upper border is a mixture of punto a festone, punto di treccia and punto
a stuora work. The vandyke edge is of bobbin-work (merletti a fuselli).
2 ft. 8 in.
_Italian, 15th century_]
[Illustration: PLATE XXX. TWO BORDERS
Of needle-point on linen, called reticello or cut-work. The pointed
edgings of both pieces are bobbin-made lace, sometimes called plaited
lace
Together 9 ft. 2 in. × 4 in.
_Italian, 16th century_]
[Illustration: PLATE XXXI. TWO EXAMPLES
Of dentated or vandyke edgings of needle-point called punto in aria,
because it is made independently of any foundation.
Together 4 ft. 8 in.
_Italian, about 1550_]
[Illustration: PLATE XXXII. CHALICE COVER OF RETICELLO AND PUNTO IN ARIA
In the centre is the figure of St. Peter with the Bible in his right
hand and the Keys in his left. Two winged cherubs hold portions of a
long chain pattern which encircles the details of conventional foliage
and flowers. A lattice of reticello work supports the punto in aria
devices. The linen can be seen at the sides, which have an edge of punto
in aria.
13½ in. × 7½ in.
_17th century_]
[Illustration: PLATE XXXIII. A RETICELLO PATTERN WORKED IN VERY FINE
PUNTO IN ARIA AND PUNTO AVORIO
A pointed edge is also finely worked in punto avorio.
5 ft. 8 in.
_Italian, 17th century_]
[Illustration: PLATE XXXIV. SCALLOPED BORDER OF A CORPORAL OF FLAT
NEEDLE-POINT LACE, CALLED PUNTO IN ARIA
In which the repeating conventional semi-floral forms are connected by
small brides.
6 ft.
_German, early 17th century_]
[Illustration: PLATE XXXV. A CLOTH WITH INSERTION AND BORDER OF PUNTO IN
ARIA
The border has a figure in each vandyke, either a lady with two birds or
a siren; the insertion has strange winged and tailed animals supporting
vases of flowers: all the figures, birds and animals have tiny black
beads for eyes.
6 ft. 4 in. × 3 ft.
_Italian, 16th century_]
[Illustration: PLATE XXXVI. NEEDLE-POINT BORDER OF FLAT NEEDLE-POINT
LACE, CALLED PUNTO IN ARIA
The design of open scrolling and continuous floral stems is arranged to
form points alternately of carnations and hyacinths and includes stags,
hounds, peacocks and other animals: the Visconti crest--a crowned
serpent--is introduced, and the stems sometimes twist into true lovers'
knots. This piece was probably made for a wedding.
4 ft. 3 in. × 5½ in.
_Venetian, 16th century_]
[Illustration: PLATE XXXVII. ORNAMENT FOR THE NECK OF AN ALB OF PUNTO IN
ARIA
The Madonna, in a robe sprinkled with stars and crowned, is seated on
clouds, her foot resting on the head of a cherub. The three persons of
the Trinity are above. Cherubs and conventional flowers are introduced
into the background: the robes are worked apart from the figures in a
lacis stitch called mezza mandolina. Small glass beads are added to the
eyes.
18 in. × 6½ in.
_16th century_]
[Illustration: PLATE XXXVIII. BORDER AND EDGING
No. 1. Border of needle-point lace, called punto in relievo or
rose-point. Birds and serpents occur in the design and each portion of
the pattern is outlined by a thick cordonnet worked in buttonhole
stitch, punto à festone. This thick cordonnet is also used to denote the
scales of the serpent and to accentuate the features of the birds, the
narrow braid at the top of the lace is bobbin-made, the edging is of
very fine needle-point called punto avorio.
11 in. × 3½ in.
_Italian, 16th century_
No. 2. Edging of flat needle-point lace à brides. The pattern is a
somewhat confused rendering of a continuous scrolling stem type; the
brides irregularly introduced have pronounced picots; and this feature
has given rise to the title of coraline lace, on account of its
suggestion of coral forms.
_Venetian, about 1660_]
[Illustration: PLATE XXXIX. A LADY'S CAMISIA OR SHIRT
The back and front are in one piece with a square opening for the head:
this is worked all round with a fine insertion and vandyked edge of
punto in aria: the sleeves have oblique insertions of reticello work. In
the cuffs bobbin-made lace has replaced the original work
_Italian, 16th century_]
[Illustration: PLATE XL. BED-COVER OF CUT LINEN LACE (TELA TAGLIATA A
FOLIAMI AND PUNTO A FESTONE)
The pattern is of bold flowing scrolls, cut in linen, edged by
buttonhole stitch, and joined by brides: a few modes are introduced into
the blossom forms, the edging is of bobbin-made lace (merletto a
fuselli).
7 ft. 6 in. × 4 ft. 8 in.
_Venetian, 17th century_]
[Illustration: PLATE XLI. RABAT OF FLAT NEEDLE-POINT LACE À BRIDES
The pattern is of well-balanced scrolls and conventional flowers
enriched with a few simple modes and joined by brides variously picotées
11½ in. × 7½ in.
_Venetian, about 1640_]
[Illustration: PLATE XLII. PART OF A DRESS TRIMMING OF VERY FINE
NEEDLE-POINT, CALLED ROSE-POINT (PUNTO TAGLIATO A FOLIAMI)
The pattern wrought chiefly in close toilé consists of scrolls and
conventional flowers joined by very few brides. Intermixed with the
toilé are variations of simple modes.
31 in. × 10 in.
_Venetian, about 1640_]
[Illustration: PLATE XLIII. PARTS OF A COLLAR OF NEEDLE-POINT, CALLED
ROSE-POINT, OR POINT DE VENISE (PUNTO TAGLIATO A FOLIAMI)
Pattern of continuous scrolls and conventional flowers frequently
enriched on their raised cordonnets with picots and joined by brides
picotées
5 ft. 9 in. × 3½ in.
_Venetian, 17th century_]
[Illustration: PLATE XLIV. STOMACHER (FOR A DRESS) OF NEEDLE-POINT,
CALLED ROSE-POINT, OR POINT DE VENISE
(PUNTO TAGLIATO A FOLIAMI)
Pattern of conventional flowers joined by brides picotées: the clothing
or toilé of these flowers is of very close work
10 in. long.
_Venetian, 17th century_]
[Illustration: PLATE XLV. PART OF A FLOUNCE OF NEEDLE-POINT, CALLED
ROSE-POINT, OR POINT DE VENISE
(PUNTO TAGLIATO A FOLIAMI)
A splendid scroll occurs in the pattern here shown which is rich with
conventional flowers and double brides picotées
17 in. × 9½ in.
_Venetian, 17th century_]
[Illustration: PLATE XLVI. PART OF A BEAUTIFUL FLOUNCE OF DELICATE
NEEDLE-POINT OF RAISED OR ROSE-POINT LACE, KNOWN AS POINT DE VENISE
The pattern consists of well-balanced elegantly scrolling devices,
terminating in conventional leaves and flowers with occasional raised
work on them, and is set in a ground of brides picotées arranged in
hexagons. The style of many features in the design is French (Louis
XIV.) and the specimen seems to be of Franco-Venetian origin
17½ in. × 19½ in.
_Venice, 17th century_]
[Illustration: PLATE XLVII. PORTION OF XLVI. ACTUAL SIZE]
[Illustration: PLATE XLVIII. PATEN COVER OF NEEDLE-POINT RAISED, OR
ROSE-POINT LACE, VERY SIMILAR IN STYLE AND GRACEFULNESS TO THAT OF No.
XXXIII.
The pattern consists of slender scrolls, with flowers enriched with
massings or galleries of picots surrounding the letters I.H.S. at the
centre
6½ in. square.
_Venetian, about 1670_]
[Illustration: PLATE XLIX. A PORTION OF XLVIII., MAGNIFIED TO SHOW THE
STITCHES]
[Illustration: PLATE L. THREE BORDERS OF DELICATE NEEDLE-POINT RAISED OR
ROSE-POINT LACE
Sometimes called point de neige on account of the massings or galleries
of picots on the raised rosettes. It is also called rosaline in Italy.
Some authorities claim this style as French, and it is one that may be
fairly termed _Franco-Venetian, about 1670-80_
Together 4 ft. 8 in. × 2 in.]
[Illustration: PLATE LI. DEEP FLOUNCE OF NEEDLE-POINT LACE À BRIDES
PICOTÉES, USUALLY CALLED POINT DE FRANCE
This handsome design, in the rendering of which the play of contrast as
between toilé and simple modes is a salient feature, is composed of
semi-realistic leaf, fruit and flower forms arranged symmetrically in
groups which are repeated alternately through the whole length of the
flounce. Accentuations of raised cordonnet are occasionally introduced.
9 ft. 2 in. × 13½ in.
_French (Alençon or Sedan), about 1690_]
[Illustration: PLATE LII. PORTION OF LI., ENLARGED]
[Illustration: PLATE LIII. BORDER OF NEEDLE-POINT RAISED LACE, CALLED
SPANISH ROSE-POINT
The fond or toilé of this lace is partly made of bobbin-made tape; on
this is raised work, and gimps as well as buttonhole-stitched cordonnets
of different dimensions outline and accentuate the rounded serrations
and inner portions of the conventional foliage forms, into which are
introduced many varieties of modes.
4 ft. 6½ in.
_Spanish, 17th century_]
[Illustration: PLATE LIV. TWO SPECIMENS OF NEEDLE-POINT RAISED LACE,
CALLED SPANISH ROSE-POINT
(SLIGHTLY REDUCED IN SIZE)
This fond is partly of bobbin-made tape: on this is raised work of gimp
and various cordonnets buttonhole stitched and edged with loops. These
latter, from their sort of caterpillar effect, originate the fanciful
name sometimes given of caterpillar point
_Spanish, 17th century_]
[Illustration: PLATE LV. TWO EXAMPLES OF NEEDLE-POINT LACE
No. 1 is of silk needle-point lace with cordonnet, buttonholed in
different sizes. This is a small portion, actual size, of the lace used
to embellish the Jewish talith or silk mantle or scarf worn at prayers.
_Venetian, 17th century_
No. 2. Border of needle-point lace sometimes called mezzo-punto, as fine
bobbin-made tape or braid is used to outline the pattern, two or three
varieties of needle fillings are wrought within the tape forms. 19 in.
_17th century_]
[Illustration: PLATE LVI. CAP OF NEEDLE-POINT LACE À RÉSEAU
The design consists of a waved open ornamental riband device crossing a
spray of conventional flowers. This lace may be distinguished from
Alençon by the use of a single thread instead of a buttonholed stitch in
the cordonnet as well as by the make and lay of the meshed ground, point
de Venise à réseau. The style of the design is borrowed from the French
of the latter part of the 17th century.
2 ft. 8 in. × 6 in.
_Venetian, late 17th century_]
[Illustration: PLATE LVII. A BORDER OF NEEDLE-POINT LACE, VENETIAN POINT
À RÉSEAU
The leading masses of the pattern undulate, and between the undulations
are either conventional leaves or flowers filled in with simple diaper
modes and more openly arranged brides picotées.
3 ft. 5 in.
_Venetian, late 17th century_]
[Illustration: PLATE LVIII. TWO EXAMPLES OF VENETIAN POINT À RÉSEAU
No. 1. Needle-point lace usually called Venetian point à réseau. The
pattern entirely covers the lace and is of conventional floral type: the
fillings are very varied. This lace is not Venetian in design, and was
probably made at Sedan.
6 ft. 5 in.
_Sedan, early 18th century_
No. 2 is a beautiful fragment, actual size, of Venetian point à réseau.
_Venice, late 17th century_]
[Illustration: PLATE LIX. A BORDER OF NEEDLE-POINT LACE, POSSIBLY
VENETIAN, THOUGH THE STYLE IS FRENCH
The pattern is of leafy scrolls and conventional flowers well marked,
enriched with light fillings and outlined with cordonnet of fine
buttonhole stitching. The ground is of buttonholed brides arranged into
hexagons strongly suggestive of Point d'Argentan.
6 ft. 6 in.
_(French (?) Alençon or Sedan) late 17th century_]
[Illustration: PLATE LX. TWO PATTERNS NEEDLE-POINT LACE À RÉSEAU, CALLED
POINT D'ALENÇON
In No. 1 the pattern is Venetian in style and the fillings and réseau
also mark it as from Burano. In No. 2 the style is more French and it
may be from Alençon: every detail of the patterns is outlined with a
buttonhole-stitch cordonnet.
Together 9 ft. 6 in.
_Late 17th century_]
[Illustration: PLATE LXI. TWO BORDERS OF NEEDLE-POINT LACE A RÉSEAU,
CALLED POINT D'ALENÇON
In the border small compartments are treated with modes or à jours and
occasional brides picotées: a buttonhole-stitch cordonnet outlines every
detail of the pattern.
4 ft. 8 in.
_Alençon, about 1710_]
[Illustration: PLATE LXII. FOUR BORDERS OF NEEDLE-POINT LACE À RÉSEAU,
CALLED POINT D'ALENÇON
Together 13 ft. 6 in.
_Alençon, about 1740_]
[Illustration: PLATE LXIII. CAP-BORDER OF NEEDLE-POINT LACE À RÉSEAU,
CALLED POINT D'ALENÇON
The pattern consists of a waved stem serrated, from which spring small
sprays of flowers. The width is graduated and the length is without a
join. The modes or fillings, at intervals along the edge, are of dainty
star and other geometric devices and all particularly characteristic of
French (Alençon) lace.
3 ft. 4 in.
_Alençon, middle 18th century_]
[Illustration: PLATE LXIV. BEAUTIFUL LAPPET OF NEEDLE-POINT LACE À
RÉSEAU, CALLED POINT D'ALENÇON
The pattern is of tiny wavy stems, having little leaves and peapods,
which recur in the design of the outer border with lattice and honeycomb
fillings enriched with minute picots.
4 ft.
_Alençon, late 18th century_]
[Illustration: PLATE LXV. THREE PATTERNS OF NEEDLE-POINT LACE À RÉSEAU,
CALLED POINT D'ALENÇON
The ornamental design is mainly confined to the border, the réseau being
sprinkled with dots, called pois or sometimes larmes (hence the
expression semé de larmes).
Together 7 ft. 6 in.
_Alençon, late 18th century_]
[Illustration: PLATE LXVI. TWO PATTERNS OF NEEDLE-POINT LACE À RÉSEAU,
CALLED POINT D'ALENÇON
The main ornamentation is along the border. The ground is semé de pois
and little sprays, after the style of other such small devices, some of
which gave rise to the term semé de larmes.
Together 9 ft. 10 in.
_Alençon, late 18th century_]
[Illustration: PLATE LXVII. CAPE OF NEEDLE-POINT CALLED POINT D'ALENÇON
This piece shows two sizes of mesh in the réseaux: the large forms the
main ground, semé de larmes, whilst the finer is introduced as a mode in
the border of pointed leafy forms.
5 ft. 3 in. × 5½ in.]
[Illustration: PLATE LXVIII. TWO BORDERS OF NEEDLE-POINT LACE
Called point d'Argentan, on account of the make of the
big mesh ground. The pattern of the first is similar to that of No.
LXIII.; in the waved garland is a filling of very fine mesh (the Alençon
ground). The pattern of the second is of the semé de pois or de larmes
style and in the edge is a recurrent filling of fine Alençon ground. The
main ground of both pieces is composed of hexagonal meshes worked over
in buttonhole stitch, as in Argentan lace.
Together 4 ft. 10 in.
_Argentan. No. 1 about 1750. No. 2 about 1780_]
[Illustration: PLATE LXIX. LAPPET OF NEEDLE-POINT LACE, CALLED POINT
D'ARGENTAN
The edge is formed by repeated curved sprays enclosing small spaces
which are filled by a fine Alençon réseau: sprays of flowers also occur
at intervals along the lace. The ground is entirely composed of
hexagonal meshes worked over in button-hole stitch of Point d'Argentan.
4 ft. 2 in. × 7 in.
_Argentan, late 18th century_]
[Illustration: PLATE LXX. THREE SPECIMENS OF NEEDLE-POINT LACE
No. 1 is of silk lace à réseau and has a quaint stiff pattern of
branches with birds introduced; a stout thread cordonnet outlines most
of the pattern, that of the eye, wing and tail of each bird is
overworked with buttonhole stitch.
_Probably Portuguese, 18th century_
No. 2 is from a floral design treated with occasional buttonhole
cordonnet as in No. 2.
No. 3. Border of needle-point, called "point de gaze" on account of the
extreme delicacy of the bobbin-made réseau (vrai réseau de Bruxelles):
the pattern is a flowery border with small sprays recurring in the
ground in the style of the Louis XVI. period.
Together 3 ft. 3 in.
_Brussels, 18th century_]
[Illustration: PLATE LXXI. LAPPET OF NEEDLE-POINT LACE
Called point de gaze on account of the delicacy of the réseau. The
design of scrolls and flowers is chiefly worked in a rather loose toilé,
outlined with a stout thread cordonnet and enriched with various open
modes or fillings.
3 ft. 3 in. × 4½ in.
_Brussels, 1830_]
[Illustration: PLATE LXXII. PART OF A SCARF
Or veil of light needle-point fine stem floral pattern worked on a
foundation of machine-made net
6 ft. × 2 ft.
_Brussels, 1840_]
[Illustration: PLATE LXXIII. FLOUNCE OF MACHINE-MADE NET WITH PATTERN
DARNED ON IT
This class of work is now usually called Limerick lace, but it was often
made in England and in many places abroad
3 ft. × 7 in.
_Italian, about 1830_]
[Illustration: PLATE LXXIV. PART OF FULL-SIZE COTTA OF NET WITH LARGE
FLOWER PATTERN DARNED IN SILK INTO IT
The work is very evenly done
_French, about 1839_]
[Illustration: PLATE LXXV. A SPECIMEN OF THE EMBROIDERED MUSLIN WORK
CALLED TÖNDER LACE
This is formed of two thicknesses of muslin sewn in different patterns
by the needle: in places the second thickness of muslin is cut away when
the needlework is completed. The design is composed of leaf and floral
ornaments gracefully shaped and somewhat French in style
12 in. × 8 in.
_Danish, 18th century_]
[Illustration: PLATE LXXVI. TWO SPECIMENS OF THE EMBROIDERED MUSLIN
WORK, CALLED TÖNDER LACE
In No. 1 only one thickness of muslin is employed: the thicker looking
parts of the toilé result from the passing of very evenly darned threads at
the back of it
In No. 2 two thicknesses of muslin are used. The floral forms, much more
slender than in No. 1, are defined with a stout thread cordonnet.
Together 5 ft. 10 in.
_Danish, 18th century_]
[Illustration: PLATE LXXVII. THREE PATTERNS OF MUSLIN LACE
From German Bohemia. Two thicknesses of muslin are used.
Together 7 ft.
_18th century_]
[Illustration: PLATE LXXVIII. FOUR PATTERNS OF DUTCH LINEN LACE
The outlines of conventional floral patterns are in chain stitch, and
the fillings very various and finely executed
Together 8 ft. 9 in.
_Gouda, 18th century._]
[Illustration: PLATE LXXIX. (1) MANILA LACE. (2 AND 3) LACE WORKED IN
NEEDLE-POINT
No. 1. A specimen of needlework called Manila lace, made upon a light
cambric-like stuff woven from fibre of great fineness. The flowers are
embroidered and the whole ground of square meshes is worked by the
needle, in the same way as the tela tirata work
_Manila, about 1840_
Nos. 2 and 3. Lace worked in fine needlepoint stitches with human hair
of different shades--the pattern is evidently copied from the Venetian
_English, about 1800_]
[Illustration: PLATE LXXX. (1) INFANT'S BAPTISM CAP. (2) A CAP BORDER
No. 1. Infant's Baptism cap with insertions of needlepoint lace called
Hollie or Holy point: the design in the crown shows the doves and the
pot with flowers reminiscent of the Annunciation
_English, 16th century_
No. 2. A cap border of Limerick run lace
_Irish, 19th century_]
[Illustration: PLATE LXXXI. THREE SPECIMENS OF EARLY IRISH NEEDLE-POINT
LACE
No. 1 has a tape introduced. No. 3 is the so-called Carrickmacross lace
(first made about 1848)
Together 6 ft.
_About 1848_]
[Illustration: PLATE LXXXII. SPECIMEN OF KNOTTED AND TWISTED STRING OR
THREAD WORK, CALLED MACRAMÉ
This sort of work is often made by knotting the frayed ends on the edge
of a woven material, or else separately by knotting strings of cords of
linen or silk, the ends of which are fastened to a small cushion or
pillow, but bobbins are not used in this work.
10 in. × 12 in.
_Italian, 18th century_]
[Illustration: PLATE LXXXIII. FLOUNCE
For an alb of bobbin-made lace, in the making of which a continuous
braid is used to form the pattern. The lace is shaped on its lower edge
into flatly curving scallops or mitres.
9 ft. 4 in. × 10½ in.
_Maltese, early 16th century_]
[Illustration: PLATE LXXXIV. TWO PATTERNS OF BOBBIN-MADE LACE
No. 1 a design decidedly Eastern. No. 2 has a floral design. Both are
made in the first manner, the pattern entirely carried out with the tape
it was begun with, no brides or réseau being added
Together 4 ft. 7 in.
_Venetian, 16th century_]
[Illustration: PLATE LXXXV. FOUR BOBBIN-MADE LACES (REDUCED IN SIZE)
No. 1 is peasant lace of the familiar type
No. 2 a fine insertion to ornament bed-linen, with a conventional floral
design
No. 3 a similar design in a coarser lace
_Italian, 16th century_
No. 4 is a Maltese lace of the 16th century
Together 10 ft. 2 in.]
[Illustration: PLATE LXXXVI. FOUR BOBBIN-MADE LACES (REDUCED IN SIZE)
No. 1 is a reticello pattern }
No. 2 is a vandyked pattern in so-called plaited lace} _Italian, 16th
No. 3 is a simple plaited lace or gimp } century_
Nos. 4 and 5 are very fine examples of early Italian bobbin laces of
16th century.
Together 23½ yards]
[Illustration: PLATE LXXXVII. BOBBIN-MADE LACE
No. 1. Fringed edging of bobbin-made lace. In both pieces the
characteristic little seed shapes are freely used
No. 2. Scalloped border of bobbin-made lace called collar lace, in which
the ornament is formed chiefly by a continuous narrow toilé or braid.
The same threads are used in the whole width of the lace
Together 3 ft. 2 in.
_Genoese, late 16th or early 17th century_]
[Illustration: PLATE LXXXVIII. FIVE BOBBIN-MADE LACES
No. 1 a curious early pattern of lace made in Umbria
Nos. 2 and 3 are Sicilian peasant laces
No. 4 a lace called in Umbria piedi di gallina
No. 5 a peasant lace called zeccatello
Together 10 ft. 4 in.
_Italian, 16th century_]
[Illustration: PLATE LXXXIX. SIX SPECIMENS OF LACE MADE BEFORE 1850
One each in Russia, Madeira, Portugal, and Ceylon, and two from Le Puy
in France
Together 14 ft.]
[Illustration: PLATE XC. TWO BORDERS OF BOBBIN-MADE LACE À BRIDES
The pattern of scrolls and leaves is made separately and joined on the
pillow by single and knotted brides in the smaller piece and by double
and knotted brides in the larger one.
Together, 8 ft. 7 in. × 5 in.
_Genoese, 17th century_]
[Illustration: PLATE XCI. FLOUNCE OF BOBBIN-MADE LACE À BRIDES IN
WHICH THE TOILÉ IS WELL DEVELOPED
The pattern is of large conventional sprays made separately on the
pillow and afterwards joined by bobbin-made knotted brides.
5 ft. 7 in. × 6 in.
_Italian, early 17th century_]
[Illustration: PLATE XCII. FLOUNCE OF BOBBIN-MADE LACE
The pattern includes birds (an eagle, a peacock, a parrot, a crow, etc.)
set amidst conventional scrolls and flowers. These are all made
separately and joined on the pillow by double and knotted brides
9 ft. 11 in. × 9 in.]
[Illustration: PLATE XCIII.
The lace, as XCII actual size.
_Genoese, 17th century_]
[Illustration: PLATE XCIV. FLOUNCE OF BOBBIN-MADE LACE
The pattern of beautifully arranged scrolls and flowers includes an
eagle with a "marquis" coronet and other small birds: a réseau connects
the whole.
3 ft. × 12 in.
_Milanese, 18th century_]
[Illustration: PLATE XCV. PART OF A FLOUNCE FOR AN ALB, OF BOBBIN-MADE
LACE À RÉSEAU
The pattern is made separately and arranged to form conventional scrolls
and flowers: a réseau unites the whole.
16 in. × 8 in.
_Milanese, 17th century_]
[Illustration: PLATE XCVI. FLOUNCE FOR AN ALB OF BOBBIN-MADE LACE À
RÉSEAU
The pattern is of graceful conventional floral and other forms arranged
symmetrically in groups repeating one another. A variety of noticeable
fillings is introduced. This specimen is reduced in size.
9 ft. 8 in. × 14½ in.
_Milanese, 18th century_]
[Illustration: PLATE XCVII. TWO BORDERS OF BOBBIN-MADE LACE
No. 1. Border of bobbin-made lace. The pattern consists of repeated
groupings of scrolls and pendant forms; the same thread is used
throughout
_Italian, 17th century_
No. 2. Border of bobbin-made lace à réseau. The pattern is composed with
a slender toilé arranged to form continuous scrolls with leafy
offshoots: the réseau ground is of the fond chant type: the same thread
is used throughout.
Together 11 ft.
_Italian, 17th century_]
[Illustration: PLATE XCVIII. THREE BORDERS OF BOBBIN-MADE EDGING
Together 10 ft. 7 in.
_Maltese, 18th century_]
[Illustration: PLATE XCIX. BOBBIN-MADE LACE À RÉSEAU
No. 1 is made up of three lengths of lace sewn together. The straight
edge indicates perhaps an earlier date for this interesting specimen
than that of the narrower piece.
Together 5 ft.
_Flanders, 17th century_]
[Illustration: PLATE C. CAP OF BOBBIN-MADE LACE, CALLED POINT DE FLANDRE
À BRIDES PICOTÉES
The ornamental details were made separately and then joined by
bobbin-made brides: the modes or fillings are in the style of the cinq
trous réseau.
12 in. long
_Flanders, late 17th century_]
[Illustration: PLATE CI. THREE PATTERNS OF BOBBIN-MADE MECHLIN LACE
The patterns are in the style of the Point d'Angleterre, but the toilé
is outlined with a thread cordonnet: the same quality of thread is used
for both toilé, réseau and fillings: the réseau is peculiar to this
beautiful lace.
Together 6 ft.
_Mechlin, early 18th century_]