taking fourteen bobbins to work a strip of the required length; this was
then joined up as required into a pattern of more or less regular and
starlike form, partly, no doubt, to imitate the older geometric designs.
The same bobbins were used throughout. _See_ Plate 83.
The same style of making is more beautifully carried out in the two
patterns of Plate 84. The lace in No. 1 is unfortunately very much worn,
but the way the bobbin-made strip is arranged to make flowerlike forms
is very ingenious; the ground is completely covered and yet nothing is
awkward or crowded. No. 2 is also a very fine example of this simple
bobbin work. I consider both to be early Venetian.
Number 1 of Plate 85 is a typical pattern of the lace which, originally
no doubt inspired by the East has become universal under the name of
"peasant" lace. We find it in Russia, Hungary, Dalmatia, Spain, Sicily,
Sardinia, in fact wherever lace was made at all, this pattern with
slight variations is supreme. Ceylon and India produce very similar
lace, as also does South America. I have therefore made no special
reference to these peasant laces, as although quite satisfactory from
the point of view of utility, they are only otherwise interesting as the
product of an industry much to be encouraged.
Numbers 2, 3 and 4, on Plate 85, may be considered as showing a
transition state, as in all three there is an attempt to add a
background to the toile or tapelike pattern.
Number 4 is a specimen of old Maltese lace now no longer made.
Number 1 in Plate 86 is of reticello pattern and a very successful
imitation of the needle-point linen lace.
Number 2 is a fine example of the same style worked into points or
pizzi, and is probably Venetian.
Numbers 3, 4 and 5, are examples of Genoese plaited lace.
Number 5 is especially notable as recalling the Eastern tradition.
Plate 87 shows two specimens of Genoese lace. No. 2 is what is sometimes
called collar lace, and sometimes Vandyke lace, from the very general
use of it in portraits by that great painter. No. 1 is Genoese fringed
lace. In both the starlike groups of little "grains of corn," as they
are called, are characteristic of Genoese lace, as they are now
considered to be of Maltese. But the Genoese patterns were only
introduced into Malta and Gozo about sixty or seventy years ago. One can
but be glad of the success of an industry so profitable to the
industrious peasantry of those islands, but it is impossible not to
regret the total disappearance of the old style of lace-making. The old
patterns are not in demand for the modern market, which is chiefly
French, and the lace is principally made with silk imported from France.
I find that it is often supposed that no specimens exist of ancient
Maltese lace. It is, however, well known there that lace was made in
Malta and Gozo at all events as early as about 1640. The early flounce
(Plate 80) was bought in Valetta more than fifty years ago, and
inquiries made convince me that it was made, as my Maltese informant
expressed it, "before the time of Lascaris." The Maltese often use the
expression "time of Lascaris" or of "Carafa," "Manoel," etc., to date
anything. These were the names of different Grand Masters before the
islanders invited English occupation in 1800. There is no doubt that the
disturbance caused by the French occupation affected lace-making so that
it fell into abeyance, but before that time great quantities of these
simple, strong and useful laces were made, principally, of course for
church use. The narrower edgings (Plate 98) were used for the fine white
lawn head-dresses worn with the beautiful national gala dresses, now
only preserved by the great Maltese families as relics of the past.
Number 1, Plate 88, is a very curious early pattern called gotico in
Italy.
Numbers 2 and 3 are Sicilian peasant laces.
Number 4, Tuscan peasant lace called piedi di gallini (fowls' feet).
Number 5 is a Tuscan peasant lace called zeccatello.
Plate 89 illustrates six peasant laces from Russia, Madeira, Portugal,
Ceylon, and Le Puy, made before 1850.
In the Genoese laces in Plates 90 and 91 we have examples of what may be
called the second manner of bobbin lace. The patterns of conventional
sprays and flowers are made on the pillow separately, and afterwards
joined by brides picotées, also bobbin-made. In the lace made in this
second manner, in which many laces were made at successive periods in
Milan, Genoa, Brussels and Honiton, the threads forming the connecting
brides, and later the réseau, can be detected by looking on the reverse
of the lace, as they are seen passing behind the patterns. An example of
this carrying threads across is shown in the Honiton lace, Plate 118.
Plate 92 represents one of the finest examples I have seen of Genoese
bobbin lace, trine a fuselli. The design is of gracefully arranged
scrolls and flowers, and includes five birds which are introduced in the
most spirited manner. The several tapey shapes, made separately and
joined by brides, form the complete design or pattern, the fillings
between them are very good, and include the starlike work characteristic
of Genoa. This illustration is on a reduced scale in order to show the
pattern of the lace. Plate 93 represents the exact size of the same
lace.
Plate 94 is a flounce of Milanese bobbin lace, trine a fuselli. The
pattern is of scrolls and flowers, a heraldic crowned eagle and small
birds, with various fillings in the spaces enclosed. A very strong
réseau connects the whole.
Plate 95, a flounce of the same lace, has a very beautiful flowing
design of scrolls, with a background of the characteristic réseau of
Milanese work.
The Milanese alb flounce (Plate 96) is a very fine piece of much later
date. The spaces enclosed by the toilé or tapey parts are filled by
bobbin-made fillings or à jours, of various designs, a very strong and
evenly made réseau connects the whole.
The two specimens of Italian lace, Plate 97, are of very elegant design;
they also have the fond chant pattern of réseau. This style of lace was
made both in North and South Italy up to sixty or seventy years ago, but
coarser thread was then introduced with disastrous effect.
In the narrow Maltese lace of Plate 98 we have in No. 1 the réseau
called mariage; this lace, and Nos. 2 and 3, were made in Malta about
1780.
Turning now to the bobbin-made lace of Flanders, I begin with No. 1 on
Plate 99, which has no less than three characteristic lengths joined to
form one border. The straight edge, the rather abrupt design, and the
réseau cinq trous, indicate a Flemish make of lace. The pattern No. 2
has the clear whiter thread outline. This lace is sometimes called
Trolle Kant.
The cap, Plate 100, is of later date; the réseau cinq trous, worked with
a very opened out effect, can be observed in the fillings.
The early Mechlin lace resembles in design the point d'Angleterre, and,
indeed, also the Alençon lace of the same date. It is most interesting
to compare, say, the Mechlin, Plate 101, with the d'Angleterre, Plate
104, and the Venise à réseau of Plate 57. Yet the makings of the three
laces are absolutely different--the Venice entirely by needle; the
Angleterre is made in two different stages of bobbin work; the Mechlin,
as is always the case, was made in the third manner, the threads
originally started on the bobbins carrying the work to a finish, and
ingeniously sufficing for toilé, réseau, and fillings. Later, Mechlin,
for reasons already stated, became a mere border, as shown in Plate 102.
It is no longer made. This is also the case with Binche lace (Plate
103). A very beautiful fond de neige, used sometimes as a ground and
sometimes as a filling or à jours, distinguishes this lace. The work is
very fine and close, the edge is usually straight. It is sometimes
called fausses Valenciennes.
Brussels gives its name to a variety of beautiful laces. The most
renowned is the point d'Angleterre, made in great quantities during the
later part of the seventeenth century for the English market. The
designs, as on Plate 104, recall those of the Venise à réseau and of
Alençon of the same period; the beautiful flowing garlands, the waved
edge with varied fillings, the brides picotées forming the hexagonal
réseau, will bear comparison with the Venice lace of Plate 57, and the
Alençon of Plate 63. This truly wonderful point d'Angleterre has a very
fine toilé; the flowers and scrolls were first made on the pillow and
then joined by the réseau (vrai Bruxelles), long used for the highest
class of all Brussels bobbin-made laces. Lace of this fineness is no
longer made since the fine handspun thread cannot be obtained.
Brussels lace followed the fashion which, as we have seen, obtained in
France. In the late eighteenth century only a border was necessary, as
lace was worn in a profusion of flounces and frills; and Plate 106 shows
a border very similar in design to the Alençon of the same date. The
delicate flowers and leaves are joined by the fine réseau mentioned
above--namely Brussels vrai réseau, a title employed to distinguish it
from machine-made net. This last was introduced during the first quarter
of the nineteenth century, and soon gave a different character to
Brussels lace, when the flowers made on the pillow were sewn (appliqué)
to a simple net made sometimes by hand, but more often by machine.
In the Antwerp lace scarf, No. 1, Plate 107, the fond chant or point de
Paris réseau is used, and here we have an example of Potten Kant, or pot
lace, so-called because in early times the subject of the Annunciation,
with the pots of lilies usually added, was introduced into the designs
for it. The indication of flower-pots certainly occurs in many pieces,
though not in mine, and no piece exists, as far as I know, with figures.
The cap of Lille lace, No. 2, Plate 107, has the simple twisted thread
réseau characteristic of this and of Arras lace. It is not to be
distinguished from the réseau often used in Buckingham lace.
We must again notice how similar the design in the fine old Valenciennes
of Plate 108 is to that of Alençon needle-point of the same date. The
réseau is closely plaited, and the toilé of the beautiful patterns
compact and clear in definition. No outline or cordonnet is used in
Valenciennes lace. The early lace has what is called the round réseau,
the later Valenciennes made at Yprès has a square réseau (Plate 109).
This latter lace is still made, but has not the charm of the
eighteenth-century lace.
The lace (Plate 110) was probably made in Paris. It is very curious,
with heraldic device of an eagle with a shield; dogs also, and stags,
are introduced. It may have been made for a wedding about 1690. This
lace is often described in the inventories of old families in France as
dentelle de chasse.
The Blonde lace (Plate 111) was made in Chantilly for a wedding in 1820.
Plate 112 gives three specimens of bobbin-made lace, with the so-called
maglia di Spagna, or Spanish mesh. No. 1 is of linen thread, with a
coarser thread introduced; but one should remark that this thread is not
used to outline the pattern as in Flemish lace. I have not met this
réseau in any Flemish lace. Nos. 2 and 3 are bobbin-made silk lace, and
were ruffles for a Court dress-coat.
The black mantilla, Plate 113, has the fond chant réseau used as a
filling, and, although bought in Madrid in 1840, it may have been made
in France.
The difficulty of working the materials of gold and silver lace is so
great that absolute regularity of either pattern or réseau is
impossible. This, however, in my opinion, only renders these rare laces
more interesting. Both metals are used in the characteristic specimen of
sixteenth-century Spanish lace, No. 1 in Plate 114.
Number 2 is a silver seventeenth-century lace from Genoa, the edge is a
shell pattern, and several thicknesses of the metal-covered silk thread
are used. Plate 115 has four patterns of seventeenth-century gold and
silver lace made in Italy, probably at Lucca.
The Brussels lappet, made in 1849, Plate 116, was then considered one of
the finest ever made, the pattern is pretty and realistic, and
foreshadows the style since prevalent.
The Bedfordshire lappet, on the same plate, is far inferior in
execution, but was made by a cottager at about the same time and has
done good service.
Two patterns of Buckinghamshire lace, Plate 117, made about 1790, show
more even workmanship than is generally seen in this lace. No. 2 has a
likeness to the Mechlin and Lille lace of the same date; No. 1 is more
like the Flemish Trolle Kant, and was, in fact, called Trolly lace. It
will be observed that the fillings have the six-pointed star, or fond
chant réseau, so prevalent in pillow lace.
There is a tradition that the art of bobbin-made lace was imported into
Devonshire by emigrants from the Netherlands, flying from the tyranny of
the Duke of Alva. Mr. Seguin, in his learned book, contends that the
troubles in Flanders had completely destroyed the lace industry before
Philip II. of Spain sent the notorious Duke of Alva there. I believe,
however, both that lace-making existed before that time in England, and
that the emigration had a beneficial effect on all English industry,
although not an initial one.
I have given both the right and wrong side of the Honiton lace
cap-border in Plate 118, to show the threads of the connecting réseau,
passing behind the patterns, the thread making the brides picotées also
passes in the same manner.
Plate 119 shows a remarkably fine specimen of Honiton bobbin lace. The
flowers are made separately in this specimen, and are afterwards joined
by twisted brides claires made with a needle. The design is of birds,
butterflies, and the rose, shamrock, and thistle. It was, perhaps, made
to commemorate the Union.
Plate 120 is of Honiton sprays applied to machine-made net.
Space does not admit of any attempt to give a complete Bibliography. I
find that a mere list of books that I have consulted at different times
would be too long. I will therefore only mention that the works of the
following authors would be very valuable to those intending to pursue
this subject.
A fairly complete list of Italian and German pattern-books will be found
in Mrs. Bury Palliser's "History of Lace." And the works of Mr. Alan
Cole, Dr. Franz Bock, Father Braun, S.J., Dr. Moritz Dreger and Dr. Ilg
of Vienna, Dr. Daniel Rock, Mons. Seguin, and Mr. Verhaagen have all
been especially useful; and while preparing this for the press I have
seen with great delight the splendid book of illustrations of Italian
needle lace compiled by Signora Elisa Ricci.
In concluding these remarks, I must say that I owe the first idea of
writing on this subject to my learned and accomplished husband, Mr. John
Hungerford Pollen. Much information was given me in long bygone days by
Dr. Daniel Rock, and by another old friend, Mrs. Bury Palliser, who gave
me one of my first specimens in 1862.
At the present time I owe many thanks for advice and supervision to Mr.
Alan Cole, whose knowledge of lace is unsurpassed.
PLATES
[Illustration: PLATE I. THE ALB, PRESERVED AT ASSISI, SAID TO HAVE BEEN
WORN BY ST. FRANCIS]
[Illustration: PLATE II. THE ALB WHICH IS SAID TO HAVE BEEN WORN BY POPE
BONIFACE, A.D. 1298]
[Illustration:
PLATE III. (1) DETAIL OF THE ALB OF POPE BONIFACE VIII.
(2) DETAIL OF THE ASSISI ALB.]
[Illustration: PLATE IV. THREE PIECES OF NEEDLEWORK FROM EGYPTO-ROMAN OR
COPTIC TOMBS OF THE SECOND AND THIRD CENTURIES
One is part of a circular panel or roundel, and the other two are
parts of girdles. The gammadion or symbol of the cross can be traced
in all three: and the polygonal character of the design is similar
to that of the Assisi alb]
[Illustration: PLATE V. (1) A PIECE OF BOBBIN-MADE LACE. (2) DARNED WORK
WITH WHITE LINEN THREAD. (3) PORTION OF A MUMMY CLOTH
No. 1 is a piece of bobbin-made lace, found in the Coptic tombs in
1903, and now in the Cluny Museum in Paris. Bobbins were found at
the same time. I do not think this fabric was made on a lace
pillow, but that a sort of frame with pegs was used to keep the
bobbins separate
No. 2 is darned work with linen white thread, very similar to the
Italian towel No. 1 in Plate XXVIII.; the background is afterwards
darned in with coloured wool. This is also from a Coptic tomb of
the third century
No. 3 is a portion of a mummy cloth of the Eighteenth Dynasty, 1700
B.C. The linen is very strong and of a wiry nature]
[Illustration: PLATE VI. TWO EXAMPLES OF ITALIAN TELA TIRATA AND PUNTO
REALE
Chosen as showing similarity to the work of the Assisi alb.
Together 13 ft. 7 in. long
_Italian. 16th century_]
[Illustration: PLATE VII. AN EXAMPLE OF EARLY LACIS OR SFILATURA
Chosen as showing similarity to the work of the alb of Pope
Boniface. The square mesh netting has centres worked in matting
stitch, punto a stuora; threads radiate from these centres and
darning stitch and punto di treccia are both used to form various
patterns, some cruciform
7 ft. 9 in. × 10 in.
_Sicilian, 15th century_]
[Illustration: PLATE VIII. SEVEN ENLARGED STITCHES USED IN LACIS AND
LINEN LACE
No. 1. Early lacis work, showing the punto a stuora and punto di
treccia
No. 2. Lacis with square knotted mesh and pattern darned with punto
a tela. In this specimen gold thread has been run round the pattern
No. 3. Lacis with a twisted mesh, darned with punto a rammendo;
this style is called Buratto in Italy
No. 4. Tela tirata. The threads are only partly drawn, and the
pattern left in the linen, some threads being cut
No. 5. Tela tirata. In this style some threads of both warp and
woof in the whole piece of linen are drawn: the missing threads of
the pattern are then darned in again; the background is then sewn
over as in the other style. No threads at all are cut, which makes
it more even and durable
No. 6. Punto avorio. The needle-made knots make a very even surface
resembling ivory
No. 7. English needle-point, called Hollie or Holy Work, a stitch
which resembles the Alençon réseau in the working, as after
completing a row the thread is passed back so as always to begin at
the same point]
[Illustration: PLATE IX. FIVE ENLARGED VARIETIES OF RÉSEAUX
No. 1. Small and large réseaux of Point d'Alençon
No. 2. Point de Venise à réseau
No. 3. Point d'Argentan.
No. 4. Brussels needle-made réseau
No. 5. Brussels bobbin-made réseau]
[Illustration: PLATE X. SEVEN ENLARGED VARIETIES OF RÉSEAUX
No. 1. Bobbin-made Maglia di Spagna
No. 2. Bobbin-made Fond chant or Point de Paris
No. 3. Round mesh bobbin-made Valenciennes
No. 4. Bobbin-made Mechlin
No. 5. Cinq trous réseau
No. 6. Bobbin-made square mesh Valenciennes
No. 7. Lille, Arras, or Buckingham réseau]
[Illustration: PLATE XI. BORDER OF LACIS OR DARNED SQUARE MESH NET.
PUNTO A TELA OR LINEN-STITCH
With religious inscriptions: a fanciful peacock and the letters
I.H.S. surrounded by a glory of flames and by little angular angels
4 ft. 10 in. × 2 ft. 10 in.
_Italian, 15th century_]
[Illustration: PLATE XII. BORDER OF SQUARE MESH LACIS
Intended probably for an altar-cloth with a design of ornamental
hexagonal compartments worked in linen stitch, in each of which are
various devices, I.H.S. in a heart-shape above two heraldic lions,
elsewhere a stag, pairs of birds, symmetrical devices of leaf and
blossom, etc.
6 ft. × 10 in.
_French, 15th century_]
[Illustration: PLATE XIII. TWO EXAMPLES OF LACIS WORK
No. 1. Lacis with gammadion, or early Christian symbol. 4 ft.
No. 2. Lacis cover, containing 39 squares of different patterns darned
with punto a tela or linen stitch. The border is of bobbin-made lace. 2
ft. 1 in. × 21 in.
_Italian, 15th century_]
[Illustration: PLATE XIV. PART OF A QUILT
Made of squares of lacis work alternating with oblongs of linen in which
are squares worked in needle-point called reticello or cut-work.
3 ft. 8 in. × 2 ft. 4 in.
_Italian, 15th century_]
[Illustration: PLATE XV. LACIS TABLE-COVER
Of square mesh net worked in linen stitch with bold and graceful
scrolls, leaves, etc., amidst which are cartouches of foliated shields
bearing a heraldic lion in the centre. The pattern is outlined and
enriched with gold thread, and the cartouches have a variety of
stitches. It has a bobbin-made vandyke edging of lace (merletti a
fuselli) with gold thread introduced into it.
5 ft. 6 in. × 22 in.
_Italian, 16th century_]
[Illustration: PLATE XVI. (1) VANDYKE BORDER OF LACIS. (2) PART OF A
QUILT OF SQUARES OF LACIS
No. 1. Vandyke border of lacis knotted square mesh net darned in linen
stitch with repeated large and small blossoms; the larger ones resemble
Tudor roses. 4 ft.
_English, 16th century_
No. 2. Part of a quilt of squares of lacis, the one shown has a pattern
of a vine: alternating with rectangles of linen decorated with small
cut-work. 3 ft. 3 in. × 2 ft.
_German, 16th century_
The pattern in both pieces is outlined and partly worked with punto
riccio]
[Illustration: PLATE XVII. BORDER OF LACIS WITH THE TWISTED MESH CALLED
BURATTO
The design is worked in punto a rammendo with numerous armed men and
animals.
5 ft. 9 in.
_Italian, 15th century_]
[Illustration: PLATE XVIII. TWO BORDERS OF LACIS CALLED BURATTO
The darning or punto a rammendo of the edge pattern is in each case
worked the reverse way to that employed for the main design.
Together 4 ft. 7 in.
_Italian, 16th century_]
[Illustration: Plate XIX. BAND OF TELA TIRATA OR DRAWN WORK
The pattern left in the linen represents a variety of sacred and other
subjects. A king and a queen between whom is an angel: St. Michael
engaging Satan: St. Rafael holding Tobit by the hand, etc. The
photograph shows a portion, representing St. Francis receiving the
Stigmata; below are the words: S. Francisca. ora pr., above to his left
a church
6 ft. 7 in. × 12½ in.
_Italian, early 14th century_]
[Illustration: PLATE XX. PART OF A COVER OF TELA TIRATA OR DRAWN WORK
The pattern left in the linen includes a man in armour, about to slay a
curious beast; elsewhere are archaic birds. 3 ft. 2 in. × 21 in.
_Italian, early 14th century_]
[Illustration: PLATE XXI. BAND OR FLOUNCE OF TELA TIRATA OR DRAWN WORK
The pattern includes various figures, a wedding-party above two lions
flanking a flower-pot: a hawking-party below
6 ft. 1 in. × 14 in.
_Italian, about 1540_]
[Illustration: PLATE XXII. AN INFANT'S SWADDLING BAND OR "FASCIA" OF
TELA TIRATA
The pattern is of a conventional stem and leaf design. The edging on the
sides is of bobbin-made lace of two patterns
3 ft. × 6 in.
_Sicilian, 16th century_]
[Illustration: PLATE XXIII. BAND OF A VARIETY OF TELA TIRATA
With a darned pattern in heavy thread of female figures alternating with
birds; the vandyked edging is of punto avorio
10 ft. 6 in. × 5½ in.
_Sardinia, 16th century_]
[Illustration: PLATE XXIV. LINEN CLOTH WITH BORDER
Of tela tirata worked with looped and knotted stitches and reticello:
the geometrical pattern is repeated without variation
25 in. × 17 in.
_Italian, 15th century_]
[Illustration: PLATE XXV. TWO BANDS
No. 1. Band of a variety of tela tirata or drawn-work: pattern a scroll
with a flower: there are no cut threads in this work. 3 ft. 8 in.
No. 2. Band of punto reale and tela tirata with a bobbin-made edging. 4
ft. 11 in.
_Italian, 17th century_]
[Illustration: PLATE XXVI. PYX VEIL OF TELA TIRATA, OR DRAWN THREAD WORK
This interesting piece is a survival from pre-reformation times. It is 2
ft. 4 in. square and has no cut threads in it. The pattern is made by
drawing 12 threads both of warp and woof and leaving small squares of 12
threads. The loose threads are then most ingeniously whipped over,
forming a star-like pattern between the squares. The worker has passed
her needle behind the squares 8 times so as to form a star at the back
of each square, the corners have wooden balls gilt: and a silk fringe
surrounds the whole]
[Illustration: PLATE XXVII. A PORTION OF THE PYX CLOTH, TO SHOW BOTH
SIDES OF THE WORK]
[Illustration: PLATE XXVIII. THREE CLOTHS, FRINGED
No. 1 has a geometric effect worked on the drawn foundation: this style
is called sfilatura in Italy; the knotted fringe is of macramé. 4 ft. ×
2 ft.
No. 2 has a design of birds and scrolls in punto riccio, a border worked
in punto avorio, and a curious hand-made fringe. 6 ft. 6 in. × 2 ft.
No. 3 is ornamented with reticello and punto riccio and has a
bobbin-made edging and fringe. 3 ft. 6 in. × 2 ft.]
[Illustration: PLATE XXIX. TWO BORDERS
No. 1. Border of reticello or needle-point cut-work: the geometrical
rosettes are repeated with very slight internal alteration. 9½ in.