unknown to the laity, we have evidence in the mutilated effigy of a
crosiered ecclesiastic which once stood in a niche of the now ruined abbey
church of Arbroath. The lace which adorns the robes of this figure is very
elaborately and sharply chiselled, and when first discovered, still
preserved some remains of the gold leaf with which it had been ornamented.
In the Inventories of King James V. we find constant mention of "pasment"
of gold and silver,[1172] as well as an entry of--"Ane gown of fresit
clayth of gold, with pasment of perle of gold smyth wark lynit with cramasy
sating."[1173] And we have other proofs,[1174] in addition to the testimony
of Sir Walter Scott, as given in the Monastery,[1175] that pasments of gold
and silver as well as "purle," were already in daily use during King
James's reign.
{419}Indeed, as early as 1575 the General Assembly of Scotland found
necessary, as did the bishops in Denmark, to express its mind as to the
style of dress befitting the clergy, and prohibit "all begares (gardes) of
velvet on gown, hose, or coat, all superfluous cut-out work, all sewing on
of pasments and laces."
A parchment, too, found in the cabinet of the Countess of Mar,[1176]
entitled "The Passement Bond," signed by the Duke of Lennox and other
nobles, by which they engaged themselves to leave off wearing "passement,"
as a matter of expense and superfluity, shows that luxury in dress had
early found its way into Scotland.
Notwithstanding these entries, it was not until the arrival of Mary Stuart
in her northern dominions that lace in all its varieties appears. The
inventory of the Queen's effects in 1567, printed by the Bannatyne Club,
gives entries of passements, guimpeure d'or, and guimpeure d'argent,[1177]
with which her "robes de satin blanc et jaune" were "bordées" and
"chamarées." Each style of embroidery and lace is designated by its special
name. There is the "natte d'argent faite par entrelatz, passement d'or et
d'argent fait à jour, chamarré de bisette,"[1178] etc.
The word dentelle, as told elsewhere,[1179] occurs but once.
We have also alluded to the will made by the Queen previous to the birth of
James VI., and her bequest of her "ouvrages maschés."[1180] A relic of this
expression is yet found in the word "mawsch," or "masch," as the pinking of
silk and muslin is termed in Scotland, an advertisement of which
{420}accomplishment "done here" was seen a few years ago in the
shop-windows of the old town of Edinburgh.
In the Palace of Holyrood is still exhibited a small basket lined with blue
silk, and trimmed with a bone lace of rudely-spun flax, run on with a
ribbon of the same colour, recorded to be an offering sent by Queen
Elizabeth to her cousin previous to the birth of her godchild. Antiquaries
assert the story to be a fable. Whether the lace be of the time or not, as
a work of art it is of no credit to any country.
How Queen Mary, in her youth, was instructed in the arts of point coupé and
lacis, according to the works of Vinciolo, has been already related.[1181]
Of her talents as a needlewoman there is ample proof in the numerous beds,
screens, etc., treasured as relics in the houses of the nobles where she
was held captive. She knitted head-dresses of gold "réseille," with cuffs
and collars[1182] en suite,[1183] to say nothing of nightcaps, and sent
them as presents to Elizabeth,[1184] all of which, we are told, the Queen
received most graciously. Mary, in her early portraits as Dauphine of
France, wears no thread lace. Much fine gold embroidered with passament
enriches her dresses; her sleeves are of gold rézeuil. In those of a later
date, like that taken when in Lochleven Castle, her veil is bordered with a
narrow bone lace--as yet a rarity--may be one of the same noted in the
Inventory of 1578, as "Fyve litell vaills of wovin rasour (réseau) of
threde, ane meekle twa of thame, passmentit with perle and black
silk."[1185]
When the Queen of Scots ascended the scaffold "she wore {421}on her head,"
writes Burleigh's reporter, "a dressing of lawn edged with bone lace," and
"a vest of lawn fastened to her caul," edged with the same material. This
lace-edged veil was long preserved as a relic in the exiled Stuart family,
until Cardinal York bequeathed it to Sir John Cox Hippisley. Miss
Pigott[1186] describes it of "transparent zephyr gauze, with a light check
or plaid pattern interwoven with gold; the form as that of a long
scarf."[1187] Sir John, when exhibiting the veil at Baden, had the
indiscretion to throw it over the Queen of Bavaria's head. The Queen
shuddered at the omen, threw off the veil, and retired precipitately from
the apartment, evidently in great alarm.
"Cuttit out werk," collars of "hollie crisp," quaiffs of woven
thread,[1188] cornettes of layn (linen) sewit with cuttit out werk of gold,
wovin collars of threde, follow in quick succession. The cuttit out werk is
mostly wrought in gold, silver, cramoisi, or black silk.[1189] The Queen's
"towell claiths" are adorned in similar manner.[1190]
The Chartley Inventory of 1568[1191] is rich in works of point coupé and
rézeuil, in which are portrayed with the needle figures of birds, fishes,
beasts, and flowers, "couppés chascune en son carré." The Queen exercised
much ingenuity in her labours, varying the pattern according to her taste.
In the list are noted fifty-two specimens of flowers designed after nature,
"tirés au naturel;" 124 birds; as well as sixteen sorts of four-footed
beasts, "entre lesquelles y ha un lyon assailant un sanglier;" with
fifty-two fishes, all of {422}divers sorts--giving good proofs of the poor
prisoner's industry. As to the designs after nature, with all respect to
the memory of Queen Mary, the lions, cocks, and fishes of the sixteenth
century which have come under our notice, require a student of mediæval
needlework rather than a naturalist, to pronounce upon their identity.
James VI. of Scotland, reared in a hotbed of Calvinism, had not the means,
even if he had the inclination, to indulge in much luxury in dress. Certain
necessary entries of braid pasmentis of gold, gold clinquant, braid
pasmentis, cramoisi, for the ornamenting of clokkis, coittis, breikis, and
roobes of the King, with "Twa unce and ane half pasmentis of gold and
silver to werk the headis of the fokkis," made up the amount of expense
sanctioned for the royal wedding;[1192] while 34 ells braid pasmentis of
gold to trim a robe for "his Majesties darrest bedfellow the Quene for her
coronation,"[1193] gives but a poor idea of the luxury of the Scottish
court.
Various enactments[1194] were passed during the reign of James VI. against
"unnecessary sumptuousness in men's apparel," by which no one except
noblemen, lords of session, prelates, etc., were allowed to wear silver or
gold lace. Provosts were permitted to wear silk, but no lace pearlin or
pasmenterie, only a "watling silk lace" on the seams.[1195] No one but the
above same privileged persons were to have pearlin on their ruffles,
sarkis, napkins, and sokkis, and that pearlin to be made in the kingdom of
Scotland. This Act, dated 1621, is the first mention we have found of
Scottish-made lace.
James VI. having granted to one James Bannatyne of Leith a patent for the
"importing of foraine pearlin" into the country, in consequence of the
great complaint of the embroiderers in 1639, this patent is rescinded, and
the King forbids the entry of all "foraine pearlin."
The word lace does not exist in the Scotch language. "Pearlin" is the term
used in old documents, defined in the {423}dictionaries to be "a species of
lace made with thread." In the old Scotch songs it frequently
occurs:--[1196]
"Then, round the ring she dealt them ane by ane,
Clean in her pearlin keck, and gown alane."
--_Ross Helonora._
Again--
"We maun hae pearlins and mabbies and cocks,
And some other things that ladies call smocks."
As the latter articles may appear more familiar to the world in general
than "kecks," and "mabbies," and "cocks," we may as well explain a "pearlin
keck" to signify a linen cap with a lace border; a "mabbie," a mob; a
"cock," or cock-up, no more eccentric head-dress than the lofty fontanges
or commode of the eighteenth century.
Again, in _Rob Roy_ we have the term "pearlin:" when Bailie Nicol Jarvie
piteously pleads to his kinswoman, Helen Macgregor, he says--
"I hae been serviceable to Rob before now, forbye a set of pearlins I
sent yoursell when you were gaun to be married."
The recollection of these delicate attentions, however, has little effect
on the Highland chieftainess, who threatens to have him chopped up, if ill
befalls her lord, into as many square pieces as compose the Macgregor
tartan, or throw him neck and heels into the Highland loch.
Montrose, we read, sent his lace ruffles to be starched and dressed before
they were sewn on the embroidered sark he had made only to wear at his
execution. "Pearlin" was provided for him which cost £10 an ell.
The close-fitting velvet cap, enriched with lace, appears in the
seventeenth century to have been adopted by the lawyers of the Scotch
courts. An example may be seen in the portrait of Sir Thomas Hope, Lord
Advocate of Scotland, who died in 1646, which hangs in the Hall of the
Advocates of Edinburgh. Another (Fig. 160) appears in the engraving of Sir
Alexander Gibson, Bart., Lord Durie, one of the Lords of Session, who died
two years previously.
In 1672, when lace--"point lace made of {424}thread"--came under the ban of
the Covenanters, with a penalty of "500 merks toties quoties," the wearing
such vanities on liveries is strictly forbidden; servants, however, are
allowed to wear out their masters' and mistresses' old clothes.
In 1674, his Majesty, understanding that the manufacture of "pearlin and
whyt lace made of thread (whereby many people gain their livelihood) was
thereby much prejudiced and impaired, declares that from henceforth it
shall be free to all and every person within this kingdom to wear 'whyt
lace,' as well as the privileged persons above mentioned." Finding these
exclusions of little or no avail, in January, 1685, the Act remits the
wearing of lace, both native and foreign, to all folks living.
[Illustration: Fig. 160.
SIR ALEXANDER GIBSON, BART. (Lord Durie, Lord of Session. + 1644.)]
The dead now came under the scrutiny of the Scotch Parliament, who order
all lace or poynt, gold or silver, to be disused at interments, under the
penalty of 300 pounds Scots.[1197]
From the united effects of poverty, Covenanters and {425}legislation, after
the departure of the court for England, luxury, small though it was,
declined in Edinburgh.
It was not till 1680, when James II., as Duke of York, accompanied by Mary
of Modena and his "duteous" daughter Anne, visited the Scotch capital, that
anything like gaiety or dress can be said to have surprised the
strait-laced population.
Dryden, sneering at the barbarism of the Scotch capital, writes, in the
prologue to a play delivered at Oxford, referring to a portion of the troop
that accompanied the court to Scotland--
"Laced linen there would be a dangerous thing;
It might perhaps a new rebellion bring--
The Scot who wore it would be chosen king."
The Highlander, however, when in full dress, did not disdain to adopt the
falling band and ruffles of guipure or Flanders lace.
The advertisements and inventories of the first years of the eighteenth
century give us little reason to imagine any change had been effected in
the homely habits of the people.
At the marriage of a daughter of Thomas Smythe, of Methuen, in 1701, to Sir
Thomas Moncrieffe, the bride had a head-suit and ruffles of cut-work which
cost nearly six pounds ten shillings.[1198] Few and scanty advertisements
of roups of "white thread lace" appear in the journals of the day.[1199]
And in such a state matters continued till the Jacobites, {426}going and
coming from St. Germains, introduced French fashions and luxuries as yet
unheard of in the then aristocratic Canongate.
It sounds strange to a traveller, as he wanders among these now deserted
closes of Edinburgh, to read of the gay doings and of the grand people who,
in the last century, dwelt within these poor-looking abodes. A difficult
matter it must have been to the Jacobite beauties, whose hoop (from 1725-8)
measured nine yards in circumference, to mount the narrow winding
staircases of their dwellings; and this very difficulty gave rise to a
luxury of underclothing almost unknown in England or elsewhere. Every lady
wore a petticoat trimmed with the richest point lace. Nor was it only the
jupe that was lace-trimmed. Besides
"Twa lappets at her head, that flaunted gallantlie,"
ladies extended the luxury to finely-laced garters.
In 1720 the bubble Company "for the trading in Flanders laces" appears
advertised in the Scotch papers in large and attractive letters. We
strongly doubt, however, it having gained any shareholders among the
prudent population of Edinburgh.
The prohibition of lace made in the dominions of the French king[1200] was
a boon to the Jacobites, and many a lady, and gentleman too, became
wondrous loyal to the exiled family, bribed by a packet from St. Germains.
In the first year of George II., says the _Gazette_,[1201] a parcel of rich
lace was secretly brought to the Duke of Devonshire, by a mistake in the
similarity of the title. On being opened, hidden among the folds, was found
a miniature portrait of the Pretender, set round with large diamonds. The
packet was addressed to a noble lord high in office, one of the most
zealous converts to loyalty.[1202]
{427}Smuggling was universal in Scotland in the reigns of George I. and
George II., for the people, unaccustomed to imposts, and regarding them as
an unjust aggression upon their ancient liberties, made no scruple to elude
the customs whenever it was possible so to do.
It was smuggling that originated the Porteous riots of 1736; and in his
description of the excited mob, Sir Walter Scott makes Miss Grizel Dalmahoy
exclaim--"They have ta'en awa' our Parliament. They hae oppressed our
trade. Our gentles will hardly allow that a Scots needle can sew ruffles on
a sark or lace on an owerlay."[1203]
{428}CHAPTER XXXIV.
LACE MANUFACTURES OF SCOTLAND.
"Sae put on your pearlins, Marion,
And kirtle o' the cramasie."--Scottish Song.
During the treasonable year of 1745 Scotland was far too occupied with her
risings and executions to give much attention to her national industry. Up
to that time considerable pains had been taken to improve the spinning of
fine thread, prizes had been awarded, and the art taught in schools and
other charitable institutions.
It was not till the middle of the eighteenth century that Anne, Duchess of
Hamilton, known to Society by tradition as "one of the beautiful Miss
Gunnings," seeing lace-makers at work when travelling on the Continent,
thought employment might be given to the women of her own country by
introducing the art into Scotland. The Duchess therefore brought over women
from France, and caused them to teach the girls in her schools how to make
"bunt lace," as it was termed.
Sir John Sinclair thus notices the fabric:--"A small manufacture of thread
lace has long been carried on here. At an early period it was the
occupation of a good many women, but, from the fluctuation of fashion, it
has fallen greatly into disuse. Fashion again revived the demand, and the
late Duchess of Hamilton, afterwards of Argyle, found still some
lace-workers remaining, to whom her own demand, and that of those who
followed her example, gave employment. To these her Grace added twelve
orphan girls, who were clothed, maintained, and taught at her expense.
Others learned the art, and while the demand lasted, the manufacture
employed a good many hands. Though the number is again diminished, there
are still above forty at the business, who {429}make handsome laces of
different patterns, besides those who work occasionally for themselves or
their friends. Perhaps, under the patronage of the present respectable
duchess, the manufacture of Hamilton lace may again become as flourishing
as ever."[1204]
"The Duchess of Hamilton," says the _Edinburgh Amusement_ of 1752, "has
ordered a home to be set up in Hamilton for the reception of twelve poor
girls and a mistress. The girls are to be taken in at the age of seven,
clothed, fed, taught to spin, make lace, etc., and dismissed at fourteen."
The work of the fair Duchess throve, for, in 1754, we read how--"The
Duchess of Hamilton has now the pleasure to see the good effects of her
charity. Her Grace's small orphan family have, by spinning, gained a sum of
money, and lately presented the Duke and Duchess with a double piece of
Holland, and some suits of exceeding fine lace ruffles, of their own
manufacture, which their Graces did them the honour to wear on the Duke's
birthday, July 14, and which vied with anything worn on the occasion,
though there was a splendid company present. The yarn of which the ruffles
were made weighed only ten drops each hank."[1205]
It was probably owing to the influence of this impulsive Irishwoman that,
in the year 1754, was founded The Select Society of Edinburgh for
encouraging the arts and manufactures of Scotland, headed by the Duke of
Hamilton. This society was contemporary with the Anti-Gallican in England
and the Dublin Society, though we believe, in this case, Dublin can claim
precedence over the capital of North Britain.
At a meeting of the society it was moved that "The annual importation of
worked ruffles and of bone lace and edging into this country is
considerable. By proper encouragement we might be supplied at home with
these ornaments. It was therefore resolved--
"That a premium be assigned to all superior merit in such work; such a one
as may be a mark of respect to women of fashion, and may also be of some
solid advantage to those whose laudable industry contributes to their own
support.
{430}"For the best imitation of Dresden work, or a pair of men's ruffles, a
prize of £5 5s.
"For the best bone lace, not under twenty yards, £5 5s. The gainers of
these two best articles may have the money or a gold medal, at their
option."
As may be supposed, the newly-founded fabric of the Duchess was not passed
over by a society of which the Duke himself was the patron. In the year
1757 we have among the prizes adjudged one of two guineas to Anne
Henderson, of Hamilton, "for the whitest and best and finest lace, commonly
called Hamilton lace, not under two yards." A prize had already been
offered in 1755,[1206] but, as stated the following year, "no lace was
given in." Prizes continued in 1758 and 1759 to be given for the produce of
Hamilton; in the last year to the value of four guineas.[1207]
The early death of the Duke of Hamilton; and the second marriage of the
Duchess, did not in any way impede the progress of Hamilton lace, for, as
late as 1778, we read in Locke's _Essays on the Scotch Commerce_--"The lace
manufactory, under the patronage of the amiable Duchess of Hamilton (now
Argyle), goes on with success and spirit."
With respect to the quality of this Hamilton lace, laudable as were the
efforts of the Duchess, she succeeded in producing but a very coarse
fabric. The specimens which have come under our notice are edgings of the
commonest description, of a coarse thread, always of the lozenge pattern
(Fig. 161); being strong and firm, it was used for nightcaps, never for
dresses, and justified the description of a lady who described it as of
little account, and spoke of it as "only Hamilton."
It appears that the Edinburgh Society died a natural death about 1764, but,
notwithstanding the untimely demise of this patriotic club, a strong
impetus had been given to the {431}lace-makers of Scotland.[1208]
Lace-making was introduced into the schools, and, what was better far, many
daughters of the smaller gentry and scions of noble Jacobite houses, ruined
by the catastrophe of 1745, either added to their incomes or supported
themselves wholly by the making of the finer points. This custom seems to
have been general, and, in alluding to it, Mrs. Calderwood speaks of the
"helplessness" of the English women in comparison to the Scotch.
In the journals of the day we have constant advertisements, informing the
public of the advantages to be gained by the useful arts imparted to their
offspring in their establishments, inserted by ladies of gentle blood--for
the Scotchwomen of the last century no more disdained to employ themselves
in the training of youth than does now a French dame de qualité to place
herself at the head of the Sacré-Coeur, or some other convent devoted to
educational purposes.[1209]
[Illustration: Fig. 161.
HAMILTON.]
The entry of all foreign laces was excluded by law. The {432}Scotch nation
of the Hanoverian persuasion were wrath at the frivolity of the Jacobite
party. "£400,000 have been sent out of the country during the last year,"
writes the _Edinburgh Advertiser_ of 1764, "to support our exiled
countrymen in France, where they learn nothing but folly and extravagance."
English laces were not included in the prohibition. In 1763, that "neat
shop near the Stinking Style, in the Lukenbooths," held by Mr. James
Baillie, advertises "Trollies, English laces, and pearl edgings." Four
years later, black silk lace and guipure are added to the stock, "mennuet,"
and very cheap bone lace.[1210]
Great efforts, and with success, were made for the improvement of the
thread manufacture, for the purchase of which article at Lille £200,000
were annually sent from Scotland to France. Badly-spun yarn was seized and
burned by the stamp master; of this we have frequent mention.[1211]
Peuchet, speaking of Scotland, says:--"Il s'est formé près d'Edinbourg une
manufacture de fil de dentelle. On prétend que le fil de cette manufacture
sert à faire des dentelles qui non-seulement égalent en beauté celles qui
sont fabriquées avec le fil de l'étranger, mais encore les surpassent en
durée. Cet avantage serait d'autant plus grand que l'importation de ce fil
de l'étranger occasionne aux habitans de ce royaume une perte annuelle de
£100,000."[1212]
Whether about the year 1775 any change had taken place in the legislation
of the customs of Scotland, and they had become regulated by English law,
we cannot say, but suddenly constant advertisements of Brussels lace and
fine point appear in the _Gazette_, and this at the very time Loch {433}was
doing his best to stir up once more Scotch patriotism with regard to
manufactures.[1213]
The Scotch Foresters set the example at their meeting in 1766, and then--we
hear nothing more on the matter.
The _Weekly Magazine_ of 1776 strongly recommends the art of lace-making as
one calculated to flourish in Scotland, young girls beginning to learn at
eight years of age, adding: "The directors of the hospital of Glasgow have
already sent twenty-three girls to be taught by Madame Puteau,[1214] a
native of Lisle, now residing at Renfrew; you will find the lace of Renfrew
cheaper, as good and as neat as those imported from Brussels, Lisle, and
Antwerp." David Loch also mentions the success of the young Glasgow
lace-makers, who made lace, he says, from 10d. to 4s. 6d. per yard. He
adds: "It is a pleasure to see them at work. I saw them ten days ago." He
recommends the managers of the Workhouse of the Canongate to adopt the same
plan: adding, they need not send to Glasgow for teachers, as there are
plenty at the Orphan Hospital at Edinburgh capable of undertaking the
office. Of the lace fabricated at Glasgow we know nothing, save from an
advertisement in the _Caledonian Mercury_ of 1778, where one William Smith,
"Lace-maker," at the Greenhead, Glasgow, informs the public he has for some
years "made and bleached candlewicks." Anderson and Loch did not agree on
the subject of lace-making, the former considering it an unstable fabric,
too easily affected by the caprices of fashion.[1215]