jours of
the border. This also is Louis XIV. style. The lappet shown next is
exceedingly instructive, as till quite lately the people who professed
to understand lace agreed to call this Genoese, although it was quite
unlike anything else made there. This lappet was so labelled at South
Kensington, but now is admittedly Argentella (or little Argentan). It is
remarkably like Alençon, being of the same period, the only points of
difference being that the design is not outlined with a raised Cordonnet
(though in different places of the design a raised and purled Cordonnet
is often stitched on it) and the special ground (partridge eye) which is
agreed to denote "Argentella" lace--page 83. It is sometimes called the
may-flower ground, but this is somewhat misleading as that design occurs
in other laces. The only other great style is that of Flanders, which at
its earliest period had received no influence from the Renaissance that
had seized the southern countries of Europe and was still in the grip of
mediæval art. It was not until Italian influence permeated France that
Flemish lace perceptibly altered in character.
These are to all intents and purposes the three great styles of lace.
England had no style: she copied Flemish, Brussels, and Mechlin laces.
Ireland, on the contrary, copied Italian in her Irish crotchet and
Carrick-ma-cross (in style only, but not workmanship), and adapted Lille
and Mechlin and Brussels and Buckingham in her Limerick lace.
The student must next make herself familiar with the methods pursued by
the old lace-workers, and here the difficulty commences. All lace is
either Needlepoint, pillow-made, or machine-made. _Needlepoint_ explains
itself. Every thread of it is made with a needle on a parchment pattern,
and only two stitches are used, buttonhole and a double-loop which is
really a buttonhole stitch.
[Illustration: BRUSSELS LAPPET.
Nineteenth Century.
(_S.K.M. Collection._)]
This can be clearly understood by referring to Charts Nos. I. and II.,
where the _two Brussels grounds_ are shown. The Needlepoint ground, No.
I., is formed by a buttonhole stitch, which loops over again before
taking the next. The pillow-made ground, No. II., shows the threads
plaited or twisted together to form a hexagonal or a diamond-shaped
network. This is all the difference between needle-made and pillow-made
lace, and in itself helps to identify in many instances its country and
period when it was produced. All the early Italian laces were
Needlepoint, and all the early French laces were the same. All the
Flemish laces (including Brussels) were pillow-made, and mixed laces in
any of these countries are of later make. Italy adapted the Flemish
pillow-lace, and produced Genoese and Milanese guipures, in addition to
the coarse imitation of Reticella which she now made by plaiting threads
on the pillow. Brussels adopted the needle-made motifs and grounds of
Italy, and produced perhaps her finest lace, weaving her beautiful
designs and outlines on the pillow, and afterwards filling the spaces
with needle-made jours and brides, as in Point d'Angleterre.
A study of Chart II. will show the different style of grounds or réseaux
of both Needlepoint and pillow-made lace, the buttonhole grounds being
either of "brides" with or without picots, or buttonhole loops, as in
Brussels, and Alençon (with a straight thread whipping across to
strengthen the ground), loops buttonholed over all as in Argentan, or
made of tiny worked hexagons with separate buttonholed threads around
them as in Argentella. The pillow-made grounds are made of two plaited
or twisted threads, except in the case of Valenciennes, when it is made
of four threads throughout (hence its durability). In Brussels, it will
be noted, the threads are twisted twice to commence the mesh. These meet
two other threads, and are plaited four times, dividing into two again,
and performing the same twist, the whole making a hexagon rather longer
than round. Mechlin has precisely the same ground, only that the threads
are plaited _twice_ instead of four times, as in Brussels, making the
hexagon roundish instead of long.
The ground of Lille lace is of exactly the same shape as Valenciennes,
but is composed of two threads twisted loosely twice each side of the
diamond, and that of Valenciennes being made of four threads plaited.
With the aid of these little charts, a remembrance of the various styles
and a few actual specimens of lace, and _a powerful magnifying glass_,
it is not beyond the power of any reader of this little book to become
expert in the identification of old lace.
[Illustration: REAL "POINT DE GAZE" (NEEDLE-MADE GROUND).
(_Author's Collection._)]
XIV
SALE PRICES
XIV
SALE PRICES
Lace is such an article of luxury, and, as a rule, only belonging to the
wealthiest class, that it seldom or ever comes into the open market. In
1907 two collections were dispersed at Christie's--those of Mrs.
Massey-Mainwaring and Mrs. Lewis Hill.
The most costly laces are the Venetian Points, some of the fine Rose
Points being priceless. It is so fragile that little of it remains, and
the smallest piece is eagerly snapped up by collectors.
In 1904 at Christie's lace sold for the following prices--
£
A 58-inch length of 24-ins. deep Point de Venise 600
A 4-yards length of Rose Point, 11 inches deep 420
The same year--
£
4 yards of Point d'Argentan, 25 inches deep 460
44 inches Point d'Alençon, 17 inches deep 43
2-1/2 yards Point d'Alençon, 14 inches deep 46
In 1907, March 11, _Massey-Mainwaring Sale_ at Christie's--
sold for
£ s. d.
1-1/2 yards Venetian Gros Point, 8 inches deep 16 16 0
5 yards length of Reticella, 7-1/2 inches
deep 33 12 0
4 short lengths 42 0 0
7 pieces of Point d'Alençon 21 0 0
4 yards narrow Point d'Argentan 15 15 0
3 pairs Point d'Argentan lappets 15 15 0
30 yards narrow Mechlin in odd lengths 21 0 0
April 15th, the _Lewis-Hill Sale_ at Christie's:--
sold for
£ s. d.
4 yards Venetian Point, 15-1/2 inches deep 68 5 0
4 " " " 8-1/2 " " 52 10 0
3 yards Spanish Point, 6-1/2 inches deep 73 10 0
An Old Brussels scarf in two pieces 10 10 0
6 yards Brussels applique 23 10 0
A Point Gaze parasol-cover 6 16 0
A Brussels flounce 12 1 6
3 yards Honiton flounce, 17 inches deep 69 6 0
Another similar 69 6 0
6 yards Honiton lace in three pieces 24 3 0
An old lace coverlet 25 4 0
Another ditto 26 5 0
A lace altar-frontal 21 1 0
With the exception of the Honiton flounces, which sold beyond their
market value, all the above pieces were bought by London lace dealers!
The famous collection of the late Mrs. Hailstone was sold in 1909. This
lady had for many years been known as a lace collector, and the sale of
her effects was eagerly anticipated. The result was extremely
interesting to the collectors, as Mrs. Hailstone had collected specimen
lengths of almost every known lace. No huge prices obtained, but the
sale may be regarded as representative, and the prices quoted as being
open-market value.
£ s. d.
A set of bed-hangings, forming six curtains,
made of Italian lace and linen 40 0 0
A large portière curtain of Italian lacis-work 10 10 0
A Point d'Alençon fichu 30 0 0
" " " cravat end, a pair of sleeves,
one odd piece 18 0 0
A pair of Argentan lappets and six yards lace 12 0 0
A panel fine raised Venetian Point, 22 inches
wide, 28 inches long 24 0 0
A Berthe, Point de Venise, 1 yard 120 inches,
12 inches deep 25 0 0
A Point de Venise Berthe 36 0 0
A 1 yard 13 inches x 7 inches panel Venetian lace 50 0 0
Two specimen pieces, 3-1/4 inches, all of
Point de Venise à réseau 14 10 0
A Buckinghamshire collar, sleeves, and pieces 5 5 0
A specimen of old Honiton, baby's cap, bodice,
and handkerchief 3 5 0
An old Honiton baby's robe, said to have belonged
to Princess Charlotte 15 10 0
Seven volumes of lace specimens of old and modern
lace 35 0 0
In December, 1910, probably the most valuable collection ever placed
upon the market was dispersed at Messrs. Christie's. The late Sir
William Abdy Bt., had for many years devoted his time and money to the
collection of valuable lace, such as now can only be seen in the great
national collections. The prices obtained are significant of the huge
sums which must be paid to obtain wearable pieces of valuable lace such
as skirt lengths, 3- or 4-yard lengths of deep flouncings, shawls,
coverlets, aprons, &c.
£ s. d.
A fine Point d'Alençon skirt, 2-1/2 yards,
44 inches deep 160 0 0
A fine Point d'Alençon scarf, 2 yards
9 inches × 10 inches deep 72 0 0
A Point d'Argentan Berthe, 9-1/2 inches deep 39 0 0
A Point d'Argentan flounce, 6 yards 30
inches × 5-1/2 inches deep 140 0 0
A Point d'Argentan flounce, 2 yards 26
inches long × 25 inches deep 210 0 0
A Point d'Argentan flounce, 3 yards 28
inches long × 24 inches deep 310 0 0
A Point d'Argentan flounce, 3 yards 35
inches long × 25 inches deep 431 0 0
A Point d'Argentan flounce, 3 yards 16
inches long × 24-1/2 inches deep 290 0 0
An Italian gold and thread lace flounce,
4 yards long, 29 inches deep 740 0 0
A length of Italian Rose Point, 4 yards
15 inches long, 3 inches deep 70 0 0
An old Italian Rose Point flounce, 3
yards 31 inches long, 17-1/2 inches deep 660 0 0
An old Italian Rose Point square, 31
inches × 34 inches 180 0 0
An old Italian Rose Point flounce, 3
yards 19 inches long, 7-1/2 inches deep 520 0 0
An old Italian Rose Point panel, 34
inches × 9 inches 95 0 0
A Point de Venise lappet à réseau, 46
inches long, 5-1/4 inches wide 22 0 0
Point de Venise trimming, 8 yards long
× 4 inches deep 65 0 0
A piece of flat Venetian insertion, 4
yards × 3-3/4 inches deep 92 0 0
A Rose Point flounce, 4 yards long × 5
inches deep 200 0 0
A Rose Point flounce, 3 yards 31 inches
long × 22 inches deep 600 0 0
A Rose Point flounce, 4 yards 7 inches
long × 24 inches deep 540 0 0
A Rose Point flounce, 3 yards 32 inches
long × 15 inches deep 560 0 0
A Rose Point flounce, 4 yards 11 inches
long × 18 inches deep, and a pair of
sleeves en suite 650 0 0
A Rose Point flounce, 4 yards 3 inches
long × 11-1/2 inches deep 510 0 0
A raised Point de Venise square, 1 yard
24 inches long × 1 yard 6 inches wide 450 0 0
An Old Brussels apron, 41 inches wide,
37 inches deep 145 0 0
A specimen piece of early Valenciennes,
2 yards long × 7 inches deep 42 0 0
The following prices have been given by the South Kensington authorities
for specimens shown:--
£ s. d.
A Venetian Point altar-frontal, 8 × 3 feet 350 0 0
A Venetian chasuble, stole, maniple,
and chalice veil 200 0 0
A 2 yards × 5/8 yard Venetian flounce 125 0 0
A Gros Point collar 21 0 0
A Brussels lappet 23 0 0
A drawn-thread jacket 10 10 0
Linen cutwork tunic 20 0 0
[Illustration: EGYPTIAN EMBROIDERY.
Found in a tomb at Thebes.]
CHATS ON NEEDLEWORK
I
OLD ENGLISH EMBROIDERY
Needlework pioneer art--Neolithic remains--Earliest known
English specimens--Bayeux tapestry.
While the subject of lace-making has been treated as almost
cosmopolitan, that of embroidery, in this volume, must be regarded as
purely national! I purposely refrain from introducing the embroideries
of other countries, other than mentioning the ancient civilisations
which shared the initial attempts to decorate garments, hangings, &c.
(of which we really know very little), and shall confine myself to the
needlework of this country, more especially as it is the one art and
craft of which England may be unfeignedly proud. It is assumed that
needlecraft was the pioneer art of the whole world, that the early
attempts to decorate textiles by embroideries of coloured silks, and the
elaborate use of gold and silver threadwork, first suggested painting,
sculpture, and goldsmith's work. Certainly early Egyptian paintings
imitated embroideries, and we have good ground for supposing that
stained glass was a direct copy of the old ecclesiastical figures or
ancient church vestments. The Neolithic remains found in Britain show
that at a very early period the art of making linen-cloth was
understood. Fragments of cloth, both of linen and wool, have been
discovered in a British barrow in Yorkshire, and early bone needles
found at different parts of the country are plentiful in our museums.
There is no doubt that we owe much of our civilisation to the visit of
the Phoenicians, those strange people, who appear to have carried all
the arts and crafts of ancient Babylon and Assyria to the wonder isles
of the Greek Archipelago, to Egypt, to Southern Spain, and to Cornwall
and Devonshire. These people, dwelling on the maritime border of
Palestine, were the great traders of their age, and while coming to this
country (then in a state of wildest barbarism) for tin left in exchange
a knowledge of the arts and appliances of civilisation hitherto not
understood. The Roman Invasion (45 B.C.) brought not only knowledge of
craftsmanship but also Christianity. St. Augustine, to whom the
conversion of the Britains is credited, carried with him a banner
embroidered with the image of Christ. After the Romans had left the
country, and it had become invaded by the Celts and the Danes, and had
again been taken possession of by the Saxons, a period of not only rest
but advancement arrived, and we see early in the seventh century the
country prosperous and settled. Aldhelm, Bishop of Sherborne, wrote a
poem in which he speaks of the tapestry-weaving and the embroidery which
the women of England occupied their lives.
[Illustration: A LENGTH OF THE FAMOUS BAYEUX TAPESTRY.]
The earliest specimen of embroidery known to have been executed in
England is that of the stole and maniple of St. Cuthbert, which is now
treasured at Durham Cathedral. These were worked by Aelfled, the Queen
of Edward the Elder, Alfred the Great's son. She worked them for Bishop
Fridhestan in 905 A.D. Her son Athelstan, after her death, visited the
shrine of St. Cuthbert, at Chester-le-street, and in an inventory of the
rich gifts which he left there, there is recorded "one stole with a
maniple," amongst other articles. These very embroideries were removed
from the actual body of St. Cuthbert in 1827. They are described by an
eyewitness as being "of woven gold, with spaces left vacant for
needlework embroideries." Exquisitely embroidered figures are in niches
or clouds. The whole effect is described as being that of a fine
illuminated MS. of the ninth century, and indescribably beautiful.
Another great prelate, St. Dunstan, Archbishop of Canterbury, designed
embroideries for the execution of pious ladies of his diocese (924 A.D.).
Emma, Queen of Ethelred the Unready, and afterwards of Canute, designed
and embroidered many church vestments and altar-cloths, and Editha, wife
of Edward the Confessor, embroidered the King's coronation mantle.
The great and monumental Bayeux tapestry--which is miscalled, as it is
_embroidery_--was the work of Queen Matilda, who, like Penelope, wove
the mighty deeds of her husband and king in an immense embroidery. This
piece of needlecraft comes upon us as a shock, rather than an
admiration, after the exquisite embroideries worked by and for the
Church. It is interesting, however, as a valuable historic "document,"
showing the manners and customs of the time. The canvas is 227 feet long
and 20 inches wide, and shows events of English history from the
accession of Edward the Confessor to the defeat of Harold, at Hastings.
It is extremely crude; no attempt is made at shading, the figures being
worked in flat stitch in coloured wools, on linen canvas. Certainly it
is one of the quaintest and most primitive attempts of working pictures
by needlecraft.
The evidence of the costumes, the armour, &c., are supposed to tell us
that this tapestry was worked many years after the Conquest, but it can
be traced by documentary evidence as having been seen in Bayeux
Cathedral as far back as 1476. In the time of Napoleon I. it was removed
from the cathedral and was actually used as a covering for a transport
waggon. Finally, however, it was exhibited in the Musée Napoleon, in
1803, and was afterwards returned to Bayeux. In 1840 it was restored and
relined, and is now in the Hôtel de Ville at Bayeux!
[Illustration: KING HAROLD.
(_From the Bayeux Tapestry._)]
II
THE GREAT PERIOD OF EMBROIDERY
II
THE GREAT PERIOD OF EMBROIDERY
"Opus Anglicanum"--The Worcester fragments--St.
Benedict--Legend of Pope Innocent--The "Jesse" cope--The "Syon"
cope.
The great period of English embroidery is supposed to have been from the
twelfth to the thirteenth century. Very little remains to show this,
except a few fragments of vestments from the tombs of the bishops dating
from the twelfth and thirteenth centuries, and other data obtained from
various foreign inventories of later date referring to the use of "Opus
Anglicanum." Some portion of the Worcester fragments may be seen in the
South Kensington Museum, and can only be described as being so perfect
in workmanship, colour, and style as even at this day to be more like a
magnificent piece of goldsmith's work than that of needlecraft. The
background is apparently one mass of thread of fine gold worked in and
out of a silken mesh, the embroidery appearing just as clear and neat in
manipulation as an illumination. The coloured photographs, which may be
seen in the same room, of the stole and maniple of St. Cuthbert are of
precisely the same work. Judging from these, and the embroidered orphrey
which the authorities bought from the Hockon Collection for £119 1s.
10d. and which is only 4 feet 8 inches long, there is no doubt that this
was, _par excellence_, the finest period. The work can only be described
as being like an old Italian painting on a golden ground. We see
precisely such design and colouring in ancient paintings for altars as
in the old Italian Triptychs. This style was carried out as literally as
possible. Even the defects, if so they may be called, are there, and a
slight topheaviness of the figures serves but to accentuate the
likeness.
There is a legend that during the times of the Danish incursions St.
Benedict travelled backwards and forwards through France and Italy, and
brought with him during his _seven_ journeys artificers in _glass_ and
_stone_, besides costly books and copies of the Scriptures. The chief
end and aim of monastic life, both of monk and nun, in those early days
was to embroider, paint, and illuminate their sacred books, vestments,
and edifices with what was to them a newly-inspired faith.
Dr. Rock, in his "Church of Our Fathers," says that from the twelfth
century to the time of Henry VIII. that only the best materials that
could be found in our country or that of other lands were employed, and
that the art that was used on them was the best that could be learnt or
given. The original fabrics often came from Byzantium or were of
Saracenic origin.
[Illustration: FROM THE "JESSE" COPE (_South Kensington Museum_).
English, early Fourteenth Century.]
The story of Pope Innocent III., who, seeing certain vestments and
orphreys, and being informed that they were English, said, "Surely
England must be a garden of delight!" must be quoted to show how English
work was appreciated in those early days.
The choicest example in this country of this glorious period of English
embroidery is the famous Syon cope, which is supposed to rank as the
most magnificent garment belonging to the Church. It may be regarded as
a typical example of real English work, the "Opus Anglicanum" or
"Anglicum," which, although used for other purposes, such as
altar-cloths and altar-frontals, found apparently its fullest scope in
these large semicircular mantles.
Amongst the many copes treasured at South Kensington there are none,
amidst all their splendour, as fine as this, although the fragment of
the "Jesse" cope runs it very closely. There are many copes of this
period in different parts of the Continent--the Daroca Cope at Madrid,
one at Ascagni, another at Bologna, at St. Bertrand-de-Comminges, at
"St. John Lateran" at Rome, at Pienza and Toleda, and a fragment of one
with the famous altar-frontal at Steeple Aston. These are all assumed to
be of "Opus Anglicanum," and they may be described as being technically
perfect, the stitches being of fine small tambour stitch, beautifully
even, and the draperies exquisitely shaded.
The illustration showing the Syon Cope requires some little explanation.
It is wrought on linen, embroidered all over with gold and silver thread
and coloured silk. It is 9 feet 7 inches long, 4 feet 8 inches wide.
The whole of the cope except the border is covered with interlacing
quatrefoils outlined in gold. The ground of these quatrefoils is covered
with red silk and the spaces between them with green silk. Each
quatrefoil is filled with scenes from the life of Christ, the Virgin,
and figures of St. Michael and of the Apostles. On the green spaces are
worked figures of six-winged angels standing on whorls. The chief place
on the quatrefoils is given to the crucifixion, where the body of the
Saviour is worked in silver and cloth of gold. The Virgin, arrayed in
green tunic and golden mantle, is on one side and St. John, in gold, on
the other. Above the quatrefoil is another representing the Redeemer
seated on a cushioned throne with the Virgin, and below another
representing St. Michael overcoming Satan. Other quatrefoils show
"Christ appearing to St. Mary Magdalen," "The Burial of the Virgin,"
"The Coronation of the Virgin," "The Death of the Virgin with the
Apostles surrounding her," "The Incredulity of St. Thomas," "St. Simon,"
"St. Bartholomew," "St. Peter," "St. Paul," "St. Thomas," "St. Andrew,"
and "St. James." Portions of four other Apostles may be seen, but at
some period the cope has been cut down. In its original state the cope
showed the twelve Apostles. The lower portion has been cut away and
reshaped, and round this is an edging apparently made out of a stole and
maniple which point to a later date, as they are worked chiefly in
cross-stitch. On the orphrey are emblazoned the arms of Warwick, Castile
and Leon, Ferrars, Geneville Everard, the badge of the Knights
Templars, Clifford, Spencer, Lindsay, Le Botelier, Sheldon, Monteney of
Essex, Champernoun, Everard, Tyddeswall Grandeson, Fitz Alan, Hampden,
Percy, Clanvowe, Ribbesford, Bygod, Roger de Mortimer, Grove, B.
Bassingburn, and many others not recognisable. These coats of arms, it
is suggested, belonged to the noble dames who worked the border. The
angels which fill the intervening spaces are of the six-winged
varieties, each standing on whorls or wheels.
[Illustration: THE "SYON" COPE.
(_S.K.M. Collection._)]
The cope is worked in a fine tambour or chain stitch principally. All
the faces, bodies, and draperies are composed of this. A specially
noticeable point is that the faces are worked spirally, beginning in the
centre of the cheek and being worked round and round, conforming with
the muscles of the face. The garments are worked according to the hang
of the drapery, very fine effects being obtained. After the work has
been completed a hot iron something like a little iron rod with a
bulbous end has been pressed into the cheeks, under the throat, and in
different parts of the nude body. Occasionally, but seldom, the same
device may be seen in the drapery. All the work is exquisitely fine and
perfectly even. The groundwork of the quatrefoils is of gold-laid or
"couch" work, as is also that of the armorial bearings.