Portrait of a Lady, painted by Ravesteyn (15801665). Taken from a photograph by Hanfstaengl. 
 The ruff is trimmed with the elaborate Guipure Point Qotico of the period. 
 
A -HISTORY OF 
 
 HAND-MADE LACE 
 
 DEALING WITH THE ORIGIN OF LACE, THE GROWTH OF THE 
 
 GREAT LACE CENTRES, THE MODE OF MANUFACTURE, THE 
 
 METHODS OF DISTINGUISHING AND THE CARE 
 
 OF VARIOUS KINDS OF LACE. 
 
 MRS. F. NEVILL JACKSON, 
 
 WITH SUPPLEMENTARY INFORMATION BY 
 
 ERNESTO JESURUM. 
 
 ILLUSTRATED 
 
 WITH 19 PLATES, AND OVER 2OO ENGRAVINGS OF LACE AND THE FASHION 
 OF WEARING IT AS SHOWN IN CONTEMPORARY PORTRAITS. 
 
 LONDON: L. UPCOTT GILL, 170, STRAND, W.C. 
 
 NEW YORK: CHARLES SCRIBNER'S SONS, 153-157, FIFTH AVENUE. 
 
 I QOO. 
 

 "THERE is STILL SOME DISTINCTION BETWEEN MACHINE-MADE AND HAND-MADE 
 LACE. I WILL SUPPOSE THAT DISTINCTION so FAR DONE AWAY WITH THAT, A 
 PATTERN ONCE INVENTED, YOU CAN SPIN LACE AS FAST AS THEY NOW DO THREAD. 
 EVERYBODY THEN MIGHT WEAR NOT ONLY LACE COLLARS, BUT LACE GOWNS. 
 DO YOU THINK THAT, WHEN EVERYBODY COULD WEAR THEM, EVERYBODY 
 WOULD BE PROUD OF WEARING THEM ? A SPIDER MAY PERHAPS BE RATIONALLY 
 PROUD OF HIS OWN COBWEB, EVEN THOUGH ALL THE FIELDS IN THE MORNING ARE 
 COVERED WITH THE LIKE, FOR HE MADE IT HIMSELF ; BUT SUPPOSE A MACHINE SPUN 
 
 IT FOR HIM ? SUPPOSE ALL THE GOSSAMER WERE NOTTINGHAM MADE .' IF YOU THINK 
 
 OF IT, YOU WILL FIND THE WHOLE VALUE OF LACE AS A POSSESSION DEPENDS ON 
 THE FACT OF ITS HAVING A BEAUTY WHICH HAS BEEN THE REWARD OF INDUSTRY 
 AND ATTENTION. THAT THE THING IS ITSELF A PRICE A THING EVERYBODY CANNOT 
 HAVE. THAT IT PROVES, BY THE LOOK OF IT, THE ABILITY OF THE MAKER ; THAT IT 
 PROVES, BY THE RARITY OF IT, THE DIGNITY OF ITS WEARER EITHER THAT SHE HAS 
 BEEN SO INDUSTRIOUS AS TO SAVE MONEY, WHICH CAN BUY, SAY, A PIECE OF 
 JEWELLERY, OF GOLD TISSUE, OR OF FINE LACE OR ELSE THAT SHE IS A NOBLE 
 PERSON, TO WHOM HER NEIGHBOURS CONCEDE AS AN HONOUR THE PRIVILEGE OF 
 WEARING FINER DRESS THAN THEY. IF THEY ALL CHOOSE TO HAVE LACE TOO IF 
 IT CEASES TO BE A PRICE, IT BECOMES, DOES IT NOT, ONLY A COBWEB 1 THE REAL 
 GOOD OF A PIECE OF LACE, THEN, YOU WILL FIND, IS THAT 11 SHOULD SHOW FIRST, 
 THAT THE DESIGNER OF IT HAD A PRETTY FANCY ; NEXT, THAT THE MAKER OF IT 
 HAD FINE FINGERS ; LASTLY, THAT THE WEARER OF IT HAS WORTHINESS OR DIGNITY 
 ENOUGH TO OBTAIN WHAT IT IS DIFFICULT TO OBTAIN, AND COMMON SENSE ENOUGH 
 NOT TO WEAR IT ON ALL OCCASIONS. " 
 
 RUSKIN. 
 
DEDICATED 
 
 BY SPECIAL PERMISSION 
 TO 
 
 her Royal highness Princess Christian, 
 
 WHOSE FELLOW-FEELING WITH WOMEN WORKERS 
 
 HAS ALWAYS SHOWN ITSELF 
 IN HER KINDLY INTEREST AND TENDER SYMPATHY 
 
 WITH WOMEN'S WORK, 
 WHETHER OF BRAIN OR HAND. 
 
 228424 
 
PREFACE. 
 
 THE special object in writing this History of Hand-made Lace has been to 
 sift and condense all available information in order to classify antique 
 and modern lace specimens with regard to their origin, period, and mode 
 of manufacture, as well as to trace the History of the rise and growth of the 
 great lace centres. 
 
 For a complete list of Works on Lace-making we must refer to our chapter 
 on the Literature of Lace ; we are specially indebted to Mrs. Bury Palliser's 
 "History of Lace"; "The Lace Catalogue" of South Kensington Museum, 
 revised by Alan S. Cole ; Lady Layard's translation of " The Technical History 
 of Venetian and Burano Laces " ; and Felkin's " Machine- wrought Lace." 
 
 Our i hanks are due to Signer Giuseppe Aldo Randegger for the "Ballade 
 a Toile," written expressly for this work. In order to preserve to posterity the 
 almost extinct song of the lace-makers, which had its origin in the ateliers of 
 the sixteenth century, he visited Venice, where a few of the old workers still 
 retain the once universal custom of singing appropriate songs as they ply the 
 needle or twist the bobbins, and, after listening to the harmonies, he set the 
 graceful words of Signer Eugenie Randegger to music. We wish to express our 
 thanks to Signer Ernesto Jesurum for much valuable information regarding the 
 hand-made laces of the present day, and for placing at our disposal a large 
 number of specimens of antique lace, which rendered our systematic pictorial 
 classification possible ; also to the Council of the South Kensington Museum, and 
 to Mr. A. F. Kendrick personally, together with Mr. Alfred Whitman, of the 
 Print Department at the British Museum, for their courtesy and assistance. 
 
 EMILY JACKSON. 
 July, 1900. 
 
LIST OF PLATES. 
 
 PORTRAIT OF A LADY, PAINTED BY RAVESTEYN (1580-1665) ... ... Frontispiece 
 
 PORTRAIT OF QUEEN ELIZABETH, IN RUFF TRIMMED WITH THE MOST 
 
 ELABORATE THREAD GUIPURE OF THE PERIOD ... ... facing page 12 
 
 BOBBIN-MADE BRUSSELS LACE FLOUNCE; LATE SEVENTEENTH CENTURY ... 23 
 POINT DE FRANCE, SHOWING THE VENETIAN INFLUENCE; SEVENTEENTH 
 
 CENTURY ... ... ... ... ... ... ... ... ... 32 
 
 PORTRAIT OF MADEMOISELLE DE BEAUJOLAS, BY NATTIER (1685-1766) ... 37 
 PORTRAIT OF QUEEN VICTORIA, TAKEN AT THE TIME OF HER MAJESTY'S 
 
 JUBILEE, 1887... ... ... ... ... ... ... ... ... 46 
 
 IRISH NEEDLE-POINT LACE HEAD-DRESS WITH LAPPETS ; NINETEENTH 
 
 CENTURY ... ... ... ... ... ... ... ... ... 54 
 
 PORTRAIT OF POPE CLEMENT XIII. REZZONICUS (1693-1769), SHOWING 
 
 POINT DE BURANO LACE WORN ON DRESS ... ... ... ... 56 
 
 FAN-LEAF OF NEEDLE-POINT LACE MADE FOR H.R.H. PRINCESS MAUD OF 
 
 WALES ON THE OCCASION OF HER MARRIAGE IN 1896 63 
 
 FAN-LEAF OF WHITE NEEDLE-POINT LACE (POINT D'ALENCON) ; NINETEENTH 
 
 CENTURY; BELONGING TO THE EMPRESS EUGENIE ... ... ... 66 
 
 PORTRAIT OF MARIE ANTOINETTE (1755-1793) ... ... ... ... ... 76 
 
 LACE-TRIMMED CHRISTENING SUITS IN USE UNTIL THE CLOSE OF THE 
 
 EIGHTEENTH CENTURY ... ... ... ... ... ... ... 82 
 
 LAPPET OF NEEDLE-POINT LACE (POINT 'o'ALEN9ON) ; EIGHTEENTH CENTURY 108 
 LAPPET OF BELGIAN BOBBIN LACE; EIGHTEENTH CENTURY... ... ... 118 
 
 WEDDING VEIL OF BOBBIN MADE BRUSSELS (BELGIAN) LACE; EIGHTEENTH 
 
 CENTURY ... ... ... ... ... ... ... ... ... 128 
 
x LIST OF PLATES. 
 
 PANEL FOR LINEN CHAIR-BACK OF CUT LINEN AND EMBROIDERY. IRISH ; 
 
 NINETEENTH CENTURY ... ... ... ... ... ... facing page 140 
 
 PORTRAIT OF MME. G. DEN DUBBELDE, BY B. VAN DER HELST ... ... 155 
 
 (i) LAPPET OF MECHLIN BOBBIN LACE ; EIGHTEENTH CENTURY. (2) LAPPET 
 (ONE OF A PAIR) OF VALENCIENNES BOBBIN LACE; EIGHTEENTH 
 CENTURY ... ... ... ... ... ... ... ... ... 181 
 
 LINEN COLLAR, WITH BORDER AND BROAD ENDS OF NEEDLE-POINT 
 VENETIAN LACE (GROS POINT DE VENISE, PUNTO TAGLIATO A 
 FOLIAMI) ... ... ... ... ... ... ... ... ... 2O4 
 
CONTENTS. 
 
 CHAP. PAGE 
 
 I. THE EVOLUTION OF LACE ... ... ... ... ... ... ! 
 
 II. ANECDOTAL HISTORY OF MEDIEVAL LACE ... ... ... I2 
 
 III. ANECDOTAL HISTORY OF LACE IN THE SEVENTEENTH CENTURY ... 23 
 
 IV. ANECDOTAL HISTORY OF LACE IN THE EIGHTEENTH CENTURY ... 37 
 V. ANECDOTAL HISTORY OF LACE IN THE NINETEENTH CENTURY ... 46 
 
 VI. ECCLESIASTICAL LACE ... ... ... ... ... c6 
 
 VII. LACE FANS ... ... ... ... ... ... ... ... ... 63 
 
 VIII. PEASANT LACES ... ... ... ... ... ... ... ... 69 
 
 IX. THE TRANSPORT OF LACE ... ... ... ... ... ... ... 76 
 
 X. THE CARE OF LACE ... ... ... ... ... g 2 
 
 XI. THE LITERATURE OF LACE ... ... ... ... 04 
 
 A DICTIONARY OF LACE ... ... ... ... ... 1O y 
 
 GLOSSARY RELATING TO HAND-MADE LACE ... ... ... ... 207 
 
 INDEX ... ... ... ... ... ... .... 2 2i 
 
A HISTORY 
 
 OF 
 
 HAND, 
 MADE 
 LACE. 
 
 ' L'Industria," from a painting by Paul Veronese, in the Doge's Palace, Venice. Taken from 
 a Photograph by Anderson, Rome. 
 
 O 
 
 high value can 
 
 The work 
 
 cares need not 
 
 the work itself 
 
 CHAPTER I. 
 
 THE EVOLUTION OF LACE. 
 
 all the industries there is perhaps none so valuable as that of 
 lace-making, for the cost of tools and working materials is so 
 trifling that the profit is derived almost entirely from the manual 
 labour expended upon it, and the scope for artistic feeling and 
 individuality in the taste of the worker is so great that a very 
 be obtained by the humblest operator. 
 
 is not beyond the strength of the most delicate woman ; family 
 be neglected, for the lace-maker can work at home ; and lastly, 
 necessitates perfect hygienic conditions and personal cleanliness. 
 
2 HISTORY OF HAND-MADE LACE. 
 
 On the charm of lace, as beauty's aid, it is hardly necessary to dwell : all 
 acknowledge the graceful and softening effect of filmy ruffles and delicate webs 
 of flax thread. Never does an old lady look so charming as when she drapes her 
 head and shoulders with old lace, and never are the charms of youth and beauty 
 so apparent as when enhanced with lace. 
 
 Specimen of Ancient Network, the forerunner of the Lace Ground of the 
 present day. From a Roman Cemetery in Middle Egypt. 
 
 It is the one costly wear which never vulgarises ; jewels worn without judgment 
 can be rendered offensive to good taste in their too apparent glitter, but lace in its 
 comparatively quiet richness never obtrudes itself and is recognised in its true worth 
 and beauty only by those whose superior taste has trained them to see its value. The 
 
Cor< 
 
 EVOLUTION OF LACE. 3 
 
 distinction between the two costliest adornments which 
 have ever been produced is a subtle one, and the wearer 
 of artistic hand-made lace is marked as a woman of taste 
 which raises her above the ordinary level, in refinement 
 of judgment, all the world over. 
 
 Lace has been defined as the name generally applied 
 to ornamented open-work of threads of flax, cotton, silk, 
 gold or silver, and occasionally of hair or aloe fibre. 
 Such threads may be either looped, plaited or twisted 
 together in one of three ways : 
 
 (i). With a needle, when the work is distinctively 
 
 known as Needle Point Lace. 
 
 (2). With bobbins, when the work is known as 
 Bobbin Lace, though sometimes inaccu- 
 rately described as Pillow Lace. Needle- 
 point, Bobbin, and Knotted Laces, such as 
 Macrame, are all supported in the hands 
 of the worker on a pillow, so that the term 
 Pillow Lace conveys no distinctive mean- 
 ing and should never be used except as a 
 general term. 
 
 (3). By machinery, when imitations of both Needle- 
 point and Bobbin Lace patterns are pro- 
 duced. 
 
 The difficulty of tracing the history of lace is vastly 
 increased by the fragility of the specimens. In public 
 and private collections of pictures, sculpture, or pottery, 
 a continuity of the story is possible by means of the 
 examples left intact by the ravages of time ; but with 
 lace the delicate gold, silver, and flax threads are so 
 perishable that only very few examples remain to show 
 what special mode was employed in the handicraft at 
 this or that period. Pictorial art is a rich source of infor- 
 mation when that point is arrived at in the history of 
 lace when portraits show the variety and style of wear- 
 ing the fabric. Sculpture also lends its aid in the same 
 way. 
 
 Some authors have stated that lace originated in the Where were 
 far East ; but if this be the case it is strange that in those the earliest 
 lands where the trades and customs are so conservative 
 that one may see made to-day what was made centuries 
 ago, from the same designs and by identical methods, lace 
 should be conspicuous by its absence. There is little 
 
 
 x ! made of native industry of lace-making in China, perhaps the most 
 
 Twisted Threads, from . J , .. 
 
 an Ancient Tomb at conservative or all countries, and only the scantiest trace 
 
 ThebCS ' of a P ast lace industr y- Lace now made by the Celestial 
 
 B 2 
 
HISTORY OF HAND-MADE LACE. 
 
 Homer 
 mentions 
 nets of gold. 
 
 The lozenge 
 pattern 
 is the most 
 ancient. 
 
 has been taught in modern mission schools, and is an imita- 
 tion of the Maltese varieties ; in Japan it is the same. In 
 Persia no lace is made, though open work in drawn thread 
 work is occasionally to be met with. At Tinnevelli and 
 Travancore, in India, lace is made at the mission schools, 
 but there is no special native industry. 
 
 Why, if the Orientals originated lace, should they cease 
 to make it when Europe began ? And why, moreover, should 
 so few traces of the old industry remain where centuries roll 
 by without affecting other trades ? The arguments for the 
 theory of the origin of lace in the far East are, we think, 
 inadequate. It is in the West, in those countries contigu- 
 ous to Europe, in Asia Minor, that the earliest forms of iace 
 work were made. 
 
 The references in ancient manuscripts to lace or net- 
 work are frequently confounded with embroidery, possibly 
 because the two kinds of needlework were so often used 
 together, and translators from the primitive languages, 
 Chaldaic, Hebrew, and Arabic, did not differentiate between 
 the two distinct varieties of needlework : embroidery, and 
 network or lace. 
 
 In the paintings on ancient Egyptian sarcophagi, we 
 see figures weaving garments of fine network, such as are 
 described in Isaiah : " They that work in fine flax and they 
 that weave networks " (xix. 9). The robes of state of 
 royal personages in such pictures appear to be of network 
 darned round the hem in gold, silver, and coloured silks. 
 
 Examples of elaborate netting have been found in 
 Egyptian and Graeco- Roman tombs, and mummy wrappings 
 are ornamented with drawn work, cut work, and other open 
 ornamentation. 
 
 Homer mentions veils of net woven of gold. Such 
 expressions cannot possibly be considered as referring to 
 embroidery. Reference to them seems to establish two 
 points : First, that network of fine linen interwoven or 
 embroidered with gold, whether for the ornamenting of wear- 
 ing apparel or the enrichment of hangings (just as we find 
 darned network used for curtains in the present day) were 
 made use of from Biblical times ; secondly, that lace derived 
 its origin from netting, and not, as many imagine, from 
 embroidery. 
 
 On the opening of a Scandinavian barrow near Ware- 
 ham, in Dorsetshire, a small piece of gold lace was brought 
 to light. It was of course much decayed. Its old lozenge 
 design, however, could be distinguished. This pattern, 
 which is the most ancient and universal, has also been found 
 
 i A 
 
 k i 
 
 I 
 
 A Tape or Braid of 
 Twisted Threads, 
 from a Tomb at 
 Akhmen, Panopo- 
 lis, Upper Egypt. 
 
EVOLUTION OF LACE. 
 
 Saracenic Drawn Linen Work, the earliest form of 
 Open Work Ornamentation. From a Tomb in 
 Egypt, tenth or eleventh century &! f\ D> 
 
 depicted on pottery as trimming 
 the coats of the ancient Danes. 
 The borders of the coat are 
 edged with a network pattern of 
 the same design ; possibly the 
 knowledge of the handicraft of 
 gold lace making had been 
 brought to Scandinavia by some 
 captive women torn from their 
 Southern homes by the Vikings, 
 for it was by such means that 
 nations so far removed from the 
 centres of civilization were often 
 taught. 
 
 A fine example of antique gold lace was discovered in the coffin of St. The distinc- 
 
 Cuthbert in Durham Cathedral. The Saint had been buried in his cope and * ion b <* en 
 ..... ....... lace ana 
 
 maniple, which were very beautifully embroidered ; on one side or the maniple embroidery. 
 
 the gold lace was stitched and showed quite separate from the material which it 
 ornamented, but on which it had not been originally worked as embroidery. 
 
 The Circassian and Armenian women have from the earliest times adorned the 
 fronts and necks of their underlinen, the skirts of their dresses, and the veils which 
 are worn on the head, with a net interwoven with threads of gold, silver, or of 
 silk. 
 
 The Arabs also excelled in such work, and the Commerce which was formerly 
 carried on between Italy and Arabia is a matter of history ; we are therefore justified 
 in conjecturing that the Italian word ricamo, which signifies embroidery, is no 
 other than the old Arabic word rabnna, and that the other Italian word trine, or 
 lace, represents the Arabic word targe the evident deduction being that the Arabs 
 distinguished between the two species of needlework, embroidery and lace, and gave 
 to each its distinctive appellation. 
 
 In documents of the thirteenth and fourteenth centuries the word " fimboice " 
 
 is used in writing of 
 fringe and lace, and 
 the addition of" in 
 gold," ' in silver," 
 or " in network" is 
 frequently met with ; 
 if it had been in- 
 tended to speak of 
 embroidery proper 
 it is obvious that, 
 at least sometimes, 
 mention of the 
 material, or the 
 
 Drawn Linen Work with Arabic inscription, from a Tomb colour of the mate- 
 
 in Upper Egypt. rial, on which the 
 
HISTORY OF HAND-MADE LACE 
 
 Cut linen 
 was an 
 early form of 
 lace work. 
 
 embroidery was worked 
 would have been made, as 
 embroidery in gold, on 
 linen, on purple, silk, or 
 some other variety. 
 
 Anglo-Saxon gentle- 
 women were extremely 
 clever in embroidery and 
 its kindred ornamentations, 
 and many accounts are 
 extant of richly embroi- 
 dered tunics and sarks 
 worked by the nuns, whose 
 lives of seclusion gave 
 them ample opportunity for 
 the execution of intricate 
 needlework. 
 
 In tracing the evolu- 
 tion of lace, mention must 
 be made of other early 
 forms besides that of darned 
 network and veils. The 
 most important of these 
 was the cut work, which 
 was extensively used in the 
 sixteenth century, and is 
 known to have existed at 
 a much earlier period. 
 The commonest use made 
 of this form of needlework 
 was for the ornamentation 
 of shirts and smocks. 
 
 "These shirtes," writes 
 Philip Stubbs in 1583, in 
 the ' Anatomic of Abuses,' 
 " are wrought throughout 
 with needlework of silke, 
 and such like, and curiously 
 stitched with open seame, 
 and many other knacks 
 besides, more than I can 
 describe, in so much, I 
 have heard of shirtes that 
 have cost some ten shil- 
 lynges, some twenty, some 
 
EVOLUTION OF LACE. 
 
 Band of Galloon in coloured silk and gold thread, forerunner of the Gold Lace of the 
 present day. From an ancient Tomb at Akhmen, Panopolis, Upper Egypt. 
 
 forty, some five pounds, some twenty nobles, and (which is horrible to heare) 
 some ten pound apece." 
 
 At first cut-work was used only for ecclesiastical purposes ; and until the 
 dissolution of the monasteries, the art of making it was looked upon as a secret 
 belonging to the Church. The Church dignitaries did not consider it derogatory to 
 design patterns, the great St. Dunstan himself executing several. 
 
 The transition from lace of gold, silver and silken threads to that of flax was 
 very simple. 
 
 In the works of Dante and others we read that the early simplicity of dress 
 had given way to extravagance and luxury, and many rich people impoverished 
 themselves by purchasing scarves, sashes, mantles, coverlets, cushions of gold 
 brocade embroidered with pearls and other gems, and veils and trimmings of 
 lace made with spun gold, of immoderate richness. In the fourteenth and 
 fifteenth centuries gold thread was subject to heavy duties and severe Sumptuary 
 regulations, so much so, that about the year 1460 the lace-workers, finding the 
 demand for their work so much diminished that the production of gold and silver 
 lace was no longer profitable at home, many of them emigrated, taking their 
 industry to other countries ; others continued their work in Italy, substituting 
 
 ftax threads for the costly gold 
 and silver. 
 
 It is beyond doubt that 
 the designs of the laces made 
 with spun gold were towards 
 the end of the sixteenth 
 century reproduced in linen 
 thread, and it is no wonder 
 that when the increased 
 facility in working with flax 
 was discovered, and beautiful 
 and ingenious stitches were 
 introduced, the lighter and 
 cheaper material eventually 
 remained master of the field. 
 
 The Sumptuary laws have 
 in every lace-making country 
 had such an important influ- 
 
 Example of Saracenic Drawn Linen, the earliest form Mnce on the evolution and 
 
 of Open Work Ornamentation. From a Tomb in . , 
 
 Egypt, tenth or eleventh century *^./{ .> development of lace, that it 
 
 The transi- 
 tion from 
 gold and 
 silver lace to 
 that of flax 
 thread. 
 
 Sumptuary 
 laws have 
 hindered the 
 lace-making 
 industry. 
 
HISTORY OF HAND- MADE LACE. 
 
 Portion of a Linen Garment, ornamented with Drawn Work, 
 over-sewn and embroidered with Kufic inscriptions. Sara- 
 cenic, ninth or tenth century B*C. f\ '<__j 
 
 C 
 
 is impossible to sketch the history of lace without first taking a cursory glance at 
 some of the edicts' which in all ages have retarded, hampered, and occasionally 
 threatened to altogether extinguish the lace-making industry. 
 
 In France the first Sumptuary law is dated 608. It was made by Charles the 
 Great for the regulation of high-priced cloth used for the dress of the period. 
 Unlike many of his predecessors, the King himself showed an example of extreme 
 sirpplicjty while endeavouring to restrain luxury in others. 
 
 Louis le Debonnaire, Philip Augustus, and Louis VIII., also tried to restrain 
 by edict the luxury which increased with the development of the industries. Philip 
 
 Christian Coptic example of Drawn Linen, the flax warps forming' a lace-like ground for 
 needlework stitches. Sixth century. ^ 
 
ErOLL'TlON or LACE. 
 
 Augustus made himself ridiculous by the exactness of his orders. He not only 
 legislated with regard to dress but also to attendants, and even the number of 
 the dishes to be served at table. 
 
 " No burgess," says this unconscious humourist, "must have a carriage, nor 
 be dressed in green nor grey, nor must he wear ermine. No burgess must wear 
 gold nor precious stones, neither gold nor silver crowns. No lady, if not a lady of 
 the Manor, must have more than two dresses a year. It is forbidden to a burgess 
 to spend more than six francs a yard on any material, and no more than eight francs 
 per yard must be spent by ladies of superior rank. The penalty for infringing 
 these laws being forfeiture of the forbidden article for a year, from Easter to Easter." 
 
 Sumptuary laws varied curiously according to the monarch by whom they 
 were issued. Louis 
 XI. would not allow 
 those without titles to 
 have the luxury of 
 adorning their tables 
 with pieces of gold 
 plate, and goldsmiths 
 had to ask his per- 
 mission before exe- 
 cuting any order 
 except for the use of 
 the Church. Charles 
 VIII. would allow silk 
 dresses, but no gold or 
 silver cloth. 
 
 Francis J., Henri 
 
 II., Charles II., and Henri I IL^ each forbade articles of luxury except for him- 
 self, the members of his family, and his courtiers. 
 
 Rene Benoit, one of the confessors of Henri IV., used all his influence to stop 
 luxury in the dress of his contemporaries, and the effect was disastrous on the 
 Guipure and thread- work industry of the time. 
 
 During the reign of Charles IX. protest was made against the usurpation by 
 common people " of the nobility's privilege of riding on horseback," and rich 
 dressing was again allowed. Whatever the law of the period, the result was gene- 
 rally the same : a return to the old abuses immediately on the removal of the edict, 
 so that arrested development was the effect on the lace and kindred handicrafts ; 
 and whereas one would expect a story of continuous prosperity in so beautiful a 
 craft as lace-making, which appeals to everyone on account of the small initial 
 outlay, the simplicity of the tools required, and the scope for high artistic skill, 
 we are continually finding arrested development and check. 
 
 Even Venice, the home of lace, was not exempt from legislation which Even Vene- 
 hampered the evolution of lace. makingwas 
 
 As early as 1299 the Great Council forbade any trimming which cost more than hampered by 
 five lire an ell. A few years later ladies were forbidden the use of jewellery beyond a I e 8 islation - 
 
 Saracenic example of Drawn and Embroidered Linen. From 
 a Tomb in Egypt, tenth or eleventh century ft^fr ^ r\ 
 
10 
 
 HISTORY OF HAND-MADE LACE. 
 
 In the 
 century the 
 Pope per- 
 mitted lace to 
 be worn. 
 
 prescribed limit, and the wearing of any coif in gold or silver. Children under 
 twelve were forbidden to wear gold, silver, or pearls, but from twelve to twenty 
 they were permitted girdles worth not more than twenty-five ducats, 
 
 Another decree in 1348 seems strange enough : morning dresses of dark green 
 or black were forbidden. 
 
 In 1437, after another vexatious edict, the ladies took the matter into their own 
 hands, and appealed to the Pope, who gave his permission for the wearing of the 
 gauds. 
 
 These laws of the Venetian Senate were not made to be disregarded, as were 
 many of those in England and France. 
 
 The Avogadori del Comune having seen on Carnival Sunday the wife of Zorzi 
 di Bertucci dressed in white silk contrary to the law, " did decree that the honour- 
 able lady and the dressmaker should be condemned according to the edict of 1470." 
 Again, during the festivity for the crowning of Andrea Gritti, the niece of the Doge, 
 the wife of one of the Pisani having presented herself at the Palace dressed in a 
 fashion forbidden by the decree of the Doge, she u>as sent back. 
 
 In 1476 a serious blow was aimed at the lace trade, for a law was made for- 
 bidding the use of " silver and embroidery on any fabric and the Punto in Aria 
 of linen threads made with a needle, or gold and silver threads." 
 
 Then in 1504 a law was made to check too frequent changes in fashion- 
 "Among so many expenses, superfluous and useless, the women in this city 
 
 German Example of Drawn Linen Work, executed in the fourteenth century, when this early 
 form of Open Ornamentation was soon to be superseded by the later forms of Lace-work. 
 
or LACE. n 
 
 show a vain-glorious pomp which is most ruinous for the nobles and burgesses: that 
 of changing so often the shape of dresses." 
 
 In France, where the Sumptuary laws were carried out in a much more 
 half-hearted manner, the futility of legislation is constantly seen. During 
 the reign of Louis XIV., the lace-wearing period par excellence, there had 
 never been so many edicts against the use of personal luxuries ; nearly a dozen 
 ordinances, especially against lace-wearing, were published. The incongruity of 
 the proclamations of the King against lace-trimmed garments, when at the same 
 time he was fostering, subsidising, and encouraging Royal lace manufactures, 
 simply shows that a Royal whim was more powerful in those days than logic. 
 Discontent of the masses was eventually to effect what Royal edicts could not 
 achieve, and even while still more lace than ever before was made and was used 
 by every class, when, on account of the universal use of costly lace, it was impos- 
 sible to know the burgher from the noblemen, the Churchman from the cavalier, 
 the seeds of decay were sown, and a spirit of reaction and of economy grew which 
 was to culminate in the citoyen period and the French Revolution. 
 
 Modest designs, less florid and costly workmanship, were demanded by the Simplicity 
 Court of Marie Antoinette, and the art of lace-making at its best died amongst the * nd th * 
 muslin folds in which the beautiful Queen clothed herself as a concession to the Revolution 
 spirit of an age which demanded simplicity. were fatal to 
 
 Colbert, the minister of Louis XIV., in establishing the home lace factories, 
 foresaw the increase to the exchequer which the huge sums hitherto spent on foreign 
 laces woufd entail, if French lace could be made to equal the Venetian fabric. The 
 edicts checking the importation of foreign laces still further assisted his scheme. 
 The result showed that the brilliant financier was right ; his mot that " Fashion 
 should be to France what the mines of Peru were to Spain " has come true to the 
 letter, and the great Napoleon saw no better way of improving the finances of the 
 country than by endeavouring to reinstate the dying lace factories. Lace may be 
 thought by some to be only a simple, graceful, womanish fabric, unlikely to affect 
 
 the finances of a great nation ; but it has d^ngjiinch-fQ^ France. She holds to-day 
 a different position from that which she held in the days of Le Grand Monarque, 
 but, thanks to Louis' clever minister, she still retains her position as the wardrobe /of 
 the world. 
 
 It will be useful to remember that, roughly speaking, lace, using the term as we 
 now understand it, was first made and worn in the sixteenth century; that its The finest 
 
 development was rapid, the splendid skill and delicacy of artistic design which Iace . was 
 
 , ..... , r , , i- , i c made in the 
 
 characterised all the work of the Renaissance period tending to raise it to that lotty I7t h century. 
 
 pinnacle of beauty which it reached in the seventeenth century ; that in the very 
 climax of its perfection it began to decline, and by the end of the eighteenth 
 century the art of lace-making was dead. It is no exaggeration to affirm 
 that the sharp blade of the guillotine which severed the head of the beautiful Marie 
 Antoinette, also severed the thread which wove the masterpieces of lace, only a 
 few of which remain to us in the present day to show how incomparably beautiful 
 was the Renaissance lace, for such productions ceased abruptly at the end of the 
 eighteenth century. 
 
'.3l^fc^>: 
 
 t u- a -^ .._ iu .S lUSiU .:= 
 
 
 Darned Netting or Lacis. 
 
 CHAPTER II. 
 
 ANECDOTAL HISTORY OF MEDIEVAL 
 LACE. 
 
 Picture Of the Times. / the Middle Ages laws and customs 
 in Europe were beginning to assume local peculiarities, the Church being 
 a bond of unity between all nations the Crusades, c. 1096 to 1273, tended 
 towards this. After the Holy Wars came the struggle between France and 
 England, the rise of the Spanish monarchies, the destruction of Imperial 
 authority in Germany, the splendour and fall of the Italian republics, and 
 the fall" of Constantinople in 1453, which drove the Greeks into the centre 
 and. west of Europe, and contributed to the causes of the Reformation. 
 
 In the fourteenth century Chaucer and Cower, the poets, lived. From 
 the former we leant much of the domestic and industrial life in 
 England. Dante, Petrarch, and Boccaccio wrote their n'orld-famous 
 works in Italy, and tell us incidentally of the fashions and modes of 
 the period ; Riensi lived ; Cimabue and Giotto painted. Playing-cards 
 were invented, and paper was first made from linen. 
 
 In the fifteenth century, in England, few foreign luxuries found tlieir 
 way into the coutitry, even for the use of the nobles. It was in this century 
 that printing and the art of engraving ivere invented, and by 1600 
 productions ~of Raphael were transferred to the newly invented paper, 
 while Michael Angela was assisting in the development of Art in Europe. 
 The Tudors reigned in England ; America ivas discovered by Columbus ; 
 and Joan of Arc lived. 
 
 in the sixteenth century the suppression of the monasteries took place 
 in England : this had an immense influence on the lace-making and kindred 
 industries which had hitherto been exclusively carried on in the consents 
 
 Beaumont, Fletcher, and Ben Jonson. A seemingly unimportant inven- 
 tion was made, that of the pin, but in the history of lace its utility is 
 abundantly shown. In Italy -the sixteenth century is famous as the 
 Medician era, the most brilliant in Literature and Art ; Ariosto, Tasso, 
 
 I 
 
 . 
 
 ' '"'"...: "" where Albert Diirer, the father of the German school of painting and 
 
 engraving, also flourished at this time. The great Spanish artist, Velas- 
 quez, to whom we are indebted for so many detail portraits showing the 
 lace of the period, and the mode ofivearing ft, belongs to this century. 
 
 T is a significant fact that the two widely-separated countries of Europe where 
 pictorial art flourished and attained a high perfection North Italy and 
 Flanders _ were precisely the countries where lace-making and lace-wearing 
 achieved the highest standard in mediaeval times. This is perhaps hardly to 
 
Dnnrn hf Jsjjc Olu-fr Jjrrmn 
 
 Queen Elizabeth, in ruff trimmed with the most elaborate Thread Guipure of the period ; 
 from an Engraving by George Vertue (1684-1756). The linen cuffs are turned over 
 and edged with the same. 
 
MEDIEVAL LACE. 
 
 Reticella, sixteenth century. 
 
 be wondered at, as we know that from the very beginning of the sturdy 
 Flemish school of painters, a close connection was kept up with the great art 
 centres of Italy. Venetian art and handiwork inspired the equally thriving, 
 
 industrious, and artistic inhabitants of the 
 Low Country, and at the end of the 
 sixteenth century pattern books for laces 
 and needle-point were issued simultaneously 
 in the two places, and were identical in 
 general character. 
 
 The history of hand-made lace, in the sense of the term in which we now use 
 it, begins with the sixteenth century. Before that time there are no traces that we 
 know of in the costume pictures of the period, and though this or that fantastic 
 tale may be believed with regard to its earlier origin, and certain forms of lace work 
 may be studied with profit as bearing on the evolution of lace, it is impossible to 
 commence an authentic history at an earlier date. 
 
 The first detailed portraits in which lace is painted are those belonging to the 
 early Florentine school ; this points to the fact that not only was lace first made 
 in Italy, but also first worn there. One of the 
 earliest French portraits with lace in it is that of 
 Henri II., painted at Versailles. 
 
 From that time the subjects of so many por- 
 traits have been adorned with lace, that the study 
 of its variations in design, workmanship and 
 mode of wearing is comparatively easy ; help is 
 constantly received also from contemporary litera- 
 ture, inventories and wardrobe accounts, and the 
 Sumptuary laws of the different countries give con- 
 siderable insight into the matter. 
 
 Documents still exist which prove that lace 
 properly so called was made in Italy before 1500; 
 one belonging to the Cathedral of Ferrara is 
 especially interesting, as it fixes the price to be 
 paid for the mending and ironing of the lace 
 trimmings on the priests' vestments. 
 
 Double evidence of the existence of lace, and, 
 moreover, of special makes and designs, is afforded 
 in the records of the Sforza family. In 1493, on 
 the 1 2th of September, the division took place 
 of the property of the sisters Angela and Heppolita 
 Sforza, Viconti of Milan ; the old castle belonging 
 to the family is still to be seen in the Province of 
 Venice. 
 
 Amongst the vast amount of valuable jewels 
 and other personal property in the inventory are chronicled borders, veils, 
 embroidery of fine network (Ricamo a reticella), points (Punti), pieces of fine network 
 
 The history 
 of hand' 
 made lace 
 begins in the 
 i6th century. 
 
 Sleeve trimmed with the Cutwork 
 of the fifteenth century. From 
 " Lucretia," by Bassano ; 
 painted about 1462. Photo- 
 graph by Anderson, Rome. 
 
 Inventory 
 belonging to 
 the Sforza 
 family first 
 mentions 
 varying 
 kinds of 
 Lace. 
 
H HISTORY OF HAND-MADE LACE. % 
 
 (Lavoro a groppi), bone lace (Lavoro ad ossa), and twelve spindle points (Punti dei 
 
 dodisi fusi). All these names are to be found in books of lace designs of the period. 
 
 No wonder that several different countries, notably France, Spain, and 
 
 Flanders, claim the honour of introducing so beautiful a fabric as lace to the world, 
 
 , Beatrix d'Este-Sforza, Duchess of Milan, 1490. From 
 
 the picture by Leonardo da Vinci, in the Ambrosian 
 Library at Milan. From her inventory of household 
 effects we first learn the names and varieties of laces 
 known in the fifteenth century. Photograph by 
 Anderson, Home. 
 
 and it is in the history of lace in the Middle Ages that the arguments used in this 
 controversy must be touched upon. We have shown that many peoples have 
 executed networks and twisted threads of gold, silver, and silk ; but in its more 
 modern guise, Italy has certainly led the world with regard to needle-point lace. It 
 
MEDL-EVAL LACE. 
 
 is astonishing that notwithstanding the inventory of the Sisters Sforza and other 
 documents, besides the Italian pattern books of the fifteenth century, one writer 
 asserts that it was under Francis I. in 1544 that "Women and the dignitaries 
 of the Church began to adorn their garments 
 and vestments with a kind of lace which was 
 so coarsely worked that it showed the art 
 was in its infancy." 
 
 Again, several have attributed the inven- 
 tion of lace to Barbara Uttmann ; perhaps 
 the words on her tomb in the churchyard of 
 Annaberg gave rise to the idea : " Here lies 
 Barbara Uttmann, died i4th January, 1575, 
 whose invention of lace in the year 1561 made 
 her the benefactress of the Hartz Mountains." 
 
 Charles of Savoy, painted in 1582, in the 
 Lace-edged Ruff of the period. 
 
 Catherine de' Medicis, by JeanClouet (1541). 
 It was this Queen who brought with her 
 from Italy the fashion of wearing the 
 high collar still named after her. 
 
 It is probable that Frau Uttmann intro- 
 duced bobbin. Jace into Germany, hav- 
 ing learned the art from a native of 
 Brabant, a Protestant, whom the cruel- 
 ties of the Duke- of Alva had made an 
 exile. That she "invented" lace is a 
 misleading assertion. Barbara was born 
 in 1514 at Utterlein, where her father 
 had work in connection with the mines 
 
 of the Saxon Hartz Mountains. She married Christopher Uttmann, a rich mining 
 overseer. The mountain girls in the neighbourhood of her home had long made a 
 kind of network for the miners to wear . 
 
 over their hair. Barbara taught them 
 to improve this rough tricot, and they suc- 
 ceeded in producing a kind of plain lace 
 ground. Aid was procured from Flan- 
 ders, and a regular workshop set up at 
 Annaberg under the direction of Barbara 
 Uttmann, who invented various simple 
 patterns. The industry spread with great rapidity, and at one time no fewer 
 
 Needle-point Guipure Lace (Point Gotico). 
 
i6 
 
 HISTORY. OF HAND-MADE LACE. 
 
 The oldest 
 lace pattern 
 book known 
 is now in 
 the library of 
 the Arsenal 
 in Venice. 
 
 than 30,000 persons were employed in it. At the age of sixty-one Barbara 
 Uttmann died, leaving sixty-five children and grandchildren, thus realising a 
 prophecy that St. Anne would so bless the one good Chatelaine of St. Annaberg 
 that her descendants would equal in number the bobbins of the first lace she 
 had made. 
 
 Flanders bases her claim to priority in making bobbin lace on a series of six 
 woodcuts executed in 1580 by Martin de Vos, De Brugn, and Van Londerseel, 
 which represent occupations during the various periods of life ; amongst these a 
 young woman is shown seated with a lace cushion on her lap, whence it is 
 argued that lace was already 
 common in Flanders at that 
 time. 
 
 In Venice, as early as 
 1557, a book was published 
 giving patterns for bobbin laces. 
 In the course of some inter- 
 esting remarks entitled " Le 
 Pompe," the author explains 
 that this lace "is a work not 
 only beautiful, but useful and 
 needful." This volume is now 
 to be seen in the library of 
 the Arsenal in Venice, and is 
 the oldest known lace pattern 
 book. It is likely, however, 
 that it was not the first brought 
 out, as no instructions are 
 given in it as to how the lace 
 is made, nor is there any de- 
 scription of the materials and 
 implements required ; this 
 makes it probable that the 
 author, whose name is un- 
 known, was not the inventor of 
 pillow lace, and that the handi- 
 
 Christian IV., King of Denmark, 1577 1648 ; by 
 Peeter Isaakoz. This portrait shows how impor- 
 tant a feature was lace in the rich dress of the 
 period. 
 
 craft was already well known 
 in Venice. Evidence, there- 
 fore, appears to favour the 
 theory that to Italy belongs 
 the honour of introducing bobbin as well as needle-point lace. 
 
 In England the humble endeavours of the peasants in mediaeval times were 
 not assisted by schools of design, nor were the peasant lace-makers of Germany, 
 Sweden, Russia, and Spain encouraged to produce fabrics of artistic pattern. 
 When Barbara Uttmann instructed the country folk of the Hartz Mountains in the 
 sixteenth century, a sort of purling and network was the kind produced ; and German 
 laces have never acquired artistic reputation. 
 
MEDIEVAL LACE. 
 
 In 1246 Po )e Innocent IV. ordered vestments to be sent to Rome for his use, 
 despatching an official letter to an English abbot to procure the opus Anglicanum or 
 nuns' work. I, ace is still called nuns' work in outlying districts in England and the 
 Continent. 
 
 But it was not only in convents that the art of lace-making was taught. The 
 great ladies heads of households prided themselves on the number of young girls 
 who came to their castles or suzerain manors, and, taking up a temporary residence, 
 were taught lace-making, embroidery, weaving, and matters in connection with the 
 
 still-room. During the hours 
 while the needles were plied, 
 singing was encouraged, and 
 
 certain ballades a toiks were 
 
 Special songs 
 were sung 
 by the lace 
 
 composed especially for the makers as 
 use of the workers. Such they worked, 
 ballads are still used in Italy 
 (one specially composed for this 
 book is given in the chapter on 
 " The Literature of Lace"). 
 
 Many interesting historical 
 scenes have taken place in the 
 working rooms of royal ladies. 
 Wolsey found Queen Catherine 
 at work amongst her women 
 when he went to her at Bride- 
 well to speak of her divorce. 
 The unfortunate Mary Queen 
 of Scots.found solace in plying 
 the needle during her lonely 
 hours of captivity, and in many 
 of her letters demands are 
 made for silk and gold thread. 
 She had learnt the art from 
 her governess, Lady Fleming, 
 and had been perfected by 
 Catherine de' Medicis, who 
 was a famous needlewoman. 
 
 M. de Barante, the his- 
 torian of the Duke of Burgundy, 
 writes that Charles the Bold 
 
 in 1476 lost his laces at one of the battles in which he was engaged. It is probable 
 that these laces were of the gold or silver gimp variety, as fragments of such 
 kinds are among his relics. Jacob Van Eyck, the Flemish poet, sang the praises of 
 lace-making in the long-winded Latin verse of the day; they end with this somewhat 
 involved period : " Go, ye men, inflamed with the desire of the Golden Fleece, 
 endure so many dangers by land, so many at sea, whilst the woman, remaining in 
 her Brabantine home, prepares Phrygian fleeces by peaceful assiduity." It was the 
 
 Elizabeth of Bourbon, painted about 1620, in the 
 Lace-edged Ruff of the period. 
 
i8 
 
 HISTORY OF HAND-MADE LACE. 
 
 Refugees 
 from Flan- 
 ders taught 
 bobbin lace- 
 making to 
 the whole of 
 Northern 
 Europe. 
 
 The kinds of 
 lace made in 
 mediaeval 
 times. 
 
 Cut-work. 
 
 Punto 
 Applicato. 
 
 lace manufacture alone which saved Flanders from utter ruin when the country was 
 deserted by so many handicraftsmen, who fled from the awful religious persecution. 
 Owing to the exodus at this time, every country of Northern Europe learned the 
 art of bobbin lace-making from Flanders. 
 
 The manufacture of that most beautiful of laces, Brussels, commenced in 
 mediaeval times, judging from the patterns of the earliest known fragments, which 
 are to be found in the churches of Brabant ; these pieces formed gifts of munificent 
 noblemen, who did much to promote the industry of their country by their 
 patronage. Linen embroideries, darned netting, knotted and plaited laces were 
 made in the convents all over Europe at this period, and were chiefly used for 
 Church purposes. Sometimes the convent rules were considerably relaxed for the 
 benefit of the lace-workers, and mediaeval human nature seems to have been very 
 much like that existing at the present day, as an old journal of the kloster at the 
 convent of Wadstena, Sweden, shows. Mrs. Bury Palliser thus relates the 
 incident : 
 
 "The rules of the convent forbade the nuns to touch either gold or silver, 
 save in their netting and embroidery. 
 
 " One of the nuns writes to her lover without the walls ' I wish I could 
 send you a netted cap that I myself have made, but when Sister Karin 
 Andersdotter saw that I had mingled gold and silver thread in it she said, 
 " You must surely have some beloved." 
 
 " ' " I do not think so," I answered, "here in the kloster you may easily see 
 if any of the brethren has such a cap, and I dare not send it by anyone to a 
 sweetheart outside the walls." 
 
 " ' " You intend it for Axel Nelson," answered Sister Karin. 
 
 " ' " It is not for you to talk," I replied, " I have seen you net a long hood 
 and talk and prattle yourself with Brother Bertol." ' 
 
 It was not until the sixteenth century that lace-making became a lay industry. 
 In Italy and Spain, where the influence of the Church was paramount, point and 
 bobbin lace work remained confined to the religious orders until long after. 
 Gradually the nuns taught the art to their lay pupils, but it spread but slowly. 
 
 The kinds of lace work made in mediaeval times were linen embroidery and 
 reticella, darned netting on knotted net, darned netting on twisted net, drawn work, 
 macrame plaited laces, cut work and embroidery. (For full description of each 
 see " Dictionary of Lace.") 
 
 Cut- work comprised a wide variety of decoration. The linen edges were 
 sometimes worked in close embroidery, the threads occasionally drawn and 
 afterwards worked with the needle in various forms ; or the ends of the cloth were, 
 perhaps, unravelled as if for a fringe and then plaited in a geometric pattern. The 
 grave clothes of St. Cuthbert were ornamented in this manner. " There has 
 been," says one who witnessed his disinterment, " put over him a sheet ; this sheet 
 had a fringe of linen thread of a finger's length upon its sides." 
 
 Cut-work is sometimes made with fine lawn, called quintain, which is fastened 
 to a background of interlacing threads, the lawn being cut away when the pattern 
 has been stitched on. This variety is occasionally called Punto Applicato. 
 
MEDIEVAL LACE. 
 
 Another form of this work was made without the opaque lawn, and was simply 
 a network darned upon with counted stitches, Point Conte. This work is also 
 called Lads. 
 
 Lace, or passements, the general term for the gimps and braids, together with 
 the laces, like those with which in modern times we unite two parts of a dress, were 
 made of silk, worsted, or thread. They also serve as links in the chain of 
 
 evidence which brings us to the hand- 
 made laces of to-day. 
 
 Cut-work sometimes signified what 
 we now call applique work, mean- 
 ing rather the cutting-out of 
 pieces of velvet, silk, or cloth, 
 and sewing them down to the 
 garment with braid, than the 
 open linen work, which the 
 modern meaning of the 
 work describes. Chaucer 
 speaks of the priests wear- 
 ing gowns of scarlet and 
 green cut-work. 
 
 In the middle of the 
 sixteenth century Point 
 Coupe became widely 
 known. Geometrical pat- 
 terns were the most used ; 
 the linen on which the 
 work was done was of 
 splendidly tough make, 
 which rendered possible the 
 survival of specimens to the 
 present day. Darned netting 
 dates back as early as linen 
 embroidery ; it was very exten- 
 sively used in the Middle Ages, 
 especially in Russia and Sicily, 
 where it is still popular. The 
 earlier patterns are of the old 
 lozenge type, and also include 
 fleuv de Us and other armorial 
 
 designs, monsters, and foliage. Many of the old pattern books give designs for 
 darned netting ; in fact, this kind appears almost exclusively in those earlier 
 published. In the Exeter Cathedral inventory it is stated that there were, in 
 1327, three pieces of darned netting for use at the altar. 
 
 Drawn-work was as well known in the Middle Ages as were cut-work and 
 darned netting ; altar cloths and winding-sheets were chiefly ornamented with 
 
 c 2 
 
 Point Conte 
 or Lacis. 
 
 Passements, 
 gimps, and 
 braids. 
 
 Darned 
 netting. 
 
 Cavaliera Fiammingo, in Collar of Guipure Point 
 Gotico ; painted by Francesco Pourbus in the 
 sixteenth century. This picture is now in the 
 Academic at Venice. Photograph by Naya, 
 Venice. 
 
 Drawn- 
 work. 
 
20 
 
 HISTORY OF HAND-MADE LACE. 
 
 Knotted 
 lace. 
 
 Bobbin lace. 
 
 it; groups of animals, strange monsters, armorial shields, heraldic devices, and 
 weird-looking trees served as designs, such patterns being more suitable for the 
 scope of the work than the intricate geometric patterns used in darned netting. 
 This was the favourite lace of the ladies of the powerful house of Medici, both in 
 Italy and in France, and it was natural that the kind which was admired by the 
 reigning house should be popular with the nobles. The ruffs and manchettes, the 
 aprons and collars of the period were all trimmed with the finest reticella and 
 drawn-work, which formed an important item in the trousseau of a noble lady 
 of the Middle Ages. 
 
 The bridal or carnival laces, as they were called, were not only worn at the 
 wedding, but also at the succession of festivities always given in honour of the 
 event ; they were subsequently kept for wearing at carnivals and other stately 
 ceremonials when the relaxation of the Sumptuary laws permitted their display. 
 The patterns were usually formed by the armorial devices of the contracting 
 families being combined. Since mediaeval times reticella, or drawn-work, has 
 not been much used for personal adornment. It is now considered more 
 suitable for Church and household use. 
 
 Though knotted borders and fringes occur on garments of Eastern nations in 
 remote times, the more intricate knotted lace dates from the fifteenth century. It 
 is spoken of in the first record of Italian laces, as we have already mentioned, 
 in the Sforza inventory, and patterns are given in books in use in the first 
 half of the sixteenth century. In the mediaeval method of working it, horizontal 
 threads were fixed on heavy pillows, and to them vertical threads were attached ; 
 the knotting was done much in the same way as on the macrame cushion of the 
 present day. 
 
 The making of the knotted lace, Lavoro a groppi, was chiefly confined to Italy. 
 None of it is found in either France or the Netherlands, the two other lace 
 centres of the Middle Ages. It was used on the linen scarves, or cloths, worn 
 as head-coverings by the peasants, the patterns being occasionally most intricate. 
 In the seventeenth century, however, the long fringed ends were again allowed 
 to flow free without elaborate knotting. Lavoro a groppi never achieved the 
 popularity of the other mediaeval laces. 
 
 When once the pillow was introduced for facilitating the making of knotted 
 lace, or macrame, the plaiting of loose threads did not take long to grow in 
 popularity. The work was easier than the knotting, less straining to the fingers, 
 more suitable for light and graceful patterns than could be achieved in cut-work, 
 drawn-work, or knotting. The success of plaited laces was assured, and the 
 introduction of bobbins, whether owing to the accidental discovery of a love-sick 
 maiden, according to the story well-known in the City of the Lagoons, or to some 
 other source, soon came about. The legend is pretty and worthy of mention as a 
 graceful story only. 
 
 A young fisherman of the Adriatic was betrothed to a girl, who made for him 
 a new net as a gift. The first time it was cast the only catch was a piece of 
 petrified wrack grass or white coralline weed. Soon afterwards the fisherman was 
 pressed into the service of the Venetian Navy, and the girl was left with the now 
 useless net in her charge. While she wept bitterly she wound the delicate coralline 
 
MEDIEVAL LACE. 
 
 21 
 
 strands in and out of the net, then twisted the threads and small weights attached, 
 and made an imitation of the spirals of the grass, throwing and twisting the lead 
 just as the bobbins are thrown. The effect was so beautiful and easily obtained 
 that the girl, who was accustomed to making the coarse guipure of the period, 
 followed up her discovery, in course of time evolving serviceable tools, not unlike 
 the cushion and bobbins of the present day. 
 
 Mary Queen of Scots, in Coif edged with purling, the narrow edging of 
 twisted threads ; the Ruff is trimmed with Guipure Lace. 
 
 The Le Puy factory appears to be the most ancient of the French lace centres 
 dating back to the sixteenth century ; it was in connection with this factory that the 
 Jesuit father, Saint Fra^ois Regis, who is considered the patron saint of the 
 lace-makers, earned his canonisation. Sumptuary edicts were published by the 
 Seneschal of Le Puy which threatened to annihilate the lace trade, a heavy fine 
 being imposed on any who wore lace upon their clothes. The reasons for the 
 edicts have an element of humour in them : the general custom of wearing lace 
 
 Le Puy in 
 France dates 
 its connec- 
 tion with the 
 lace trade 
 from the i6th 
 century. 
 
22 HISTORY OF HAND-MADE LACE. 
 
 among all classes was undesirable, it was said, as it caused the distinction between 
 high and low to disappear. Father Regis not only consoled the sufferers in 
 their poverty, brought on by the edict, but also went to Toulouse and obtained 
 a revocation of it. 
 
 Pattern books of the sixteenth century give instructions for plaiting gold and 
 silver threads ; Lucca, Genoa, Florence, Venice, and Milan were all celebrated 
 for their gold and silver plaiting; and Point d'Espagne was known and worked 
 in coloured silks as well as metal covered threads. It was in Genoa and the 
 neighbourhood that the lace-workers first ceased to follow the fashion in using 
 only geometrical patterns for plaited lace work, and produced in silk and flax the 
 scalloped borders. This Point de Genes Frise became famous. A history of the 
 manufacture of this lace at Albissola, a village near Genoa, was written, and a full 
 account is given of the famous sixteenth century plaited laces of silk in black, white 
 and varied colours. 
 
 Point de Genes Frises was worn as the handsomest lace procurable until the 
 seventeenth century, when the reign of Mediaeval lace was over, and the elaborate 
 needle-point and bobbin laces of the Renaissance period swept the older and 
 simpler methods into oblivion. 
 
 Early specimen of Gold and Silver Thread Lace. 
 
Specimens of rich Venetian Point 
 lag-hato Foliami and Rose 
 Point. 
 
 CHAPTER III. 
 
 ANECDOTAL HISTORY OF LACE IN 
 THE SEVENTEENTH CENTURY. 
 
 Picture Of the Times. // fs important to remem- 
 ber that the seventeenth century was a period of great colonial 
 activity, so that fresh markets were opened for the lace ami other 
 industries. The East India Company ivas founded, Jamaica was 
 conquered, Boston founded, as well as Pennsylvania, Maryland, 
 and Carolina, the French West India Company flourished, and 
 the Dutch settled at the Cape of Good Hope. 
 
 The act which has had more influence than any other on the 
 History of Lace, look place in France in this century. This was the 
 revocation of the Edict of Nantes, which was instrumental in 
 scattering the lace-makers and lace merchants all over Protestant 
 Europe. It took place in 1685, when Louis XIV. was on the throne. 
 Richelieu and Mazarin were the great French Ministers of the 
 century ; while in England, Cromwell's was the master mind ; and 
 the austerity in dress of the Roundheads for a lime depressed the 
 lace trade, which flourished again at the Restoration of Charles 
 II. The devastating influence of the Plague and the Fire of London 
 affected all industries. In Holland, the Treaty of Nimeguen in 
 1678 changed the nationality of many important lace centres. 
 iVilliam III. of Holland eventually became King of England. In 
 Russia, the brilliant Court of the Romanoff dynasty held sway, 
 and the personal symplicity of Peter the Great ivas in vivid contrast 
 to the barbaric splendour of the surroundings of Catherine I. 
 Literature and Science in Europe were represented during the 
 century in France by Balzac. Corneille, Racine, Fe'nelon, Moliere, 
 La Fontaine, Bossuet, and Boileau, and the Acade'mie Francaise 
 was founded. England was represented by Algernon Sidney. Milton, 
 Locke, Waller, Otivay, Dryden, and Harvey. The Royal Society 
 was founded. In Italy, Sarpi, Marini, Tassoni, and Galileo ivere 
 celebrated. In Spain Cervantes wrote his immortal "Don Quixote." 
 The artists of the century include such names as IVatteau, Fra- 
 'onard '.Charles Lebrun, Abraham Basse, Guido, Albani, Salvator 
 ?osa, Domenichino, Rubens, Van Dyck, Rembrandt and the two 
 Teniers. 
 
 $: 
 
 THE history of lace in the seventeenth century is the history of the fabric at the 
 most elaborate and beautiful stage of its development. To Italian influence 
 at the end of the sixteenth century was due the fashion then obtaining 
 throughout Europe of wearing the ruffs decorated in a lavish manner with the 
 
HISTORY OF HAND-MADE LACE. 
 
 Venice fur- 
 nished most 
 of the 
 
 luxuries and 
 led the 
 fashions. 
 
 Francois, Prince of Savoy -Carignan, by Van Dyck. 1631. 
 He wears the rich lace collar and cuffs of the period. 
 
 geometric lace of the period. Lace of gold and silver thread trimmed the mantles, 
 cloaks, and all other garments; the raised points of Venice were well known, 
 for, despite the commencement of the decline in the prosperity of Venice, that 
 
 city maintained for a short time longer her 
 high position as the creator of all models 
 of fashion and luxury. The Venetian silks 
 and costly laces were unrivalled, and when 
 factories were to be established in other parts 
 of Europe, it was from Italy that skilled work- 
 men were enticed. 
 
 Catherine de' Medicis, on her arrival from 
 Italy, encouraged enormous expenditure on 
 dress, at the court in Paris, believing that the 
 brilliant fetes would divert the minds of the 
 people from the unsatisfactory political state. 
 Sumptuary edicts were issued in vain, no 
 fewer than ten being proclaimed during the 
 last half of the sixteenth century; but at the 
 same time the King wore on his dress enormous quantities of gold lace, at the 
 meeting of the States of Blois. 
 
 Rare specimen of Bobbin-made Lace of 
 unusual width and degraded ornament 
 resembling the Peasant Lace of Crete. 
 In each scallop a man with uplifted 
 arms holds a flagon, and on either side 
 are deer. 
 
SEVENTEENTH CENTURY. 
 
 Madame Verbiest, by Gpnzales Coques. 1664. One of the first 
 pictorial representations of straight-edged lace which by this 
 time rivalled the early scalloped edges in popular favour. 
 
 In 1594, 1600, 1601, and 1606, Henri IV., his successor, made other 
 Sumptuary laws and abided by them himself, wearing " a doublet of tafifety 
 without either trimming or lace " ; and Sully, his minister, prohibited under pain 
 
 of corporal punishment any dealings with 
 foreign lace merchants. " It is necessary," 
 he said, " to rid ourselves of our neighbour's 
 goods which deluge the country." 
 
 As long as Marie de' Medicis lived, the 
 upstanding collar worn at the back of the 
 dress, which still bears the name of the 
 Medicis collar, was used with its edgings 
 of fine lace. The ruin of the nobles on 
 account of their extravagance in dress 
 becoming imminent, in 1613 the Queen 
 published tne " Reglement pour les super- 
 
 Italian-made Bobbin Lace, 6J inches wide, 
 about 1650, showing the change from 
 the Vandyked to the straight edge 
 which took pla'ce at that period. 
 
 The Medicis 
 collar, which 
 is still so 
 popular, 
 was intro- 
 duced in the 
 tyth century. 
 
 fluites des habits," in which the wearing of lace and embroidery was forbidden. 
 
26 HISTORY OF HAND-MADE LACE. 
 
 In a curious collection of costumes of the period made by M. de Bonnard 
 (Bibliotheque Nationale), the enormously extravagant use of lace may be seen. 
 
 In one portrait the corsage, which is decollete, is trimmed with Point 
 d'Angleterre, the brocaded train with rich braid ; in front, a petticoat, made 
 entirely of Point de France, is displayed. The shoulders are covered with a cape 
 with double flounce of Point d'Angleterre, and on the head is worn a hat of fine 
 Valenciennes guipure, wired and drawn. 
 
 It was at this time that many of the old pattern books were printed, no fewer 
 than six at Lyons, and many editions of Vinciola's works in Paris from 1587 to 
 1623 ; full details of these are given in the chapter on the " Literature of Lace." 
 
 Point de Venise in relief was first produced to supply the demand for some 
 novelty at this time ; the old type suggested to the workers the creation of the new, 
 and so popular was the raised point from the first moment of its introduction, that 
 for many years it dethroned all other kinds of lace in the taste of the public. Seguin 
 says, " If perfection can exist on earth, it has been attained by the makers of lace, 
 and this specially applies to the Venetian lace of this period." Its distinctive style 
 lies in the ornaments of flowers or leaves, which have a richly raised outline. 
 This outline is filled with jours or stitches of the most beautiful and intricate kind. 
 The different sections of the design are united by a groundwork of brides decorated 
 with pearls or loops. The effect is that of carved ivory, though the lace has a soft 
 and velvety richness which the coldness of ivory can never imitate ; these reliefs 
 wrought in flax thread are amongst the most beautiful objects in the world. 
 
 For a long time Venice only produced this lace, but Colbert introduced it into 
 
 France when he obtained Italian workers for the French factories; and in the 
 
 middle of the seventeenth century it was as much made in France as were the 
 
 . bobbin and other pillow laces during the reign of Louis XV. Venice point 
 
 made in France, was, by Royal ordinance, called Point de France. 
 
 Lace-making was stimulated, fresh designs appeared constantly, and the beauti- 
 ful points of Italy and Flanders began to make their appearance at all the Courts of 
 Europe ; besides being used in the decoration of the altars of the Church, and in 
 the trimming of the priests' vestments. 
 
 The falling ' Immediately after the introduction of Point de Venise, the ruff or fraise became 
 collar re- demode, as unsuitable for displaying its charms, and was replaced by the deep 
 rutt. scalloped collar, made entirely of lace or with rich point lace border. This change 
 
 in the fashion produced an interesting modification in the French guipure, another 
 of the laces of the period. The fabric had hitherto been fine and light, so that it 
 would stand out" well as a trimming for the ruffs when mounted on cambric or 
 lawn : now it became heavier, as more suitable for the falling collar; the edges were 
 enriched with a kind of point d'esprit, made with three projecting wheat-shaped 
 lobes, which gave weight and helped to keep the collar in place. Later, when 
 guipure was less made, these lobes were imitated, and the colour was dyed a pale 
 yellow to falsely indicate age, so that purchasers might believe that the lace had 
 been made during the falling collar period. At this time the guipure designs were 
 extremely characteristic, being much more ornamented than at any other. The 
 ornaments were tied to one another, and opened in a vase or fan-shaped pattern which 
 was most effective, more especially from the great beauty and delicacy of the work. 
 
SEVENTEENTH CENTURY. 
 
 27 
 
 Sleeves were trimmed with revers of lace, lace hung down from the tops 
 of the men's boots, and garters worn like a bandage or scarf round the knee 
 were edged with point lace ; on dress and court shoes a large rosette of lace 
 adorned the instep ; gloves, caps, aprons, capes in double and treble tiers were 
 worn by the ladies, and Italian laces adorned even the christening suits. 
 
 In one of M. de Bonnard's pictures we see that even the servants wore lace- 
 trimmed garments ; the attendants of the young Due d'Anjou are covered with 
 costly points, and the cradle, bed, and sheets are decorated with the same beautiful 
 fabric. The household table linen of this time was richly trimmed with lace. 
 
 It was in the seventeenth century that in French Flanders, in Valenciennes, 
 
 and the surrounding district, the 
 laces with straight border were 
 first made. This was an im- 
 portant innovation, for hitherto 
 elaborate escalops only had been 
 known. It must be remembered 
 that the Valenciennes of this 
 period was different from that 
 we are accustomed to see in the 
 modern production : the net had 
 a much larger mesh and the 
 thread used was infinitely finer. 
 Though Italian laces of the 
 seventeenth century were per- 
 fectly imitated in France, the 
 laces of Belgium and England 
 of the same period were not 
 made except in the countries in 
 which they had originated. This 
 is accounted for by the special 
 stitch, called the crossing or 
 crochetage, being a trade secret, 
 and jealously guarded. 
 
 When the marriage of Louis 
 XIII. to Anne of Austria took 
 place, the collars of the Medicis 
 changed in character, being worn 
 
 farther from the head and sloping more outwards, and Spanish lace became the 
 favourite. 
 
 Edicts were constantly being issued, the most celebrated of the many in the 
 seventeenth century being that called the Code Michaud, which entered into the 
 most minute regulations of the toilet which a grandmotherly legislation could devise; 
 but there was little result beyond laughter, and a budget of clever skits and 
 caricatures; and when Louis XIII. died, his effigy was exposed to public view 
 dressed in a shirt of fine holland, with rich lace collar and manches, or outside 
 cuff trimmings, of Italian point. 
 
 Henrietta Maria, wife of Charles I. of England, from 
 a painting by Van Dyck (from Seidlitz's "Historical 
 Portraits "). The great artist's appreciation of.the 
 rich and beautiful effect of lace is very apparent. 
 
 Every gar- 
 ment was 
 trimmed 
 with lace, 
 even to the 
 boots and 
 garters of 
 the men. 
 
28 
 
 HISTORY OF HAND-MADE LACE. 
 
 Spanish lace 
 
 was worn 
 
 when 
 
 a Spanish 
 
 Princess 
 
 became 
 
 Queen of 
 
 France. 
 
 Colbert 
 founded the 
 Alenccn 
 factory. 
 
 The courtiers of the Regency under Anne of Austria were no less extravagant 
 in their taste for fine lace. The size of the boot tops was compared to the farthin- 
 gales of the women, and the space between outstanding leather and the limb was 
 filled with ruffles of costly lace. Mazarin, in 1652, while engaged in the siege of a 
 town, was purchasing laces from Flanders, Venice, and Genoa. These were 
 intended as patterns for the factories of Point de France, which were already 
 contemplated. In 1660 fresh Sumptuary orders were passed, prohibiting the use of 
 all foreign laces, Genoa Points and Point Coupes ; even French laces were not 
 allowed of more than one inch in 
 width, and lace collars and cuffs 
 were to be worn only for one 
 year after the issue of the edict ; 
 after that time they were to be 
 of linen trimmed with lace not 
 exceeding one inch in width. 
 
 From the time of the mar- 
 riage of Louis XIV. with the 
 Infanta, Spanish laces, out of 
 compliment to the Spanish prin- 
 cess, increased in popularity and 
 were considered most recherche 
 when worn over rich gowns of 
 silver or gold brocade. 
 
 Then followed more edicts 
 prohibiting the use of foreign 
 laces, before Colbert adopted the 
 scheme for securing for France 
 the large sums disbursed by the 
 lace-wearers. Selecting some of 
 the best workers of Italy and 
 Flanders, he established a lace 
 factory at Lonray, at Alen9on, 
 appointing a manager who knew 
 the Venetian method of lace- 
 making ; and under her thirty 
 forewomen, who had been brought 
 from Venice. The work executed 
 delighted the King and his courtiers, who declared the Alen9on specimens to be 
 superior to those of Venice. A large sum of money was given to Madame Gilbert, 
 the manager, and the lace received the name of Point de France. In 1665 the 
 manufacture of it was founded on a princely scale, and a grant of 36,000 francs was 
 made, together with an exclusive privilege for ten years. The decree, dated 
 August, 1665, ordained "that there shall be established at Guesney, Arras, 
 Rheims, Sedan, Chateau- Thierry, Loudun, Alen9on, Aurillac, etc., manufactures 
 of all kind of works with thread, either with needle or upon pillow, like those made 
 in Venice, Genoa, Ragusa, and they will be called Points de France." 
 
 Portrait by Sir Godfrey Kneller, showing the lace 
 head-dress called the Fontange, after the favourite 
 of the French king, who initiated the fashion. 
 Point de France, showing the Venetian influence, 
 is the kind of lace used. 
 
SE YEN TEEN TH CEN T UR Y. 
 
 29 
 
 Other factories were set up at Argentan and the Chateau de Madrid. At the 
 latter the best work was executed, for the most famous artists designed the graceful 
 patterns ; it was this factory that was patronised by the Royal household. 
 
 Not only were foreign laces forbidden, but a special decree forbade " the 
 production, sale, or use of any kind of thread point laces made with the needle, 
 whether old or modern, except those made in the Royal manufactories." French 
 characteristics began to show themselves at the different factories, and the laces 
 
 which had begun by being copies 
 of the Venice Point, and had 
 been called collectively Point de 
 France, were soon distinguished 
 by their different characteristics 
 as Aleneon, Argentan, etc. 
 
 It was during the reign of 
 Louis XIV. that the Edict of 
 Nantes was revoked, and this 
 had such a disastrous effect on 
 the French lace industry and 
 assisted to such a vast extent in 
 spreading the knowledge of lace- 
 making in all the capitals of 
 Europe where there was religious 
 toleration, that it may be con- 
 sidered the act of legislation 
 which has had the most im- 
 portant influence of any on the 
 history of lace. Through it 
 France lost 500,000 of her best 
 citizens, and it is said that when 
 Louis XV. asked Frederick the 
 Great what he could do for 
 him to show his gratitude, the 
 German sovereign asked for " A 
 second revocation of the Edict 
 of Nantes," doubtless remem- 
 bering that before the influx of 
 French emigrants, Berlin had 
 only 15,000 inhabitants, and that 
 its silk, lace and other industries were practically non-existent. 
 
 When Louis XIV. became so zealous for the welfare of the Roman Catholic 
 Church, under the influence of Madame de Maintenon and his confessor, the Jesuit 
 father La Chaise, all the chief manufactures were in the hands of the Protestants. 
 It is difficult to account for this fact except that it was then a dogma in the Roman 
 Catholic Church that profit on a loan was usury and undesirable. The Huguenots 
 held no such opinion, so that mortgages, borrowed capital and other means for 
 extending trade were freely used by them with excellent result. The persecutions, 
 
 Jean Baptiste Colbert, Minister of Louis XIV. , who 
 established the great lace factories at Aleneon 
 and elsewhere, with a view to keeping in France 
 the fortunes spent by the courtiers on Venetian 
 and Flemish laces. He wears a falling collar of 
 Point de France. 
 
 The revoca- 
 tion of the 
 Edict of 
 Nantes 
 spread the 
 knowledge of 
 lace ' making 
 throughout 
 Europe. 
 
HISTORY OF HAND-MADE LACE. 
 
 imprisoning, forfeiture of estates and other penalties soon drove all these worthy 
 citizens, together with their riches and industrial capacity, into other countries, 
 where their religious views were tolerated. 
 
 Tours lost her ribbon factories, the number of looms falling from 8,000 to 200, 
 In Lyons the weavers were reduced from 18,000 to 4,000, and nearly the whole of 
 her trade in gold and silver laces, which was valued at four million francs yearly, 
 was transferred to Genoa. Fifty thousand workmen took refuge in England, 
 Flanders, Germany, and Switzerland, bringing with them their trade secrets and 
 establishing factories, from which France would henceforth be compelled to buy 
 her supplies instead of being in the 
 position to supply the world. From 
 Alen9on the skilled workmen took 
 their trade with them to the North. 
 London received the silk weavers 
 from Lyons at Spitalfields. 
 
 The lace industry of France 
 suffered terribly, and after leading 
 the world during the brilliant Colbert 
 period in the manufacture of the 
 finest needle-point laces, produced 
 only the cheaper and more easily 
 made varieties, the best kinds being 
 imported from Venice and Flanders. 
 
 The driving into exile of her 
 most skilful workers was not the 
 only reason for the decline of the 
 Alen9on factories. At this time the 
 original Point de Veni?e designs 
 were neglected, and lace was no 
 longer made raised in relief, with 
 the result that richness in effect was 
 lost, and the pure outlines and 
 delicate arabesques shrank and 
 
 , . ,. , ., , r- 1 r Andre le Notre, Chevalier of the order of St. 
 
 dwindled until the final Stage of Michael, Councillor of the King (Louis XIV.), 
 
 rWaHpnrp thp HnttpH <;tv1p wa<; Controller General of His Majesty's Gardens, 
 
 C6 t St y le > WaS Arts and Manufactories of France. He wears 
 
 reached. sleeve ruffles and cravat of richest Point de 
 
 ,-, -M j. , j j France, which at that period was identical 
 
 Colbert was distressed and with Ve netian Point, 
 
 uneasy at the falling away of the 
 
 foreign markets from purchasing at the lace factories he had established with so 
 
 much care. He wrote to M. de St. Andre, then French Ambassador in Venice, 
 
 charging him to give exact information of the laces made in Venice and Burano " If 
 
 they are made in as large quantities as in former times, and where they are exported." 
 
 France no, It is interesting thus to see that the Points of Venice appropriated by France, 
 
 longer made as Point de France, and imitated by other countries, their fame being clouded by 
 
 Point de " unskilful copies, were once more made exclusively in Venice, their original home. 
 
 Venise. It is doubtless most desirable that one nation should imitate what is beautifully 
 
SEVENTEENTH CENTURY. 31 
 
 created by another, stamping on the original invention some special character- 
 istics, but at any rate in the case of Point de Venise, Fate seems to have decided 
 that the original trade should return to the city which gave birth to the type. 
 
 After rivalling Venice and Genoa in all industrial arts in the Middle Ages, 
 Belgium had suffered through the persecution of her skilled workpeople by the 
 Spanish Government. In 1620, however, the new activity in the commerce of lace 
 
 Henry, Prince of Wales, son of King James I., in elaborate collar 
 trimmed with Punto in Aria of very beautiful design. 
 
 revived the old industry, which spread from Valenciennes, then a town of Flanders, 
 to Antwerp, Lille, and Bruges. 
 
 At the commencement of the Belgian lace industry the Gothic and Venetian 
 styles had been copied ; later on the Genoa Guipures were adopted ; and finally the 
 Belgian Point de Gaze was invented, and from it the celebrated Point de Bruxelles 
 and no less important Applique. 
 
 The impetus to point lace-making in the seventeenth century benefited the 
 bobbin lace industry indirectly, for those who could not afford to wear needle-point 
 must needs be in the fashion in lace-wearing, and an increased demand for the 
 
32 HISTORY OF HAND-MADE LACE. 
 
 cheaper pillow laces sprang up. The paintings of this period, the portraits by 
 Rubens, Van Dyck, and Rembrandt, the figures and interiors by Watteau and 
 Fragonard, the engravings of Abraham Bosse, all show us the rich profusion 
 of lace worn by both men and women on every occasion, whether a christening, 
 a wedding, a funeral, or one of the fetes of that brilliant period. 
 
 A new Nor were the courtiers the only wearers of Point de France. In 1690 a 
 
 fashion in passpojg; was demanded to allow the passing through of laces for the use of the 
 
 introduced officers of the army, and one of the most popular fashions of the day originated on 
 
 on a the battlefield. It was at the battle of Steinkirk, in 1692, that the officers 
 
 suddenly ordered into action, having no time to arrange their lace cravats in the 
 
 elaborate method in vogue at the time, knotted them hastily and drew them 
 
 through a button-hole. The fashion originated by the victorious officers became 
 
 the rage for both men and women in France and England for half-a-century. 
 
 With the century died the fashion of wearing the high head-dress of wired 
 A popular /lace, called La Fontange. This head-dress, which was at first low and graceful, was 
 head-dress r originated by the royal favourite whose name it bears. Her hair having become 
 result of an disarranged while out hunting, she bound up the flowing locks with her lace hand- 
 accident, kerchief. Louis XIV. was so charmed with the coiffure that he desired she should 
 appear in it at the Court ball in the evening ; after that, every lady who desired to 
 court royal favour appeared with a head-dress a la Fontange, until the mode became 
 exaggerated ; wire was used to support the lace, sermons were preached about 
 the exaggeration of its height, and Madame la Mode tired of her dainty whim. 
 
 In England, during the early part of the seventeenth century, the ruff, some- 
 times with double tier, delighted the Court gallants and aroused the wrath of the 
 preachers, who waxed eloquent against the vanity of " the popinjays and plaister faced 
 Jezebels." Like the ruffs worn in France and Italy at the same period, they were 
 edged with elaborate geometric point, and Ben Jonson says, in the time of James I., 
 that " men thought nothing of turning four or five hundred acres of their best land 
 into two or three trunks of apparel." It was about 1600 that the fashion for saffron- 
 tinted lace appeared in England, and the Dean of Westminster ordered " that no 
 man or woman wearing yellow ruffs be admitted to the Church." Either this 
 order discouraged their appearance, or the fact that Mrs. Turner, the inventor of 
 yellow starch, was hanged at Tyburn in 1615 for the Overbury murder, and 
 thus rendered that especial tint distasteful ; at any rate the fashion disappeared. 
 
 The French mode of wearing Flanders and Venice points held sway in England, 
 and Lord Bacon wrote, " Our English dames are much given to the wearing of 
 costly laces, and if brought from Italy, or France, or Flanders, they are in much 
 esteem." In 1621 there was a movement set on foot to establish an office "to repress 
 pride by levying taxes on all articles of luxury," and in 1623 a complaint of the decay 
 of the bone lace trade caused distress in Great Marlow. 
 
 Queen Anne of Denmark was most patriotic in her taste, and purchased 
 "Great bone lace and Little bone lace" at Winchester and Basing; the lace for 
 the layette of the Princess Sophia cost ^"614 55. 8d. 
 
 Cut-work was still a favourite in England for the trimming of the falling 
 collars which came in when ruffs went out of fashion, and Medicis collars were 
 worn as at the Court of France. At the death of Queen Anne, wife of James I. 
 
Bobbin - made Brussels Lace Flounce, 26 inches wide, late seventeenth century. Given by 
 M. de Maintenon to Francois de Salignac de la Mothe Fenelon, consecrated Archbishop of 
 
 C. i MI hi. i i in 1605. 
 
 
Seventeenth -century Point de France, showing tht Venetian influence. The 
 figures are characteristic of this period. 
 
SEVENTEENTH CENTURY. 33 
 
 in 1619, a large veil was used to drape the hearse, with "peak lace wired, and lawn Lace used 
 curiously cut in flowers." at a Royal 
 
 Though Charles I. is occasionally represented in a ruff during the early years ' 
 of his reign, the fashion practically died with King James I., being superseded by the 
 fall of lace-trimmed linen ; but extravagance was shown even in the less elaborate 
 neck wear, and in 1633 the bills for the King's lace and linen amounted to ^"15,000 
 for the year. As there was little of this money paid for foreign lace, it may be 
 inferred that the making of English laces had become an important industry. 
 Much bone lace and point lace was made in England, besides that of the more 
 costly gold and silver thread. 
 
 Henrietta Maria gave lace as a present to her sister-in-law, Anne of Austria, 
 and the Countess of Leicester ordered lace to be sent to her in France, "fine bone 
 lace of English make " ; this would be the beautiful Point d'Angleterre, which is 
 erroneously supposed to have originated in Belgium, and to have been chiefly made 
 there. The fact that shoe rosettes were worn in England at this time with the 
 same extravagance as at the French court inspired the epigram 
 
 "Wear a farm in shoe-strings edged with gold, 
 And spangled garters worth a copyhold." 
 
 The fall of Charles I. and the rule of the Puritans had less disastrous effect on 
 the lace trade than one would expect. It is true that less cheap bone lace was 
 required for the middle classes, and the bravery and junketings of the lower classes 
 were sternly repressed, but the ladies of the noble and aristocratic families had 
 little liking for the simple Roundhead dress. Silver lace ornamented the buff coats 
 of the men ; falling collars of Flanders lace and English point laces half-hid the 
 armour worn beneath. Nor did the foreign ambassadors of the Puritan govern- 
 ment think it necessary to appear in less ornate garments or less costly stuffs. 
 Even the members of Cromwell's own family used costly lace to a considerable Cromwell's 
 extent, and on the death of the Protector his body was more richly draped with family used 
 velvet, ermine, and Flanders lace than had any monarch's been before in England. 
 It is likely that the simplicity so much talked of at this period was more a party 
 cry and a concession to the spirit of reaction, than a practical rule carried out to 
 the letter. 
 
 At the Restoration the wearing of lace resumed the old place in the affections 
 of the people, from which it had never really been ousted; and while fresh 
 proclamations were issued by Charles II. against the entry of foreign lace, he himself 
 continued to buy Flanders lace, and, as Pepys tells in his delightfully gossiping 
 diary, other people did likewise. " My wife and I to my Lord's lodging, where she 
 and I stayed, walking in Whitehall gardens, and in the Privy garden saw the finest 
 smocks and linen petticoats of Lady Castlemaine's, laced with rich lace at the 
 bottom, that ever I saw, and it did me good to look at them." 
 
 The change of fashion in men's hairdressing brought about the extinction of 
 the falling lace collar, for the flowing wig and long cuds* hid the back and shoulder 
 portions of the lace. This accounts for the introduction of the lace cravat of this Lace cravats 
 period. Aprons, pinners and handkerchiefs of lace .vere immensely popular with succeeded 
 the ladies. With the end of the century the fashion of the head-dress a la Fontange, collars. 
 
34 HISTORY OF HAND-MADE LACE. 
 
 called a commode in England, was at its height, and never had such sums been 
 spent on lace in England as were disbursed during the reign of William and 
 Mary. The industry throve in Bedfordshire, Buckinghamshire, Devonshire and all 
 the other lace-making districts in England. Defoe, a few years later, wrote that 
 ' Thro' the whole south part of Bedfordshire the people are taken up with the 
 manufacture of bone lace, in which they are wonderfully exercised and improved 
 
 George Digby, Earl of Bristol (1612-1677). The deep turn-down collar 
 characteristic of the Stewart period was soon to be replaced by 
 lace cravats, when, the hair being worn longer and more over 
 the shoulders, elaborate ornament was needed only in front. 
 
 within these few years past." Devonshire was kept busy with the demand for her 
 Point d'Angleterre laces, and at Honiton the three celebrated lace-makers of the 
 seventeenth century flourished, namely : James Rodge, Mrs. Minifie, the daughter 
 of the Vicar of Buckrell, near Honiton, and Humphrey of Honiton, whose records 
 of bequests to the townspeople are preserved on a board at the west end of the 
 parish church at the present day. 
 
 In the seventeenth century we know that the lace industry of England 
 flourished, and some traces may be found of small centres having existed before 
 
SEVENTEENTH CENTURY. 
 
 35 
 
 that time, but English portraits are searched in vain for traces of characteristic 
 native-made laces earlier than about 1603, nor is there any mention of the existence 
 of either a bobbin or a needle-point factory. 
 
 It is probable that, during the reign of Elizabeth, the close intercourse between 
 the Courts of France and England gave ample opportunity for the exchange of ideas 
 and models in what was then a favourite pastime, and a proof of the knowledge in 
 England of some of the well-known lace patterns is shown in the book published in 
 
 "The Foolish Virgins," by Abraham Bosse. The flat lace collars are characteristic of the 
 period. This is one of the first pictures in which lace-trimmed handkerchiefs appear. 
 
 1605 by Mr. Mignerak, an Englishman, which contains a collection of well-known 
 Point Coupe and bobbin lace patterns. This proves also that there were at any 
 rate some people in England who were interested in the English lace industry. 
 
 It is likely that until the second half of the seventeenth century England 
 produced only sufficient lace for her own consumption, for it is not until that time 
 that the characteristic Point d'Angleterre appears in wardrobe lists, periodical f>he lovely 
 literature, and portraits on the Continent ; but after 1650 the superiority and Point 
 originality of the English lace is proved by the large export abroad. This, how- 
 ever, is due to England alone having adapted to the bobbin lace the use of the style 
 created in needle-point by the Venetian artists, and we agree with M. Seguin that 
 the deeply-rooted idea that Point d'Angleterre originated in Belgium is erroneous 
 
 As early as 1612 a letter, dated January 2nd, is addressed to M. de Morangis, 
 Prefect of Alenson, in which it is said : " As the young ladies are now clever in 
 
 D 2 
 
HISTORY OF HAND-MADE LACE. 
 
 Point 
 
 d'Angleterre 
 originated in 
 England, as 
 its name 
 denotes. 
 
 making the Point de France, the manufacturers could easily introduce in their 
 factories the work of Flanders and Point d'Angleterre ; and if it is necessary to have 
 some skilled workwomen from other countries, we could authorise them to be called." 
 The Point d'Angleterre undoubtedly means, in this case, the work done in England. 
 The English Point d'Angleterre was exported in large quantities to France, and was 
 never confounded at that time with lace made in Flanders. Colbert, for whose 
 information the letter was written, would be the last to confuse the two makes of lace. 
 
 In 1675, Savory, 
 in " Le Parfait Nego- 
 ciant," declares that 
 " there is a large im- 
 portation from Eng- 
 land of laces of silk 
 and linen thread." 
 
 Why should Bel- 
 
 gium invent a type of 
 , , ,, .. ,-, . , 
 
 lace and call it Point 
 
 d'Angleterre ? This 
 especial kind of lace 
 existed long before the 
 excessive demand for it 
 in the time of Charles 
 II. necessitated Bel- 
 gian lace being smug- 
 gled into England 
 under that name. It 
 is probable, however, 
 that the fact that in 
 the latter part of the 
 seventeenth century 
 the demand did exceed 
 the English supply, 
 has given rise to the 
 belief that Belgian so- 
 called Point d'Angle- 
 terre was the model 
 for the English-made 
 Point d'Angleterre, 
 instead of the reverse being the case. And this History of Lace will not have 
 been written in vain if we make it clear that England was the first to make 
 the beautiful lace called Point d'Angleterre. The industry still exists in 
 Devonshire, where Honiton point absolutely represents the Point 'd Angleterre 
 of the seventeenth century ; the only difference being in the poverty of the present 
 designs. If artistic direction were given to the designing management, there is no 
 reason why Point d'Angleterre should not again attain to its old beauty, 
 
 George Savile, Marquis of Halifax (1633-1695). He wears the 
 folded cravat of Flemish lace, which replaced the deep 
 lace collar when flowing wigs came in hiding the lace 
 trimming at the back. 
 
Portrait of Mademoiselle de Beaujolas. From the picture by Nattier (16851766), at the 
 Musee at Versailles. Taken from a photograph by Neurdein. The lace apron and 
 dress trimming: are of Point d'Argentan. 
 
Busts of Louis XVI. of France (in Point d'Alen^on Lace cravat) and his wife Marie Antoinette, 
 daughter of Maria Theresa of Austria (in Point d'Alen^on corsage drapery). 
 
 CHAPTER IV. 
 
 ANECDOTAL HISTORY OF LACE IN THE EIGHTEENTH CENTURY. 
 
 OI the limes. The eighteenth century icas a time of great naval activity for 
 England. Nelson and Howe flourished. The A merican War took place in 1783. Fox and Pitt guided the 
 policy of the Kingdom, and the South Sea Bubble taking place in the first half of the century, gave rise 
 to reckless expenditure. In France the war of Spanish Succession drained the resources of_ the. country 
 early in the century. The Seven Years' War took place and the Jesuits were expelled. The splendour 
 and extravagance of the Court of Louis XVI. suffered total eclipse at the Revolution, which had f^S 
 disastrous results on the lace-making industry ; in fact, at this time, it received a bloiv from which ij /" 
 has never recovered, notwithstanding Napoleon's efforts to revive the art. Literature and Science were 
 represented in Great Britain by Pope, Thomson, Cowper, Burns, Grey, Steele, Addison, Congreve, 
 Defoe, Sterne, Goldsmith, Johnson, Newton, Wesley, Franklin, and Blackstone. In France, by Voltaire, 
 Rousseau, Diderot, Le Sage, Montesquieu, Buffon, La Voisier, and La Grange. In Italy, by Goldoni, 
 Alfieri, Muratori, Morga'gne, Cassini. Galvani, and Volta. In Germany, by Zimmermann, Goethe, 
 Schiller, Kant, and Hoffmann. This was the century when the great German musicians flourished, 
 Handel, Mozart, Haydn, Beethoven, and Weber. In Art, Hogarth, Sir Joshua Reynolds and Gains- 
 borough showed the grace of English women draped in muslin, rather than lace. Greuze and Vernet 
 painted French portraits, and in Italy Lutti and Battoni upheld the traditions of the Italian School. 
 
 AT the end of the seventeenth and the beginning of the eighteenth century, 
 every kind . of fine lace was used in France Point d'Angleterre, 
 originally made in England but imitated in Flanders and also in 
 France, being as popular as Argentan and Alen9on ; Mechlin being 
 prized for its lightness ; and blonde lace having recently appeared from Spain. 
 
HISTORY OF HAND-MADE LACE. 
 
 ChantiJly 
 lace was 
 first made 
 with flax 
 thread. 
 
 It was at this time that the making of silk laces increased considerably. Black 
 silk guipure had been worn, more or less under protest, out of compliment to 
 Louis XIV. 's Spanish consort, for the graceful taste of the Parisian did not find 
 pleasure in black silk lace. In the middle of the eighteenth century the Chantilly 
 industry was begun, at first with thread, afterwards with silk laces. This trade 
 did not really flourish, however, until blonde laces became the rage in Paris. 
 
 During the time of the third Napoleon 
 blonde lace was the favourite wear of 
 the Empress Eugenie, who delighted in 
 its transparent brilliance, and did not see 
 the lack of artistic design. 
 
 The equipage de bain formed one of 
 the most important items in the toilette 
 accessories of the woman of fashion. In 
 the eighteenth century the finest Point de 
 France was used not only for the trim- 
 ming of the loose dressing, gown of 
 madame, but also for a broad flounce 
 which was set on round the bath ; the 
 towels and stout linen for stepping out 
 upon were all trimmed with costly point. 
 In Madame Dubarry's accounts, Point 
 d'Argentan and Point .eUAngleterre ap- 
 pear for such trimming. 
 
 The bed trimmings were also of the 
 most costly nature. It must be re- 
 membered that at this time the reveille, 
 or uprising, was a favourite time for the 
 reception of friends, and the counterpane, 
 lace-trimmed pillow cases, sheets and 
 curtains were utilised as a means of 
 displaying costly points a coverlet made 
 of Point de Venise in one piece, worth 
 many hundreds of crowns, being no un- 
 common sight. The bed garnitures of the 
 Queen of France were renewed every 
 year, Madame de Luignes receiving the 
 old ones as her perquisite. Henry 
 
 Swinburne, writing from Paris in 1786, says that the expense of a bride's 
 trousseau is equal to a handsome portion in England. " Five thousand 
 pounds' worth of lace, linen, etc., is a common thing among them." 
 
 In one of the pictures of M. de Bonnard at the Bibliotheque Nationale, a 
 dressing-room is shown furnished with a sumptuous display of laces. The 
 toilet table has a cover trimmed with a flounce of needle-point ; a Venetian 
 mirror has a pair of guipure lace curtains draped on either side of it. The 
 
 Mantilla worn by a lady of Madrid. This 
 head - covering is still much used in 
 Spain, though it is no longer the uni- 
 versal headwear of every class as it 
 was in the eighteenth century. 
 
EIGHTEENTH CENTURY. 39 
 
 dressing-gown of the lady is all of guipure, trimmed at the sides, where it 
 opens over a petticoat ; rich Point de France edges the sleeves and at the 
 bottom of the gown is a wide flounce of Point de France. At the back of 
 the washing-stand a deep flounce of the same lace is draped, forming a back- 
 ground for the carafes and basins. 
 
 George Washington, President of the United States (1732 
 1799). He wears the lace cravat and sleeve ruffles of the 
 period. 
 
 The eighteenth century was the age of ruffles and jabots ; fortunes were Fortunes 
 
 spent on them, and many are the jokes in the literature of the day at the "f U lfa 
 
 expense of those who had lace ruffles but no shirts. The lace was always and jabots, 
 separate and was stitched on. It is said that the falling ruffles of lace 
 
40 HISTORY OF HAND-MADE LACE. 
 
 worn over the hands by every man of fashion were first used by card sharpers 
 and the throwers of dice, who wished to manipulate the games, and found 
 the full lace flounce a convenient veil. 
 
 Jabots and falls of lace for the wrist were the usual present from the 
 betrothed to her fiance, and the sums spent on single specimens in point or 
 Valenciennes would surprise those who speak of the extravagance of the present 
 day. The number required by the dandies of the period appears enormous; 
 the Archbishop of Cambrai possessed forty-eight pairs of ruffles of Mechlin, 
 Point de France, and Valenciennes ; this latter lace was usually worn at 
 night. The year before he died, Louis XVI. had fifty-nine pairs of new lace 
 ruffles, twenty-eight of point, twenty-one of Valenciennes, and ten of Point 
 d'Angleterre. 
 
 Fine lace The fashion in lace-wearing was not confined to the nobility : the lacqueys 
 
 frills formed in the eighteenth century had rich lace ruffles as part of their livery, both in 
 the men- England and all over the Continent. Queen Anne had her servants regularly 
 servants' inspected that it might be seen if their ruffles were clean and their periwigs 
 livery. dressed; and in a contemporary journal it is stated that "roast beef is banished 
 
 downstairs because the powdered footmen will not touch it for fear of daubing 
 their lace ruffles." At the beginning of the century, the English Parliament passed 
 an Act for preventing the importation of foreign bone lace, needle-point, and cut- 
 work, imposing a duty of 2os. per yard. The Government of Flanders retaliated 
 by prohibiting the importation of English woollen goods ; this caused such distress 
 amongst the wool carders, dyers, and weavers that the prohibition of foreign lace 
 was removed, and more of it was worn than ever, the lace bill of Queen Mary of 
 England amounting to nearly ^"2,000, and that of her royal spouse to ^"2,459, in 
 the same year. 
 
 At this time the English laces were becoming more elaborate and costly. 
 Defoe writes of Blandford point costing 30 per yard. This lace was much used 
 for trimming the steinkirks, which form of cravat, originating in France, was 
 extremely popular in England for many years. The lace-making area of this 
 country was very much wider in extent in the eighteenth century than it is 
 now; it extended throughout Cambridgeshire, Northamptonshire, Hertfordshire, 
 Buckinghamshire, Bedfordshire, Oxfordshire, Wiltshire, Somerset, Hampshire, 
 Dorset, Devon, and as far as Launceston in Cornwall. Point lace was worked 
 at this time by the upper classes all over England : they learnt the art in 
 France, where so many girls amongst the upper middle classes were educated 
 in the eighteenth century. This lace was generally worked by the wearer for 
 her own use and was never an article of commercial value. In 1775 an institution 
 was founded by Queen Charlotte in London " for employing the female infants 
 of the poor in the blonde and black silk lace making and thread laces." This 
 appears to have been successful for a time, having been bolstered up by the 
 purchase by subscribers in London of the produce of the school. 
 
 Queen Anne was scarcely patriotic in her tastes, wearing Flanders point at 
 her coronation. The laces of Brussels and Mechlin were always her favourites, 
 over one thousand pounds being paid in one year for the furnishing of these 
 
EIGHTEENTH CENTURY. 41 
 
 laces alone. She, however, did not desire the importation of lace made in the 
 dominions of the French king, and in 1711 forbade the entry of gold and silver 
 lace on account of the extravagance to which its wear gave rise, even the 
 corsets of the ladies at this time being trimmed with the forbidden fabric. 
 Spanish point in gold or silver was preferred for state occasions for dress and 
 mantle trimming, thread lace being always used for "heads" and lappets. 
 
 Joseph Marie Terray. From a picture by Eoslin. 
 The magnificent lace alb worn by this prelate is 
 of Point de Flandre. 
 
 Before the South Sea Bubble burst, two companies had been brought out with 
 enormous capital for importing lace from Holland, and when the china craze of the 
 eighteenth century was at the height of its popularity, many a Flanders "head" 
 and flounce was exchanged for a punch bowl or nodding mandarin. 
 
 When George I. came to the throne lace continued to be worn as much as ever ; 
 the ruffles were longer and the cravats of exaggerated length. " Weeping ruffles " 
 are responsible for the passing of many a clandestine note between lovers and 
 
 Enormous 
 capital was 
 supplied 
 for importing 
 lace at the 
 time of the 
 South Sea 
 Bubble. 
 
HISTORY OF HAND-MADE LACE. 
 
 Spanish 
 mantillas 
 were finest 
 in the i8th 
 century. 
 
 Jacobites, and the discussion of the prices of foreign lace and criticism of ruffles 
 seems to have taken the place of the modern substitute the weather in the 
 conversation of intimates. 
 
 The extent to which the men and women ran up lace bills was enormous. The 
 distress of lace sellers at this time, which should have been so prosperous for 
 them, was very great, and constant bankruptcies of " lace men " are recorded. In 
 the Connoisseur, a. journal of the period, the reckless extravagance of the women 
 is commented upon, and a little incident described. " The lady played till all her 
 ready money was gone ; staked her cap and lost it, afterwards her handkerchief. 
 He then staked both cap and handkerchief against her tucker, which to his pique 
 she gained." 
 
 With regard to the laces of Italy at this period, the Venetian Point was still 
 being made in considerable quantities ; its style had never been lovelier, for though 
 the workmanship was lighter, it was not less ornate. The demand for thinner 
 laces had altered the designs of Point de Venise, which was approaching the seme 
 method, small sprigs taking the place of arabesques. 
 
 Argentan lace was made at Burano, and at the latter place the characteristic 
 Burano Point was at its finest ; it is to this period that some of the most beautiful 
 specimens of this graceful and lovely needle-point lace belong. Its tint is always 
 a deep coffee colour on account of the human contact ; for so laborious is its making 
 that a long time must be spent by the worker in achieving the rows of finest 
 stitching, and accomplishing the effective net ground by hand. 
 
 The making of bobbin lace was already a thriving industry in Pelestrina, 
 another of the group of islands of which Venice is one, and at Chioggia also 
 considerable quantities of lace were being made in the eighteenth century. This 
 lace is made with bobbins', and resembles Mechlin lace to a certain extent ; the 
 execution, however, is coarser, with the result that Chioggia lace is much 
 stronger than the Belgian variety. The Italian designs are infinitely more artistic. 
 
 The eighteenth century was the best period for lace made especially in the 
 form of mantillas. Neither before nor since has the national Spanish head-dress 
 been so universally worn as at that time ; peasant women, the upper and lower 
 middle classes, the aristocracy and royalty all used lace for their head-covering 
 on every occasion, the quality of the fabric varying with the rank and means of 
 the wearer, though sometimes mantillas of extremely rich lace were possessed by 
 those whose poverty with regard to the necessities of life showed the contrast 
 in a striking manner. Black lace was the most generally worn, but white 
 mantillas were sometimes de vigueur, and are still for special court ceremonies. 
 
 The three deep flounces of black lace stitched on the coloured skirt gave 
 ample opportunity for the fabrication of handsome Point d'Espagne, this being 
 also a part of the Spanish national dress much more worn in the eighteenth 
 century than at the present day ; in fact, the dress now worn in a few remote 
 villages is a survival of what was then the rule, both with men and with 
 women, even the three-cornered hat, which was then in vogue with all classes, 
 being still occasionally to be seen. The sleeves of the women's dresses were 
 trimmed with Point d'Espagne. 
 
EIGHTEENTH CENTURY. 
 
 43 
 
 In Belgium, Point de Gaze and Application both of needle-point and bobbin- 
 made sprigs, were much made. A new development of this latter variety of lace 
 was just beginning ; this was the Duchesse lace, in which handsome bobbin-made 
 sprigs are made separately, being joined afterwards by means of bobbin-made 
 brides or bars. The Italian lace which most resembles Point Duchesse is the 
 Mosaic lace of the present day, but smaller sections and sprigs serve to build up 
 
 the pattern, which is sometimes 
 enriched with medallions of 
 needle-point. 
 
 There was much etiquette 
 with regard to the wearing of 
 lace in the reign of George II. ; 
 it was so general at court that 
 even young girls before mar- 
 riage wore lace caps and ruffles. 
 There were winter and sum- 
 mer laces : Argentan and 
 Alen^on were amongst the 
 former ; Mechlin, Lille and 
 Blonde the favourites for sum- 
 mer wear. With regard to 
 mourning, black and white 
 laces were worn for slight 
 mourning, but none was per- 
 missible when deep mourning 
 was worn. Brussels lace was 
 almost invariably the kind 
 worn at court and on state 
 occasions. Fine escaloped 
 Brussels laced "heads" with 
 lappets, hooked up with dia- 
 diamond buttons, were the 
 mode, the sleeve ruffles to 
 match, of double and treble 
 rows, and it was remarked 
 that " the Popish nun lace- 
 makers abroad are maintained 
 by the Protestant lace-wearers 
 of England." Patriotism was 
 shown in a marked degree in 
 1736, when at the marriage of 
 Frederick, Prince of Wales, 
 all the lace worn was of 
 
 Harlequin's Dress, richly trimmed with gold English manufacture except 
 
 lace and galloon ; eighteenth century. t , r f u F)uke of Marl- 
 Taken from a photograph of the original 
 
 dress in the Correo Museum, Venice. borough, who wore Point 
 
 There were 
 
 winter 
 
 and summer 
 
 laces. 
 
44 
 
 HISTORY OF HAND-MADE LACE. 
 
 The lace 
 
 apron 
 
 disappears. 
 
 d'Espagne. Soon after, the Anti-Gallican Society was founded to correct the 
 taste for foreign manufactures and to distribute prizes for bone point lace and 
 other English-made fabrics. This society did excellent work in fostering the 
 artistic beauty of English lace, and its prizes were frequently competed for by 
 gentlewomen, who could carry out designs and stitches of a quality and 
 fineness equal to the convent-made lace abroad, as their living did not 
 entirely depend on the quick execution of their work. 
 
 With the end of the eighteenth century in England the lace apron, popular since 
 the time of Queen Elizabeth, finally disappeared, together with the mob cap pinned 
 under the chin ; and though costly point was still worn, blonde lace had made its 
 
 Border of Bobbin-made Trolly Lace, 2 inches wide. Late eighteenth century. 
 
 appearance, and with its novel, light effect, charmed the ladies who were ever on the 
 look-out " for what new whim adorns the ruffle." 
 
 All the efforts of George III. to protect English manufactures did but encourage 
 the smugglers ; notwithstanding royal edicts ladies would have foreign laces, and if 
 others could not smuggle them, they themselves were always ready to run some 
 risk and invent some ingenious plan for evading the Customs House officers, who 
 were not only busy at the seaports at this time, but frequently raided the tailors' 
 and milliners' shops in London, their finds being publicly burnt. 
 
 But with the terrible years of 1792 and 1793 all this was to cease. The great 
 lace-wearers of France, the nobility and aristocracy, by the end of the century had 
 either been sent to the scaffold or were miserable refugees in foreign countries, 
 eking out a living by giving lessons in languages and dancing, or by selling 
 their costly laces, if they had been so fortunate as to bring them i- *' '^ 
 hurried flight. 
 
 Efforts were made after the Revolution (but without much success) to re 
 the lace industry of Argentan, that beautiful lace resembling Alen9on, but 
 
 from it, with its characteristic bride picotee ground, the six-sided buttonhole bar 
 fringed with a row of delicate pearls or picots round each side. Pe ' Jon to 
 establish a factory at Argentan was refused to Madame Malbiche de Luislannay ; 
 possibly it was thought that the three existing factories were sufficient to supply the 
 small demand. 
 
EIGHTEENTH CENTURY. 
 
 45 
 
 With Marie Antoinette fell the lace trade of France, and for a decade the manu- 
 facture, except of a few cheap peasant laces, ceased to exist. When in the igth 
 century the gradual recovery from the disastrous effects of the Revolution began to 
 be felt at least a dozen of once thriving centres were hopelessly moribund through 
 the death and dispersion of the workers. 
 
 Old Chantilly Lace (reduced), from one of the order-books of 
 the time of Louia XVI. 
 
 

 Napoleon 
 tried to 
 revive the 
 lace industry 
 in France. 
 
 Machine-made Net. Kun and Embroidered in Flax Thread. 
 Belgian, early nineteenth century. 
 
 CHAPTER V. 
 
 ANECDOTAL HISTORY OF LACE IN THE NINETEENTH 
 
 CENTURY. 
 
 Picture Of the Times. The Legislative Union of Ireland with Great Britain 
 in 1801 secured commercial privileges for the former country on the Continent, Early in the 
 century the peace of Luneville was signed, by which the French became masters of all Europe 
 West of the Rhine and South of the Adige. Trafalgar was fought, but the allies could not ivilhstand 
 Napoleon's generalship, and Auslerlitz proved disastrous for Austria. The Peninsular W ar look place 
 and every industry suffered front lack of encouragement, for all the nations of Europe seemed involved 
 in devastation and bloodshed ; and though England preserved her commerce in consequence of her 
 superior navy, the National Debt ivas augmented to the enormous sum of eight hundred and sixty 
 millions. Great strides were made in machinery and agriculture and the im<cntion of the bobbin net in 
 1 809 had disvtsfrovs effects on the hand-made lace industry. In 1837 Ihejacquard system ivasajbttvdto 
 the bobbin net machine. English machines ivere smuggled over to the Continent, un9 Cai^JaTIt^ * 
 
 ilk 
 
 President in 1801 ; Louisiana was purchased in 1803; Florida was acquired, and in 1898 America 
 declared war ivith Spain on account of the latter power's misgovernment at Manilla. For France the 
 Peace of Amiens was signed in 1802, and after Napoleon's defeat at Waterloo, his exile and death took 
 place. In 1870, the disastrous Franco-Prussian war paralysed her commerce and lost her the fair 
 provinces of Alsace and Lorraine. In 1871 a Republic was again the form of government, and there 
 is now no brilliant French Court 16* encourage the lace and other industries. Italy's unrest culminated 
 in the declaration of the constitution of Italy ; Rome was made the capital. The most brilliant Italian 
 names of the century are those of Garibaldi, Pius IX., Cavour, Denina, and in art Monti and Canova. 
 Art in England was upheld by such men as Sir Thomas Laivrence, Turner. Wilkie, Chantrey, 
 Lord Leighton, Millais and a host of other celebrated men. In France by David, Bouguereau, Millet, 
 Rosa Bonheur, &c., cSv. Madame de Stael delighted ivith her writings. In England Literature and 
 Science boasted such men as Shelley, Scott, Byron, Southey, Lord Tennyson, Jenner, Herschel and 
 many others. 
 
 AFTER the French revolution, when the Etats Generaux prescribed 
 the respective costumes of the three estates, a lace cravat was decreed 
 for the noblesse. When Napoleon had time to turn his attention 
 to such matters, he did all he could to revive the lace industry in 
 France, with a view to enriching the workers and encouraging the 
 luxury and brilliance of his court ; more especially he directed his 
 energy in favour of the Alen9on industry, which was almost extinct, and, on his 
 marriage with Marie Louise, ordered lace bed furniture including curtains, valances, 
 coverlet and pillow-cases of the finest Alen$on a bride, the Napoleonic cypher, 
 
Portrait of Queen Victoria, in Florence veil and corsage trimming: of Applique' 
 Lace. Prom a photograph by Alex. Bassano taken at the time of Her 
 Majesty's Jubilee, 1887. 
 
NINETEENTH CENTURY. 47 
 
 the bee, appearing in the pattern. The layette of his little son was also rich 
 in Point d'Alen9on, which, with Brussels and Chantilly, was the favourite lace of 
 Napoleon. He made the wearing of lace at his court obligatory, and delighted 
 in the taste and industry of the people who could produce such fairy-like fabric. 
 
 As a consequence, a brilliant flicker of prosperity in the lace trade marked X 
 the beginning of the nineteenth century in France, but the heavily made old 
 points were neglected, and the graceful Renaissance designs, rose points of Venice 
 Spain and Milan, in double and triple relief, looking like carved ivory in richness, 
 were no longer worn. 
 
 The dotted style of pattern with a modest border, drawn muslin, embroidered 
 Indian work, and Blonde laces with their thin grounds were the favourites, and 
 entirely supplanted for personal wear the old needle-point fabrics. Madame 
 Recamier, like all dainty dressers, was a great wearer and buyer of lace, and her 
 bed curtains of finest Brussels lace bordered with garlands of honeysuckle and 
 lined with pale satin, her counterpane of the same, and pillows of embroidered 
 cambric edged with Valenciennes, were extremely delicate. 
 
 Embroidered muslin was worn to an enormous extent, and shared with lace 
 the popular favour. Lists of trousseaux and inventories of the period constantly 
 mention Indian muslin dresses, which were even worn at court, and doubtless 
 appealed to the popular taste for affected simplicity as a reaction after the 
 extravagance and luxury of the pre-revolution days. 
 
 All the elegantes of the Incroyable period wore muslin embroidered fichus Bobbin net 
 and scarves, and the lace trade, which had revived to a certain extent, received wa s* irs t 
 another blow when bobbin net was first made in France, in 1818. At this date K. 
 the history of "old lace" ceases: the usually accepted definition of the term 
 includes all laces up to the invention of machine-made net, the lace made 
 after that being " modern." For nearly a quarter of a century the lace trade 
 was much depressed, for Fashion delighted in the lightness of the net and tulles, 
 now made by machinery, which had succeeded bobbin net. The prices of both 
 pillow and needle-point laces were lowered, and had it not been for the opening 
 up of North America as an outlet for the sale of lace a very severe crisis would 
 have taken place. 
 
 The introduction of machine-made thread net, which had so disastrous an 
 effect on the thread lace trade, gave a great impetus to the silk lace varieties. 
 Never before had the Blonde, Chantilly and Bayeux laces been so popular ; 
 the brilliancy and beauty of the silk ground were at once recognised as distinctive 
 features which rendered impossible any confusion of the silk mesh with machine- 
 made net, and,. the silk lace trade enjoyed a popularity that was soon to cease 
 when silk hetlace by machinery was produced. 
 
 The tendency since that time has always been towards cheapness in order i n 1833 
 to compete with machine-made goods. About 1833 cotton thread was first cotton thread 
 substituted for flax, with disastrous results to the artistic merit of the lace, but instead of 
 it afforded increased facility for the makers, who found the cotton cheaper, flax, with 
 more elastic, easier to work and less liable to break. results. " 5 
 
 After the first novelty of the bobbin net and tulL craze had worn off, a slight 
 reaction in favour of old lace set in both in England and on the Continent ; and 
 
4 8 
 
 HISTORY OF HAND-MADE LACE. 
 
 After 
 
 Waterloo a 
 lace factory 
 at Brussels 
 was turned 
 into a private 
 hospital. 
 
 at Almack's, the Assembly Rooms at Bath and Tunbridge Wells, the chaperons 
 would gossip of their lappets of Alen9on or Brussels. Numerous were the anecdotes 
 as to how this treasure or that had turned up, having escaped the doom of 
 the rag-bag, which, alas ! was the fate of so much old lace during the muslin 
 and net period. 
 
 The Duchess of Gloucester was one of the few whose affections never swerved 
 from her love of the old rich points towards blondes and muslins, and her 
 collection was one of the finest in Europe. Lady Blessington, too, loved costly 
 lace, and, at her death, left 
 several huge chests full of it. 
 Gradually lace began to be 
 worn again, but it was as it 
 were ignorantly put on, worn 
 simply because it was again 
 the fashion to wear lace, and 
 lace must therefore be worn ; 
 the knowledge of its history, 
 worth, and beauty was lacking, 
 and for a time the mocking of 
 the connoisseurs was justified. 
 It was the Count of Syracuse 
 who said, "The English ladies 
 buy a scrap of lace as a 
 souvenir of every town they 
 pass through, till they reach 
 Naples, then sew it on their 
 dresses and make one grande 
 toilette." 
 
 Then the Parisian dress- 
 makers came to the rescue ; 
 Madame Camille, a celebrated 
 costumier, saw the possibilities 
 of the situation, and was the 
 first to bring old lace into 
 fashion again. Laces were 
 cleaned, cut and adapted to 
 modern fashion, and within the 
 last fifty years the taste for 
 good lace has again become almost general, both in England and in France. 
 
 An interesting incident, connected with Brussels lace, took place after the 
 battle of Waterloo. Monsieur Trovaux, a manufacturer at Brussels, turned his 
 factory into a hospital for English soldiers, providing nurses, beds, linen and all 
 other necessaries for the wounded men. This humanity checked for the time 
 his lucrative business, but the good man was not a loser in the end, as he 
 received a decoration and his shop was afterwards always crowded with English 
 
 Napoleon I. (17691821), by Stefano Totanelli. -From 
 Seidlitz' Historical Portraits. He wears a cravat 
 of Venetian Point. 
 
NINETEENTH CENTURY. 
 
 49 
 
 ladies, who would buy nowhere else the lace they desired to purchase in 
 Brussels. 
 
 In touching upon the conditions of the lace industries during the latter 
 half of the nineteenth century it will be convenient to classify them according to 
 their place of origin. 
 
 In Italy new lace industries have grown up in the present century. 
 Embroidered net both black and white has been well received ; much of this 
 work is done in the prisons. Handsome scarves and veils are made as well as lace 
 flounces and godets ; the design is effected by darning with coarse, loosely- woven 
 silk thread upon a machine-made silk or cotton net. Bold patterns are used and 
 the effect is easily obtained and meets the demand for a showy and inexpensive 
 lace-like fabric. 
 
 The " lace " a la Reine Margherite is very different, though, like the prison 
 laces of black and white, it is simply embroidered net ; it is on very fine machine- 
 
 Point d'Alencon. The ground powdered with bees, the Napoleonic cypher. 
 This lace was made for the Empress Marie Louise about 1810. Depth 
 14in. from the edge to the central point. 
 
 made foundation and the embroidery rather aims at light radiating and star-like 
 patterns than at thick masses of work. This lace is much used for ruffles, jabots, 
 handkerchief edgings and other useful purposes. 
 
 In Como and in the villages round the lake, much lace is made by the cottagers 
 at the present day. It is the bobbin variety, a kind of guipure, and is usually sold 
 under the general title of Italian lace; it resembles the torchon kinds, the most 
 usual form of peasant-made lace all over Europe. The laces usually identified with 
 Venice and Burano, Chioggia and Pelestrina are also made in the district of Como. 
 
 In France little lace is now made except in the Le Puy district, the 
 earliest established of all the French lace centres, which has the largest proportion 
 of the trade of the nineteenth century in Europe. 1 he production is principally 
 
5 o HISTORY OF HAND-MADE LACE. 
 
 heavy bobbin-made lace, which is used chiefly for furniture, curtains, etc. Other 
 kinds, notably black laces, are still made, but their artistic value is not great, 
 and the Chantilly, torchon, and Valenciennes of other countries are equal in 
 quality and exceed in quantity that now made in France. 
 
 The lace workwomen of Le Puy are scattered all along the Haute Loire 
 and in the Puy de Dome, which form the province. They number about 100,000 
 
 Louise Adelaide of Orleans. From the picture by Decrenze at the Musee 
 at Versailles. Photographed by Mendein. Mechlin lace trims the 
 muslin fichu, this was much used at the time (early 19th century) 
 its lightness making it specially suitable. 
 
 and are employed upon the production of blondes and guipures, in linen, silk, anc 
 wool threads. The lace now made is finer and better than the old laces of the same 
 district. In 1875 the average wage of the workwomen was fifty centimes a day 
 Skilful workers and those who were quick in learning any novelty which was a 
 the moment in demand could gain as much as three francs a day. 
 The galloons called entoilages are no longer made in the district. 
 
NINETEENTH CENTURY. 
 
 At Argentan, where such famous laces were made in the seventeenth century, 
 there is now no important factory. At Arras, where laces were made which 
 rivalled those of Lille, there are only a few hundred workers, the number having 
 dwindled since the 30,000 lace-makers of the eighteenth century were busy with 
 their bobbins. 
 
 In Spain needle laces are no longer made ; the old industry in imitation of 
 
 Point de Venise has entirely 
 died out. Bobbin laces only 
 are executed and the designs 
 are usually in execrable taste. 
 In Portugal the lace of 
 the nineteenth century rivals 
 that of Spain in poverty of 
 design, and is inferior to it 
 in execution. The largest 
 quantity is made at Peniche, 
 in Estremadura. 
 
 In Madeira there are 
 now comparatively few lace- 
 workers, the industry of the 
 island being chiefly directed 
 -towards embroidery. 
 
 The laces of Germany 
 are not important. Saxony 
 has never produced any 
 original lace, but her trade 
 in the last century was 
 considerable ; the lace is 
 inferior now, and is largely 
 exported to America, possi- 
 bly for the use of the many 
 Germans who have settled 
 there, and who perhaps still 
 retain a taste for German 
 producti : otherwise it is 
 impossible to explain a 
 preference which seems un- 
 justifiable. 
 
 In Austria the old lace 
 factories at Laybach and Illering ceased to exist with the eighteenth century. 
 
 In Switzerland a good deal of lace is still made, but the designs shown at the 
 Paris Exhibition in 1851 were greatly wanting in originality; these came from 
 Locle Connet and Chaux de Fonds and were chiefly of the blonde and torchon 
 varieties. 
 
 Swedish lace finds purchasers only in its native country ; this is also the 
 case with the Rttssian fabrics, which are most original in design and workmanship, 
 
 Bridal Dress of 1830. The veil is of Belgian bobbin sprigs 
 mounted on machine-made net ; the flounces are of old 
 Brussels. 
 
 K 2 
 
HISTORY OF HAND-MADE LACE. 
 
 I 
 
 Machine- 
 made net had 
 a depressing 
 influence on 
 the Honiton 
 lace 
 industry. 
 
 and it is much to be regretted that steps are not taken to encourage the industry on 
 a large scale. In all probability very valuable results would be obtained in a 
 country where the native lace is so fine and of such a distinct type (though 
 somewhat barbaric) and where an important home industry would be valuable in 
 ameliorating the condition of the peasant population. 
 
 Irish lace, fostered and encouraged to a certain extent in the eighteenth 
 century, was recognised as an article of commerce in the nineteenth. The 
 manufacture of Limerick lace was established in 1829; this so-called lace work is 
 strictly embroidery or network ; the tambour stitch is sometimes worked upon 
 Nottingham net. Crochet and other Irish laces are all imitations of the older 
 foreign fabrics. 
 
 One of the few new kinds of 
 hand-made lace invented during the 
 nineteenth century is the Poly- 
 chromo lace made at Venice. This 
 is a very beautiful fabric made with 
 bobbins of many coloured silks ; 
 sometimes as many as 300 to 400 
 are employed upon one seven-inch 
 flounce, the delicate shading of the 
 colours being obtained by the 
 enormous number of tints used. 
 The designs are taken from old 
 Venetian and Raphaelesque point, 
 and the lace is used either for 
 furniture or for personal wear. 
 
 Another lace originated in the 
 nineteenth century is that called 
 Petit Motif. It is a bobbin lace of 
 most attractive design, the quality 
 and pattern being always the same. 
 To France must be conceded the 
 honour of its creation ; it is now 
 made in Venice and in Flanders. 
 
 A new departure in Honiton lace-making was first introduced in Devonshire 
 in 1874, though it had been known in Belgium before that time. The characteristic 
 of this variety, which is called Devonia lace, consists in the raised petals, 
 butterfly wings, or other forms which occur in the design ; these are worked 
 separately and stand out in relief. 
 
 Early in the nineteenth century royal favour was sought for the lace-workers 
 in Devonshire, who had been much distressed by the introduction of machine-made 
 net, and Queen Adelaide gave an order for a complete dress to be made of Honiton 
 sprigs ; these were mounted on machine-made ground, so that both industries were 
 benefited, for it was realized that the struggle between manual labour and invention 
 could only have one result, and it would be useless to attempt to bolster up a dying 
 industry such as that of the hand-made net. The design for the royal order was 
 
 Jenny Lind, from an engraving by William Holl, 
 showing early Victorian tippet of black Chan- 
 tilly lace. 
 
NINETEENTH CENTURY. 
 
 53 
 
 to be copied from nature, for during 
 the depression in the Honiton trade 
 the patterns used had gradually 
 degenerated. The skirt of this his- 
 torical dress was encircled by a wreath 
 of flowers whose initial letters formed 
 the name of the Queen : Amaranth, 
 Daphne, Eglantine, Lilac, Auricula, 
 Ivy, Dahlia, Eglantine. 
 
 Queen Adelaide was always ready 
 to lend her aid in mending the for- 
 tunes of the industrial classes. In 
 1826 the reduction of the duty on 
 French tulle caused so much distress 
 in Nottingham in consequence of the 
 ladies wearing the cheaper foreign 
 make, that Her Majesty appeared at 
 one of her balls in a dress of English 
 silk net, and requested her ladies to 
 wear only English tulle at Court. 
 
 Thirty years ago it was stated 
 that 8,000 people were employed in 
 making -joniton lace ; this number 
 
 Lady Elizabeth Craven, from the " Court 
 Alburn,"^ 1857, showing sleeve trimming 1 of 
 Applique lace, characteristic of the middle 
 of the nineteenth century. 
 
 The Countess of Malmesbury, from the "Court 
 Album, ' ' 1856. Her collar is of Devonshire guipure. 
 
 has since greatly lessened.. Only the 
 thin common sorts are made ; few 
 designs- are executed which demand 
 close labour, and the so-called Honi- 
 ton lace of the present day can no 
 longer be considered* a fine lace. Only 
 old women who learnt the art in their 
 youth work at it, so that it is quickly 
 dying out. Sprigs and borders, which 
 are worked separately, are collected 
 from the cottag*e makers by agents, 
 and are paid for at a rate which 
 wojrks out in some cases at three 
 farthings or one penny an hour, in 
 consequence of which children and 
 young girls are no longer taught, or 
 if they learn give up a trade at 
 which they can earn but four or five 
 shillings a week for more lucrative 
 employment such as dressmaking or 
 milline r y, at which they can at least 
 earn a shilling a day. There are, 
 happily, a few isolated exceptions 
 to this depressing state oi affairs. 
 
54 
 
 HISTORY OF HAND-MADE LACE. 
 
 Why is not 
 hand-made 
 lace made an 
 enormous 
 industry in 
 England? 
 
 With artistic 
 direction 
 English lace 
 need no 
 longer hold a 
 fifth-rate 
 place. 
 
 Mrs. Fowler, of Honiton, still has a small lace school where only the finest work is 
 done and the old stitches and vrai reseau are taught ; Miss Herbert, of Exeter, 
 also encourages the old traditions ; and Miss Audrey Trevelyan has introduced 
 with some success graceful Italian and French designs at Beer and Seaton. 
 
 The English application lace of to-day is, as a rule, less successful than that 
 of Brussels, for the machine-made net ground upon which the hand-made flowers 
 are applied is thicker, inferiority and less delicacy in the appearance of the lace 
 being the results ; nevertheless the work is excellently done and has the great 
 advantage of coming from the workers' hands perfectly white in colour. 
 
 It is strange that in our country, where the classes are so much interested 
 in the welfare and well-being of the masses, and where protest is continually being 
 made against the growing tendency of women to leave their homes and seek work 
 outside the home circle, the industry of lace-making has never been taken up by 
 some wealthy enthusiast who could place the industry upon a solid artistic and 
 business basis, without which industrial enterprise can never flourish. 
 
 In those efforts which have hitherto been made, one or other essential founda- 
 tion has apparently been lacking ; and though it is charming to watch the efforts of 
 ladies to encourage dainty work, or to see industry in any form, it is also depressing 
 to think that want of the old methods, want of artistic direction in the designing and 
 management, or want of business co-operation with the great lace merchants of the 
 world (who after all hold the balance of success in their hands, because they are the 
 great medium for disposing of the product to the general public, and to a large 
 extent for creating a taste in the public for- the fabric), has hitherto prevented 
 real success and permanence in the efforts to restore the old industry in 
 Great Britain. 
 
 The English point lace of the seventeenth century was one of the most 
 beautiful and artistic products which the world has ever seen : the Point 
 d'Angleterre in those days was imitated in Belgium, so great was the demand for 
 the costly fabric. It was constantly sent to Paris even when the Alengon fabrics 
 were in the height of their popularity, and enormous fortunes were made by lace 
 merchants. Departure from the old designs caused the decline of the industry, 
 which is clearly seen in the degraded artistic methods of the present industry in 
 Devonshire. Given a sound commercial basis and capable direction, there would 
 soon be a revival of the beautiful old methods now that renewed interest is takeri 
 in fine laces. 
 
 Not even the stitches would have to be learnt by the workers, for they already 
 know them : it would only be necessary to furnish such designs as would double 
 the value of the product. The labour and material now expended upon the 
 production of lace worth only ten shillings per yard, would, if graceful and saleable 
 designs were worked, produce a fabric worth fifteen shillings or a guinea a yard. 
 In fact, to restore the artistic direction would be to restore the great lace industry 
 of England, and raise it from the fifth-rate position which it now holds to the 
 splendid position attained by the lovely Point d'Angleterre of the seventeenth 
 century. The Honiton lace of to-day is but the exquisite Point d'Angleterre of the 
 Restoration period in a debased condition. 
 
NINETEENTH CENTURY. 
 
 55 
 
 Briefly, the advantages of the lace industry for England are these : 
 
 1. Women need not leave their homes in order to do the work. 
 
 2. In a properly organised lace school the girls are well cared for and protected 
 while learning the industry. 
 
 3. Perfect hygienic conditions and personal cleanliness are essential for the 
 lace- maker. 
 
 4. There is plenty of scope for individual effort and distinction, a stimulating 
 consideration, which puts the lace- worker on a superior footing to the woman who 
 merely works a machine. 
 
 5. The work is so light that the most delicate woman or girl can undertake it. 
 
 6. Mastery of the technical details is so easy that in lace-making countries, 
 such as Belgium and Italy, children of seven or eight years commence to learn the 
 " stitches." 
 
 7. Every woman newly employed in lace-making is one taken from the great 
 army of women who, in earning their living, encroach upon those trades and 
 professions which have hitherto been looked upon as the monopoly of men. 
 
 Miss Emily Yelverton, from the " Court Album," 
 1854. The bell-shaped lace sleeves of the 
 period and bodice trimming are of Rose 
 point lace. 
 
CHAPTER VI. 
 
 Gold, silver, 
 and flax 
 thread laces 
 of fabulous 
 value. 
 
 ECCLESIASTICAL LACE. 
 
 N writing of lace used for Church , purposes there is no separate 
 history to relate. It is simply the story of the finest specimens of 
 every make of lace which the skill of the artist could design and 
 the patient work of the lace-maker could execute, enriched beyond 
 the richest lace for personal adornment by modes and stitches 
 put in gratuitously, as it were, because of the love and devotion 
 in the heart of the worker. It is for this reason, because Church 
 lace was generally made at convents where time was no object, 
 and where only the beauty of the fabric was studied and enrich- 
 ment devised because nothing could be too beautiful for the service 
 of God, that ecclesiastical lace is so fine. 
 
 Amongst the treasures in the cathedrals abroad, there are laces 
 of gold and silver, flax thread laces, too, of fabulous value ; the 
 dresses of the Saints and Madonnas were profusely decorated with 
 the richest and most costly of whatever was the fashion of the 
 day. It is unfortunate that though the Inventory of the treasures 
 of N6tre Dame de Loreto fills a thick volume, and the figure of 
 the Saint was freshly clothed every day, so magnificent are the 
 plate, jewels, and brocades, that no mention is made of the laces, which are 
 probably on the same gorgeous scale. 
 
 At Notre Dame at Paris at the present day three specimens of lace of the 
 seventeenth century are amongst the most costly and beautiful of all the tresors kept 
 in the strong room of the sacristy. Each one shows the special kind of lace in its 
 most ornate and lovely form. An alb of priceless Argentan is in Renaissance design ; 
 the fillings are so fine and intricate that it is impossible, without a microscope, to 
 appreciate their beauty, while the ground is of brides ornees in the famous six-sided 
 honeycomb boucle with infinite number of pearls forming a rich ground for the 
 pattern. The deep flounce of Point d'Angleterre which trims the second alb is 
 also of the finest workmanship, the old flax thread still of admirable colour; 
 and the remarkable preservation of the Flemish lace which decorates, or rather 
 forms, the third alb shows with what care such costly vestments were always 
 treated. Such garments were worn only by the celebrant of High Mass on some 
 great festival. 
 
FONT 
 
 CKEATVS <L6.LJyjisj7sa. 
 
 Portrait of Pope Clement Mil. Rezzonicus (1693-1769). The identical Point 
 de Burano lace he wears is now in the possession of Queen Margherita 
 of Italy, who lent it for reproduction to the Burano lace factory to 
 assist the recent efforts to revive the lace industry on the island. 
 Dentelle Rezzonicus is now a variety of lace well known to connoisseurs. 
 
ECCLESIASTICAL LACE. 57 
 
 Amongst the stores of gold-embroidered chasubles, gem-studded crosses, mitres 
 and cups, where masses of diamonds sparkle on historic reliquaries, and pearls, 
 emeralds, and rubies enrich even the cups and platters used in the service of 
 the Church, the exquisite grace and delicacy of the lace appear all the more 
 pronounced, and this miracle of patient industry, built up from the simplest 
 material, a little thread, rivals in startling beauty objects which are made with 
 the costliest and most precious materials the world can produce. 
 
 The lace of the Vatican is constantly mentioned in describing the ceremonials The vest' 
 of the Church, and it may not be out of place to refer to the chief vestments used mentschiefly 
 in the Church of Rome at the present day, and in England before the Reformation ; w j t h i ace> 
 these are the cassock, the amice, the alb, the girdle, the maniple, the stole, the 
 chasuble, the dalmatic, the tunic, the veil, the cope and the surplice. Of these, the 
 dalmatic, the surplice and the alb, are the vestments chiefly ornamented with lace. 
 The dalmatic is a long robe open on each side, resembling a chasuble, but with wide 
 sleeves. Its origin is extremely ancient. St. Isidore declares its name to be 
 derived from Dalmatia, where it was first used. It is ornamented with two strips 
 
 Border of Bobbin-made Lace, from the yoke of a dressed Ecclesiastical statuette. The design consists 
 of symbolical figures placed upon a net ground or "reseau." Flemish, eighteenth century. 
 
 like the Roman dresses of the same period ; these strips, originally of purple or 
 scarlet, are now usually of rich lace or gold embroidery. 
 
 At the Cathedral at Burano, the lace sets for the use of the Church are mag- 
 nificent, the old Burano point frontals especially being of extraordinary beauty ; the 
 solidity of this lace renders it possible that antique specimens should be in a perfect 
 state of preservation, for the firm and frequent knotting of the flax threads makes it 
 in some rare instances almost as stiff as cardboard. We have seen pieces which 
 resembled thin card in stiffness, though it will be remembered that Burano point, 
 both ancient and modern, has the arabesque design upon a mesh net ground, the 
 tint being generally of a rich coffee colour. 
 
 Vine leaves and wheat ears are the most usual themes for the designers to work 
 from, and very beautiful are some of the variations of these natural objects. 
 
 Some of the most interesting and beautiful lace ever made at Burano was The lace 
 executed for Pope Clement XIII. Rezzonico ; this was in the form of a chasuble R e22 P nico. 
 and flounce. It is now in the possession of Queen Margherita of Italy, who 
 graciously lent it to the Royal School at Burano for the purpose of copying, 
 
HISTORY OF HAND-MADE LACE. 
 
 Bridal lace 
 for the 
 Church. 
 
 knowing that the old design and stitches would be faithfully carried out, for the 
 old spirit of artistic execution and beauty of feeling in the work still survives at 
 Burano, where work equal to any done in the hey-day of fine lace work of the 
 seventeenth century is going on at the present day. 
 
 Comparatively little lace is now made in convents ; more perhaps in Belgium 
 than elsewhere, but little in comparison with the amount which was once executed. 
 Aprons which are worn by Roman Catholic bishops when performing 
 ceremonies, have always been made of the costliest lace. In the eighteenth 
 century, in a description of the washing of feet by the Pope, such an apron, of old 
 point lace with a broad border of Mechlin, is mentioned. Unfortunately the laces 
 of the Holy Conclave are often sold at the death of a cardinal by his heirs ; some- 
 times the newly elected cardinal purchases most of the stock, as the high 
 ecclesiastical dignitaries of the Church 
 of Rome are obliged to possess com- 
 plete sets of great value. 
 
 The lace of the Rohan family, 
 hereditary Princes, Archbishops of 
 Strasburg, which has never been dis- 
 persed, but has been steadily acquired 
 through successive generations, is of 
 fabulous value ; on some of the albs 
 the arms and device of the family, 
 worked in medallions, are introduced 
 in the design. 
 
 Guipure lace was much used for 
 the adornment of the altar hangings, 
 the richness o the gold and silver 
 thread being most effective. In the 
 seventeenth century, in the inventory 
 of the Oratoire in Paris, the veils for 
 the Host are mentioned, one of white 
 taffetas, trimmed with Guipure, 
 another of white brocaded satin with 
 lace Guipure. 
 
 Lace is frequently bequeathed to 
 the Church or given during the life- 
 time of some fair devoue. In the 
 eighteenth century, when Barbara, sister of the King of Portugal, was married, 
 the bride of seventeen solemnly offered to the Virgin at the Church of Madre de 
 Dios the jewels and dress of splendid point lace in which she had just been married. 
 In modern days the Empress of the French presented to his Holiness the Pope 
 for conversion into a rochet, the most costly dress which has ever been executed 
 at Alencon. This dress was exhibited in 1859, and was bought by the Emperor 
 for 200,000 francs. The ground was of the vrai reseau, or needle-point mesh, now 
 so seldom seen. 
 
 Square or "Pale" for Covering the Paten, of 
 Needle-point Lace " a reseau " ; with a Thread 
 instead of the usual Buttonhole-stitched 
 "Cordonnet." In the centre is the Sacred 
 Monogram surrounded by rays of glory and 
 by the instruments of the Passion, the dice, 
 the coat, the crown of thorns, the cock, the 
 ladder, hammer, and pincers, &c. Point 
 d'Alencon, French, eighteenth century. 5i 
 inches by 5i inches. 
 
ECCLESIASTICAL LACE. 
 
 59 
 
 One of the finest specimens of lace made at Valenciennes was the trimming 
 of an alb made in the seventeenth century and presented to the Convent of the 
 Visitation on its foundation in 1603. This lace was more than three-quarters of a 
 yard wide, the thread extremely fine, and the value of the work can be estimated 
 when we understand that it used to take a worker ten months, working fifteen 
 hours a day, to finish a pair of men's ruffles. Valenciennes lace is made altogether 
 on the pillow, with bobbins ; one kind of thread is used for both pattern and ground. 
 The city-made lace known as Vrai Valenciennes is most highly prized, Batarde 
 or Fausse Valenciennes being the name for the fabric made outside the town. 
 Not only the finest web of Valenciennes, but also the coarse, but artistic, 
 
 fabric called Fil de Carnasiere, or Italian 
 knotted lace, was used for the service 
 of the Church in the early days of lace- 
 making. Punto a Groppo was in 
 vogue both in Spain and in Italy, 
 the strongholds of the Roman 
 Catholic Church, for ecclesiastical 
 linen and Church vestments, 
 from medieval times up to the 
 end of the seventeenth century, 
 and was sometimes made with 
 the loose ends hanging as in the 
 modern knotted lace or macrame; 
 sometimes with ends knotted into 
 a scalloped design and cut off. 
 In the painting by Paul Veronese, 
 of Simon the Canaanite, now in 
 the Louvre, this lace adorns the 
 table cloth. 
 
 In writing of lace made for the use The se if, 
 of the Church, it must not be forgotten sacrificing 
 that many a splendid piece has been worked 
 by ladies who desired to show their devotion 
 in some way more self-sacrificing than by pay- 
 ing others to do the work of their offering, or 
 
 who could not afford to make a rich present and must devote time and labour 
 if they wished their gift to be a valuable one. Though the work of the nuns is 
 very beautiful and shows much devotion and disregard of trouble where increased 
 richness of effect is possible, yet some of the work of ladies' hands presented to 
 the Church equals it ; in some instances it has been the patient work of half 
 a lifetime, and one imagines the thoughts of piety and devotion that were worked 
 in with stitches visible still as miracles of patience. 
 
 In " Church Embroidery : Ancient and Modern," we are told that in the 
 churchwardens' accounts of St. Mary-at-Hill, London, in 1486, mention is made 
 of "a frontill for the schelffe, standing on the altar, of blue sarsanet with 
 brydds of golde." 
 
 Pontiff in Alb richly trimmed 
 with Point d'Argentan. 
 
6o 
 
 HISTORY OF HAND-MADE LACE. 
 
 In Jewish 
 ceremonials 
 a lace^ 
 trimmed 
 cloth or talith 
 is used. 
 
 
 
 The Norman English Church perpetuated the Anglo-Saxon use of movable 
 altar frontals, a practice which was continued up to the time of the Reformation, 
 at which epoch every parochial church was furnished with complete sets of frontals 
 and hangings for the altars. 
 
 With the destruction of the stone altars at the Reformation and their 
 replacement by the "decent table" provided at the cost of the parish, standing 
 on a frame as commanded by Elizabeth in 1565, most of the beautiful lace and 
 embroidered apparels disappeared from the church alas ! frequently to be cut 
 up as coverings for the chairs and beds of the professors of the new faith. 
 
 The bands placed vertically 
 on an altar cloth, a reredos, an 
 ecclesiastical vestment or hang- 
 ings are all called orphreys ; these 
 are generally of the richest needle- 
 work, sometimes of gold lace or 
 cloth of gold, embroidery, flax 
 thread lace, velvet, silk or satin 
 trimmed with gold lace. Such 
 bands vary in width, but are 
 always an important feature in 
 the decoration of the frontal band 
 or clavi that adorns the priest's 
 alb. The same decoration used to 
 border the robes of knights was 
 also called an orphrey. The name 
 is supposed to be derived from 
 Auripkrygium, the Roman name for 
 work in gold and silver thread. 
 
 Some of the finest lace ever 
 executed has been made for use 
 in the Jewish Church. The talith, 
 a cloth used in some of the Hebrew 
 ceremonials, is often richly orna- 
 mented with lace; two long borders 
 are of lace about eight inches wide, 
 four square pieces ornament the 
 centre, and there is a border of lace 
 round the long scarf-like cloth. We 
 
 have seen Point Neige, the most delicate needle-point in double and triple relief, 
 worked in ecru silk thread for the ornamentation of a talith. 
 
 Hollie or Holy Point was originally made entirely for Church use, and the 
 name was used in the Middle Ages for any sort of Church lace work, whether 
 drawn or cut work, darned netting or needle-point lace, when the pattern was 
 formed of some subject from Scripture history or contained sacred emblems. Italy, 
 Spain, Flanders, and England all produced Hollie Points, the favourite figures for 
 
 Pope Clement XIV. in an Alb trimmed with fine 
 Needle-point Lace. Eighteenth century. 
 
ECCLESIASTICAL LACE. 
 
 61 
 
 Choristers in Lace-trimmed Surplices such as 
 are worn at the Vatican. 
 
 illustration being Adam and Eve, the Tree of Knowledge, the Holy Dove and 
 Annunciation Lily, with occasionally accompanying figures. After the Refor- 
 mation, when the hoards of 
 laces belonging to the Church j 
 were scattered, Hollie points 
 
 were frequently used for lay R~& 
 
 purposes and religious sub- 
 jects were specially worked 
 for personal adornment by the 
 Puritans ; the name Hollie 
 Point is now used for a kind 
 of darned net-work or crochet. 
 This has frequently been em- 
 ployed to ornament christen- 
 ing suits, which were once 
 much used, the child wearing 
 for the ceremony in church a 
 special cap ; mittens of lace 
 were also provided for the 
 christening suit, together with 
 bearing cloth richly trimmed 
 with Hollie Point, and occa- 
 sionally dress or shirt trimming. It was the custom for the sponsors to give 
 
 a set of christening laces 
 consisting of richly-trimmed 
 front, mittens, cap and cuft 
 edgings. It has been sug- 
 gested that this presentation 
 of ornamented linen at the 
 baptism is a relic of the pre- 
 sentation of white clothes to 
 the neophytes when received 
 into the Christian Church. 
 
 In a painting by Wat- 
 teau, at Versailles, the 
 Grand Dauphin is repre- 
 sented with his father, Louis 
 XIV. ; the child is covered 
 with a mantle or bearing 
 cloth edged with a deep 
 flounce of the richest Point 
 de France. It was the cus- 
 tom for the Papal Nuncio to 
 present to the new-born Dauphin Holy linen, a kind of layette which had been 
 blessed by the Pope. This was quite distinct from a christening suit, for the 
 
 Pope Pius VII., from a picture by Giuseppe Bazzoli. 
 The sleeve trimming of the alb is of fine Point 
 d'Angleterre. 
 
62 HISTORY OF HAND-MADE LACE. 
 
 shirts, handkerchiefs, and other necessaries, all trimmed elaborately with lace, were 
 in half-dozens. This custom is of very early origin. 
 
 'In all parts of Italy, and in Venice especially, a lace-trimmed cushion is used 
 for the child to lie upon when brought to be baptised, and on other occasions of 
 ceremony. When the parents are wealthy the costliest points are used for this 
 purpose, and children of the present day may be seen lying in a bower of finest 
 lace cambric with dainty ribbon bows. 
 
 Costly lace Another use which lace has been put to from remote ages is in the dressing 
 
 for the cloth- o f the dead. The first forms of lace work, before the evolution of actual lace, 
 dead were fr ee ty usg d by the ancients for winding-sheets and cere cloths. We allude 
 
 to cut-work combined with embroidery. 
 
 Besides the mummy wrappings of the ancient Egyptians, many of which are 
 ornamented with drawn thread work and other early forms of lace, other countries 
 have ussd the lace as a decoration for grave clothes. In the Ionian Islands 
 quantities of funeral lace have been found amongst the tombs ; not many years 
 ago the natives used to rifle these places of interment and take the booty for sale 
 to the towns. So profitable was the trade that a coarse lace was made, steeped in 
 coffee and blackened, that it might look as if it had once adorned the dead body 
 of a long buried Ionian. 
 
 At Monreale, near Palermo, the mummies in some of the catacombs of the 
 Capucini Convent are tricked out with lace. They are a gruesome spectacle, for 
 there are between five and six thousand of them hanging by their necks. 
 
 In the whole of the North of Europe lace-trimmed habits were used for 
 clothing the dead, and in Denmark there is a tomb which contains a body clothed 
 in priceless Point d'Angleterre and Mechlin lace. Mummies in Danish churches 
 are frequently decked out with costly laces of the period in which they lived. 
 
 In Spain it was the right of the nobility to be clad in the dress they wore in 
 life rather than the habit of some religious order, and much lace was consequently 
 used when the fashion for wearing cravats and ruffles prevailed. 
 
 When, to encourage the woollen manufactures, an Act was passed that the 
 dead should be buried in woollen shifts, a woman in London at once applied to 
 the King, in 1678, for the sole privilege of making woollen laces for the decent 
 burial of the dead. Amy Potter was this ingenious inventor, who desired to 
 profit by the lugubrious occasion. Her advertisement appears in the London 
 Gazette for August i2th, 1678: 
 
 " Whereas decent and fashionable laces, shifts, and dressings for the dead, 
 made of woollen, have been presented to His Majesty by Amy Potter, widow 
 (the first that put the making of such things in practice), and His Majesty well 
 liking the same hath, upon her humble petition, been graciously pleased to give 
 her leave to insert this advertisement, that it may be known she now wholly 
 applies herself in making both lace and plain of all sorts, at reasonable prices, 
 and lives in Crane Court, in the Old Change, near St. Paul's Churchyard." 
 
 The effigies of monarchs and celebrated persons displayed for public view 
 have always been decked with lace ; it will be remembered that the wax- works 
 preserved at Westminster Abbey are so decorated. 
 

FANS. 
 
 HE earliest known fan-leat entirely of lace Earliest fans, 
 was made in Flanders in the early half of 
 the seventeenth century, for the Duke of 
 Brabant. Before that time lace-trimmed 
 fans only were used, the leaf itself being 
 of silk taffeta or parchment upon which the lace was 
 gummed or sewn ; these are frequently to be seen 
 in contemporary pictures. 
 In the history of fans pictorial representation has to be much relied upon, for 
 from their frequent use and they formerly had much harder wear, if old records 
 are to be believed, than they have at the present day fans of earlier date than the 
 eighteenth century are rarely to be met with. Doubtless old broken sticks, 
 ragged fan leaves, and faded tassels which would now have been veritable treasures 
 were swept away as rubbish, as each successive fashion demanded a new mode. 
 
 As in the art of lace-making, so with regard to the invention of the fan, several 
 different countries claim to be the first. India, China and Japan all have legends 
 which claim to have reference to the poetic or accidental discovery of the use and 
 charm of this important weapon in female coquetry. 
 
 The fan, together with a parasol and fly-flap, is frequently mentioned in ancient The fan 
 Sanscrit poems, and was one of the Royal attributes of the gods and demi-gods of gf ed * s a 
 the Hindoo heaven. Others seem to have been the fore-runners of the graceful attribute. 
 
6 4 
 
 HISTORY OF HAND-MADE LACE. 
 
 Screen- 
 shaped fans 
 edged with 
 Point 
 d'Espagne 
 were used in 
 the i6th 
 and iyth 
 centuries. 
 
 A special 
 kind of fan 
 used only by 
 married 
 
 Portrait of Queen Elizabeth, in lace -trimmed coif, 
 ruff, and cuffs. She holds in her hand a fan 
 the only present a subject was in those days 
 permitted to give to the Sovereign. 
 
 folding lace leaves of a later date. Pheasant feathers were used in China for Royal 
 fans as early as two thousand years before Christ. 
 
 Feathers compose the fan with which that famous fashion leader, Queen 
 Elizabeth, is represented in one of her portraits ; this is, as far as we know, the 
 earliest English representation of a fan in English portraiture. The Chinese 
 folding fan, said to have been suggested by the folded wings of a bat, was not 
 introduced into Europe until the end of the sixteenth century, and the ladies of 
 Milan, Florence, Venice, and Padua, which were then the fashion leading cities 
 of the world, all wore feather fans, such as is shown in Elizabeth's portrait, with 
 or without a tiny mirror in the centre. 
 
 In Italy, Carpaccio painted many fans in detail in the sixteenth century, and 
 from his pictures we find that the famous Point d'Espagne gold and silver lace 
 was much used as edging to the screen-shaped fans of the period. The fan 
 itself was usually of silk brocade, stretched upon a frame, the lace enrichment, 
 in the form of a straight-edged insertion resembling that we now call galloon, being 
 used in strips and bands across the brocade as well as at the edges. 
 
 It is this type of lace-trimmed fan which is shown in the well-known painting 
 of " Titian's Daughter-in-law," in the Dresden gallery. It is a curious fact, 
 reminding one that there was much etiquette at this time in fan-wearing and 
 fan-using, and that such a lace-trimmed fan was worn only by married women. The 
 
LACE FANS. 
 
 only known specimen still in 
 existence is in a private collection 
 in France. The lace on this rare 
 curio is the Venetian Point of 
 the sixteenth century ; it forms 
 an edging to a cut open-work 
 piece of parchment stretched 
 upon a frame and supported by 
 a thick stick which forms the 
 handle. 
 
 In the time of Henry VIII. 
 in England, long-handled fans 
 for out-door use were employed 
 by both men and women. " The 
 gentlemen had prodigious fans, 
 and they had handles at least 
 half a yard long ; with these 
 their daughters were often-times 
 corrected." Fans were used by 
 the judges on circuit, possibly 
 to stir the hot, close air of the 
 court. More than one engraving 
 by Abraham Bosse shows a fan 
 
 Portrait of a Lady, with lace-trimmed folding 
 fan. She wears the lace-trimmed tabs of the 
 bodice and corsage trimming 1 of lace charac- 
 teristic of the period. By W. Hollar, 1639. 
 
 Portrait of a Woman, by Kembrandt, 
 1640. 
 
 wielded by a man. This famous depictor 
 of the manners and modes of the seven- 
 teenth century shows us many folding fans 
 trimmed with lace. Narrow bands of 
 insertion occur at the upper edge of the 
 mount and occasionally at intervals across 
 the lower part. 
 
 The parchment lace, as it was called Parchment 
 in England when silk, gold or silver ^fan- 
 thread was twisted over the thin strips of trimming, 
 cartisane or card board which formed the 
 main lines of the design, greatly enhanced 
 the value of the sixteenth and seventeenth 
 century fans ; and the prices sometimes 
 paid for them appear somewhat extrava- 
 gant, considering the difference in value of 
 money in those days ; the sticks of such 
 fans, however, were not infrequently 
 studded with precious stones. 1,200 
 crowns was given for a fan presented by 
 
 F 
 
66 
 
 HISTORY OF HAND-MADE LACE. 
 
 Fan-leaf of Needle-point Lace, made at the Presentation Convent, Youghal, Co. Cork. 
 Nineteenth century. 
 
 Queen Elizabeth to Queen Louise of Lorraine; one of Queen Elizabeth's fans was 
 valued at ^"400. It was this Queen who decreed that a fan was the only present 
 which a subject could give to the sovereign, and we believe that the old law still 
 holds good. In reading the general history of each fine variety of lace, a knowledge 
 is gained of fan-lace history, for it has no separate story with regard to its 
 construction. 
 
 The designs in lace fans have always varied according to the prevailing fashion 
 of the day since the seventeenth century, when lace was first used for the purpose 
 of making whole lace fans. Renaissance arabesques and richness of workmanship 
 distinguished the early eighteenth century specimens, and the firm yet delicate 
 laces such as Rosaline Point and Burano laces of the period were especially 
 suitable for the purpose, which demanded lightness combined with strength. 
 
 When medallions appeared in furniture, wall decoration, and the designs for 
 brocades, they were adopted by lace fan designers with enthusiasm. To Boucher 
 and Watteau many painted fans have been attributed, perhaps more specimens 
 than ever left the masters' studios ; be this as it may, painted fans are seldom 
 signed. The graceful medallion mode was specially successful when applied to lace 
 designing, and it is still largely used in the Duchesse lace, which frequently shows 
 medallions of exquisitely fine work ; delicate sprays of needle-point are worked on to 
 the vrai reseau or fine needle-point net ground, such medallions showing up with 
 excellent effect amongst the bobbin-made sprays of the main fabric. 
 
 English Point d'Angleterre also shows frequent examples of the medallion 
 period in the designs, open work fillings being frequently used to lighten large 
 closely sewn surfaces. This style is well seen in the fan belonging to the Empress 
 Eugenie. 
 
LACE FANS. 
 
 67 
 
 Lace of Fan-leaf Italian design, made at Seaton, South Devon, under the direction of 
 Miss Audrey Trevelyan. Late nineteenth century. 
 
 Lace has occasionally been used in conjunction with painting in fan-decoration ; 
 a gauze medallion being laid into a frame-work of lace, and the plain fabric painted 
 with a cupid, a garland of flowers, or some other graceful design after the Boucher 
 method. 
 
 Applique laces of various descriptions have been much used for fan-leaves. A 
 transient fancy demanded white or cream modes on black machine-made net or 
 chiffon ; the effect was certainly light and graceful, but lovers of the fine hand- 
 made lace would doubtless prefer so dainty a toy as a fan to be entirely composed 
 of hand work. The graceful effect of the old brides ornees, characteristic of the 
 now extinct Argentan factory, are none too delicate for the groundwork of a fan, 
 nor is the laborous hand-made net of Burano over-fine for the leaf which is to waft 
 soft zephyrs to Beauty's" cheek. 
 
 Modern hand-made lace leaves are frequently mounted on antique sticks with 
 excellent effect, for the evolution of the artistic fan stick had reached a point in 
 the reign of Louis XV. which has never since been equalled. Wood, ivory, gold, 
 silver, tortoiseshell and lacquer were used, besides precious stones, pearls and hand- 
 carved metals ; no time or expense was spared in their enrichment. The fragile 
 leaf of the period, which was generally of carefully prepared vellum called chicken 
 skin (a somewhat misleading name, as it is not the skin of chicken), has generally 
 perished long before the more substantial sticks, so that with a fine modern lace 
 fan leaf the antique supports are, as it were, given a new lease of life. 
 
 Enormous quantities of fans were made in the eighteenth century, for the 
 beauties of that period were never without a fan indoors or out, winter or summer ; 
 
 F 2 
 
 A lace frame 
 with gauze 
 medallions. 
 
 Antique 
 sticks used 
 with modern 
 lace leaves. 
 
68 
 
 HISTORY OF HAND-MADE LACE. 
 
 and the present restricted use of the fan in England to the gentler sex, and, 
 generally speaking, to the social hours in the evening, is of comparatively recent 
 date. In countries such as Japan, the fan is not an article of luxury but one of 
 daily domestic use ; not only does the peasant woman fan herself as she goes about 
 her household tasks, but the peasant labourer carries his fan in one hand while he 
 wields his hoe with the other, and the shopkeeper fans himself as he serves his 
 customers. But with such fans of general utility we have nothing to do, for lace 
 fans have always been articles of luxury. There are no peasant laces used for such 
 a purpose : only the finest and best of hand-made lace is usually selected as suitable 
 for the fan-leaf. 
 
 Lace Fan-Leaf in white net ground and black silk pattern, worked at the School of Art, Cork. 
 
 Nineteenth century. 
 
PEASANT LACES. 
 
 study of the peasant laces ot 
 Europe forms a most interesting 
 contradiction to the old saying that 
 " Fashion wears out more than 
 women do," for in the lace caps, 
 fichus and aprons of the agri- 
 cultural classes there is evidence of the most 
 intense conservatism, which in many cases 
 enables us to see exactly what was worn by 
 women and girls of the same district hundreds 
 of years ago. 
 
 Lace has, since the sixteenth century, formed 
 
 an essential part of the costume of the Normandy peasants ; the bourgoin the most 
 elaborate of the peasant caps, being frequently handed down from generation to 
 generation. It is formed of a stiff buckram shape covered with starched 
 muslin, which is frequently embroidered ; this part of the head-dress is a relic 
 of the ancient horns or cornettes of the fourteenth and fifteenth centuries ; 
 at the apex of the erection is pleated muslin or cambric, edged with rich [lace; 
 long lappets of the same flow behind, far below the waist of the wearer. The 
 lace used was at one time the bone or bobbin lace made in the district. Later, 
 as the designs and methods improved, so the lace ornamenting the caps of 
 the peasants became richer, for a woman prided herself on the fineness of her 
 lappets, and time was not thought to be ill-spent in fabricating the many yards 
 
 Peasant 
 women pride 
 themselves 
 on the fine- 
 ness of their 
 lace lappets. 
 
HISTORY OF HAND-MADE LACE. 
 
 The native 
 village of the 
 wearer is 
 shown by the 
 shape of her 
 cap. 
 
 which would show the skill and worldly prosperity of the family, in which the 
 lace would be an heirloom for many generations. The peasant lace of 
 Normandy was finest in the eighteenth century, when from Arras to St. Malo 
 more than thirty centres of manufacture were established, and the peasant 
 women of the whole district were engaged in the industry. 
 
 Dentelle de la Vierge is the pattern most used by the peasants in the trimming 
 of their caps. It is made with rather an elaborate ground on the pillow, with 
 bobbins ; it has a double ground, while a simple seme pattern takes the place of 
 a more intricate design. The edge is straight, and the width usually varies from 
 2| to 7 inches. 
 
 The laces of Havre were declared by Corneille in 1707 to be " tres recherche," 
 and in an inventory of the household effects of Colbert, Points du Havre appear 
 as trimmings on his bed-linen. In Normandy there are almost as many different 
 shaped caps and different modes of wearing the 
 peasant laces as there are villages ; for though 
 their elaboration is gradually modified (and within 
 the last half-century the changes have been more 
 than in the two . centuries before), yet still the 
 
 shapes of the caps are most quaint and effec- 
 tive, and . each villager is proud to show the 
 
 district of her birth by the shape of her cap. 
 
 The fan-like, lace-trimmed halo of the Boulogne 
 
 fisher-girl is familiar to many, and the peasant 
 
 of Walmegnier wears similar headgear. The 
 
 Bretagne caps are, as a rule, profusely trimmed with 
 
 lace, while in some of the districts are still to 
 
 be seen the frilled skirts turned over the heads 
 
 and shoulders of the wearer, like those worn at 
 
 Chioggia. The effect is quaint and not altogether 
 
 graceful, though there is something fascinating 
 
 about the full flounce, or sometimes fringed edge 
 
 of the skirt, as it droops over the face. "As can be 
 
 imagined, this custom gives ample opportunity for the 
 
 wearing of pretty petticoats, and the coquettish peasant-girls are not slow to avail 
 
 themselves of the occasion for the display of pink, blue or crimson under-skirts. 
 The peasant woman of the He de France wears a lace-trimmed fichu besides 
 
 the flat close-fitting cap with enormous cambric lappets looped up at the ears. 
 
 Huge, too, are the lace and cambric ear-pieces to the caps of the peasant-girls 
 
 of Wallen (Val d'Hereno), Switzerland. A flat, saucer-like straw hat is worn on 
 
 the top of the head, so that it is only underneath the hat, close to the sides of 
 
 the head, that there is any chance of displaying elaboration in the cap. The 
 
 rest of the dress of the Wallen peasant consists of a short, coloured skirt, and a 
 
 zouave jacket with sleeves. This opens to show a white muslin chemisette 
 
 which is occasionally embroidered in white ; there is also a large and full white 
 
 apron reaching nearly to the bottom of the dress. 
 
 Cap of a Domestic Servant at 
 Caen, in the eighteenth 
 century. 
 
PEASANT LACES. 71 
 
 The dress of the men at the same place reminds one of the ordinary garments 
 of the well-to-do citizen of the eighteenth century, with the three-cornered felt 
 hat, long waistcoat embroidered in coloured silks, and full-skirted coat. 
 
 Most of the caps in Southern France, together with those of Germany and 
 Austria, are formed of printed cotton, velvet, or silk kerchief; while embroidery of 
 an elaborate description of brightest coloured silks takes the place of the dainty 
 muslin lace and embroidered cambric with which we chiefly have to do. 
 
 In Germany the hair is displayed to great advantage, and long plaits, fre- 
 quently reaching far below the waist, form a very pretty feature in the peasant's 
 costume. These plaits are sometimes tied at the ends with bright multi-coloured 
 ribbons, the most garish and brilliant tints being mingled so that the flowers in 
 the pattern of the ribbon should appear. 
 
 Rouen Children in Lace-trimmed Caps. 
 
 In Switzerland also the young unmarried women wear their hair plaited, The 
 but not coiled round the head in most districts. At the Apen-zell (St. Gallon) the Jf *i" 8 Sr "* 
 costume is most elaborate ; the short skirt of printed cotton in bright colours is indicates the 
 very full ; the apron of different patterns, but also coloured, is tied on with bright 
 ribbons; the stockings are of black or dark brown; the shoes, without heels, 
 resembling the Italian pianellas, are white, with white heels. The chemisette 
 is of white, with elbow sleeves, and the cap black wired net, or lace, which stands 
 out from the head like a halo. The dark bodice is laced across the chemisette with 
 coloured ribbons. 
 
 Kerchiefs are the head-coverings of the Bulgarian peasant, who twists the 
 simple bright-tinted square most deftly, so that it becomes a well-fitting and 
 becoming cap. The rest of the Bulgarian dress consists of a very narrow striped 
 skirt, the effect of the horizontal lines of colour in the material still further 
 
HISTORY OF HAND-MADE LACE. 
 
 In Holland 
 the lace caps 
 are -worn 
 over metal 
 plates. 
 
 Lace -trimmed Cap of the 
 Peasants in the neigh- 
 bourhood of Coutances, 
 France. 
 
 emphasising its want of width. A zouave in scarlet 
 or black, with loose elbow sleeves, opens over a white 
 chemisette. 
 
 In Portugal the peasants also use kerchiefs on 
 their heads, wearing a broad-brimmed straw hat 
 over for shade. Their skirts are very wide, but not 
 accordian pleated ; the feet often bare. Sometimes 
 white muslin or lace takes the place of the head- 
 kerchief. 
 
 In Spain the skirts are also short, and often 
 flounced with two or three deep volants of rich, 
 black lace. The lace head-covering, or mantilla, is 
 a distinctive feature of the costume, and, though in 
 the eighteenth century it was almost universally worn 
 by high and low, it was sometimes replaced by a 
 kerchief on the head in the case of the very poor. 
 The kerchief flourishes in Denmark, Sweden, and 
 Jutland, where it is sometimes tied in the most pictur- 
 esquewe had almost said grotesque manner; while 
 
 the severe handicap for even the prettiest face in the unbecoming old beaver 
 " topper " of Ringkjobing and Wales makes us wonder at the eccentricities of 
 personal adornment. 
 
 Perhaps the daintiest and most effective of the peasant lace headgear is that 
 of the Dutch woman, not only on account of the fine lace used, but also because of 
 the unique method of showing it off. Surely the inventor of the curious ear-plates 
 of metal, or rather metallic skull caps, had a fine sense of what is quaint and 
 effective, besides a subtle knowledge of the joy in showing one's family wealth in 
 lace and bullion at the same time. Certainly no more picturesque sight is to be 
 seen than a dozen nodding lace-covered " oorijzers " on the heads of the women as 
 they sail lazily down one of the waterways of Holland on their way to the 
 Haarlem, Utrecht, or Delft markets. 
 
 The great drawback to this delightful headgear is the ignoring of the fact that 
 women are usually supplied with hair ; no room is there for such head-covering 
 beneath the metal " oorijzer," and doubtless the close-fitting cap is extremely bad 
 for the growth of the hair, for a tiny knob no bigger than a walnut is usually seen 
 at the back beneath the folds of lace. 
 
 The other variety of Dutch cap with which 
 most of us are familiar, from the portraits of 
 the young Queen of Holland, who selected this 
 type when photographed in the national costume, 
 is that which has large gold or silver bosses 
 
 on either side of the face, to secure the dainty 
 
 IO/^Q -^ ^-V,^ u~~j riii r -11 r ^1 MI A.ve Maria Lace. A simple 
 
 lace to the head, a little frill ot the pillow- bobbin lace much made by 
 
 made fabric depending from the close-fitting cao the P easants near Dieppe, 
 
 j r ,, , i , and used for edging their 
 
 and tailing over the hair behind. cambric and lawn cap-strings. 
 
PEASANT LACES. 73 
 
 The subject of peasant jewellery is in itself a large and interesting one, 
 which would fill many pages, but one or two fine examples may be mentioned 
 here, for it is impossible to entirely ignore so important an adjunct, which 
 frequently adorns the lace cap, tippet, or apron. 
 
 The enormous-headed pin, frequently enriched with secondary gems, such as 
 the Dresden garnets, are seen in wear at Unterwalden. The hair is usually 
 frizzed in front, no cap is worn, and the pin is stuck through the hair, which is 
 dressed low, so that the jewelled ornament shows near the nape of the neck. The 
 sleeves are of white muslin, caught at the elbows with more jewelled filigree work, 
 and silver filigree chains and buttons ornament the front of the bodice. A skirt 
 in parallel bars is worn with an apron with horizontal stripes, and black silk lace 
 mittens, reaching from elbow to wrist only, complete this most elaborate gala 
 costume. 
 
 The embroidered net fichu worn by the peasant of Ariege is a very dainty 
 affair ; the whole dress is most elaborate, but with its red cloth skirt, black silk apron, 
 black bodice, and kerchief of white, with red cross-stitch embroidery, over which 
 is worn the embroidered net, the whole finished off with a tiny, red cloth cap, does 
 not include elaborate lace trimming, though one of the most effective surviving. 
 
 Very small, too, is the cap worn by the peasants at Berne ; it is of black velvet, 
 and is merely the foundation for a dainty bunch of artificial flowers ; elaborate 
 ribbon strings simulate the fastening-on of this tiny headgear, but in reality hang 
 down behind. A short-waisted bodice with long, tightly-fitting sleeve, is worn with 
 this cap, and an embroidered vest is laced across with coloured ribbons. The skirt 
 is very full and short, the folds being accordian-pleated ; the apron also has 
 many folds. White stockings are worn and black silk garters richly fringed ; 
 embroidered ribbons tie the ends of the long plaits of hair which hang down 
 behind. 
 
 At Basle also is worn an accordian-pleated skirt in bright colours with which 
 the full black apron contrasts well ; a white kerchief is folded across the breast, and 
 there are white elbow sleeves. A tiny cap is worn, varying in shape according to 
 whether the wearer is married or unmarried ; on this depends also the wearing of 
 the hair in plaits hanging down or closely coiled about the head. 
 
 Black lace is much used on the dress worn by the peasants around Lucerne ; a Black lace is 
 
 black flower ornaments the flowered cap, which is small and round ; a coloured worn b / e 
 i u peasants at 
 
 kerchief is worn round the neck, a shot silk cr bright-coloured bodice with Lucerne. 
 
 embroidered ribbons suspending jewel ornaments. A jewelled girdle is sometimes 
 worn hanging over the accordian-pleated apron, and the petticoats are very short, 
 showing red stockings and black high-heeled shoes. 
 
 At Como and in the districts of Northern Italy many jewelled pins are worn, 
 stuck into a velvet knob so that they radiate round the head like a halo ; the rest of 
 the dress consists of a short, brightly coloured skirt, generally of crimson or green ; 
 a black or blue apron, lace kerchief, and heelless shoes with red tips, together with 
 white or red stockings. 
 
 The graceful dress worn by the peasant women in and near Rome is perhaps 
 better known than any other, through its frequent representation by artists ; the 
 
74 
 
 HISTORY OF HAND-MADE LACE. 
 
 folded cloth of white linen, sometimes handsomely fringed or decorated with lace, is 
 a most distinctive feature. Large gold earrings are worn, and a white chemisette 
 with full elbow sleeves is seen under a short sleeveless corslet which is often 
 embroidered with coloured galoon and laced across with coloured ribbon. A long 
 narrow apron of thick material is usually worn with a short, full, coloured skirt. 
 White stockings with pianellas usually complete the toilette of the picturesque 
 Roman girl. 
 
 In other parts of Italy the kerchief is worn on the head with graceful effect. 
 
 In Russia the head-gear of the peasant is most distinctive, being made of a 
 high, stiff, funnel-shaped crown of black or coloured material, which is sometimes 
 fur-trimmed. A long coat or pelisse is the outer covering of both men and women 
 
 Lace-trimmed Caps worn by the Peasants in the 
 Environs of Eouen. 
 
 Elaborate 
 lace-trimmed 
 caps are 
 worn in 
 Dalmatia. 
 
 in Russia ; and though peasant jewels are worn, and silver coins and charms are 
 seen on the bodices, the necessary wrapping-up and thickness of the materials 
 prevent the picturesque effect which is so strongly marked in the dresses of 
 the peasant inhabitants of less rigorous climates. 
 
 The hat worn by the Bourgognes is much trimmed with the bobbin lace made in 
 the district ; it is of velvet, lace surmounting the crown and being laid flat on 
 the brim ; lace lappets depend on either side, and a lace-trimmed cambric cap 
 is worn beneath this elaborate structure. 
 
 The Dalmatian cap is also lace-trimmed, though not actually fashioned of lace ; 
 it is of red cloth, in the shape of a small turban ; there is no embroidery on the 
 cloth, but elaborate trimmings of ribbon and lace are used. 
 
PEASANT LACES. 75 
 
 The Silesians huge headgear somewhat resembles that worn by the peasants Stiffened lace 
 of Dalecarlia, in that the lace is used as a protection against the sun. Over a white *? r "J s f sun ' 
 cap a close-fitting velvet one is worn, and upon this is fixed the stiffened lace Silesia, 
 which forms a kind of sun-shade or awning. 
 
 Little lace of any importance has ever been made in Sweden, except that 
 which is executed by the peasants for their own use. The thread used is coarse, 
 and the work is done on a pillow with unusually large-sized bobbins. The 
 patterns are those in vogue two centuries ago, and are of the stiff geometrical type. 
 Lace is only worn by married women on the caps and fichus, and is so starched 
 that it stands erect, or can be bent slightly as a protection from the sun. This 
 lace is seldom washed, the starching process only being repeated when more 
 stiffening is required ; the rich coffee tint is considered a great beauty as showing 
 the great age and the durability of the fabric, which latter quality is, in fact, 
 extraordinary. 
 
 Besides the lace made by the Dalecarlian women for personal adornment, there 
 is much plaiting of threads done for the ornamentation of their household linen. 
 This resembles the old Genoese Macrame, and the modern fabric of that type ; some- 
 times the ends of the threads are left hanging loose to form a kind of fringe ; some- 
 times they are knotted up and cut off, so that the resemblance to ordinary lace is 
 closer. 
 
 Holesom, or cut- work, was much made in Sweden in the cottages of the peasants, 
 but though large quantities were executed, little ever came into the market, as the 
 peasants preferred to have their own handsome stock of house linen rather than the 
 money such labour would fetch. 
 
 In Germany much handsome pillow-made lace, cut-work, and drawn thread The house' 
 work is also used by the peasants in ornamenting their household linen. The old hold linen 
 Flemish grounds are the favourites for the laces on account of their solidity ; such German 
 lace-trimmed linen would be held as heirlooms through successive generations. Since peasants 
 the fine ground of Lille and Mechlin came in, the lace has been much less durable, and wit jj j ace< 
 the peasants have, therefore, practically discontinued making it for their own use. 
 
 In Greece, little lace is worn on the caps of the peasants, but both gold and 
 silver gimp lace is made for ornamenting the bodices ; this is of twisted threads of 
 cotton covered with the metal, and is usually worn sewn down the seams of the coats 
 and bodices of the men and women. Sometimes this lace is of bright-coloured silk, 
 instead of the gold and silver, and is equally effective. 
 
 Bisette lace was a favourite one with the peasants in the neighbourhood of 
 Paris, especially during the seventeenth century ; it was made of coarse and loosely- 
 twisted thread, usually unbleached, and of narrow width ; yards of it were employed 
 in the trimming of the elaborate caps. This thread-made Bisette is quite distinct 
 from the gold and silver lace of the same name, which was sometimes further 
 ornamented with thin plates of metal. 
 
CHAPTER IX. 
 
 THE TRANSPORT OF LACE. 
 
 ORMERLY the lace trade was entirely in the hands of 
 pedlars, who carried their wares in packs to the principal 
 towns in Europe, and to the large country houses, where 
 experience had taught them there was a likelihood of ready 
 sale. This lasted until the middle of the seventeenth 
 
 Lace sold by itf . century. Laces were sold by pedlars in England in the time of 
 
 Pedlars. Henry VIII. In a play written in 1544, by one John Heywood, 
 
 the contents of a pedlar's box are enumerated: "Laces knotted, 
 laces round and flat for women's heads, sleeve laces." In *' Fool 
 of Quality," written in 1766, "silk, linen, laces" are found in the 
 box of a murdered pedlar. The custom of carrying lace round from 
 T--MU house to house still survives in the cheap machine-made varieties 
 found in the baskets of pedlars of the present day, and in the boot- 
 laces, stay-laces, braids, and tapes which are also carried; this 
 branch of the lace trade having more intimate connection with 
 needle-point and pillow laces in remote times than it has at present, 
 when the tendency towards specializing is shown in every trade. In the counties 
 of Buckingham and Bedford, and in some parts of Devonshire, the lace box is. 
 often carried from house to house still, and at the country inns and hotels it 
 often makes its appearance at the end of a meal ; the waiter carrying round 
 the wares, or allowing the women, who frequently make as well as sell the lace, 
 admittance to the room. 
 
 This custom is also permitted in some parts of Belgium. At Spa the system of 
 colporteurs, which dates back to remote times in Greek history, still survives, and 
 early travellers in the country make frequent mention of lace purchasing in 
 their diaries. King Christian IX. of Denmark made many purchases of lace while 
 
Portrait of Marie Antoinette (1755-1793) from the picture by Mme. Vigee 
 Lebrun at the Musee at Versailles. Photograph by Neurdein. Blonde 
 lace trims the corsage and skirt. 
 
THE TRANSPORT OF LACE. 77 
 
 travelling in Schleswig, entries such as the following constantly appearing in his 
 journal from 1609 to 1625 : " Paid to a female lace- worker 28 rixdollars, to a 
 lace-seller for lace for the use of the children." In a letter to his chamberlain he 
 specially mentions a recent purchase, and orders in an autograph letter that out of 
 a piece of Tonder lace four collars of the same size and after the manner of Prince 
 Ulrik's Spanish, must be cut ; and they must contrive also to get two pairs of 
 manchettes out of the same. Alas ! that dressmakers' troubles had already begun 
 at this early date. 
 
 In 1647 there was a great lace-making epoch in Jutland, and the fabric was made "Lace post- 
 by men and women of the upper as well as the lower classes. The lace was entirely JP en " in 
 sold by "lace postmen," as they were called, who carried their wares throughout 
 Scandinavia and parts of Germany ; this service, as its name implies, was 
 carried on with considerable method and regularity, and was not the casual 
 porterage of independent itinerants, but a business organised by the body of lace- 
 makers it served. 
 
 The great lace dealer, Mr. Jens Wulff, Knight of the Danebrog, who did 
 much for the lace industry of Denmark, is thus spoken of in his son's book : " He 
 began the lace trade at the end of the last century, and first went on foot with his 
 wares to Mecklenburg, Prussia and Hanover ; from thence the lace was consigned 
 to all parts of the world. Soon he could afford to buy a horse, and in his old 
 age he calculated he had travelled on horseback more than 75,000 English miles, 
 or thrice round the earth." 
 
 In the reign of Elizabeth, in England, lace began to find its way into general 
 shops and stores all over the country, for its purchase was no longer confined to the 
 court and high nobility to whom it was brought by lace merchants. In the shop 
 list of John Johnston, merchant of Darlington, for instance, mention is made of 
 "loom" lace, black silk lace, and "statute" lace, together with such articles as 
 pepper, books, and sugar candy. Amongst the articles for sale at John Forbeck's 
 shop at Durham there are " velvet lace, coloured silk chagne lace, petticoat 
 lace, Venys gold," and " terpentine." 
 
 At the mercers' shops in large towns lace was to be purchased, but as the Lace bartered 
 itinerant sellers in neighbourhoods where lace-making was carried on were always to a * fairs. 
 be found content with a smaller profit on their wares, many continued to buy from 
 them long after lace was to be had elsewhere. Lace was sold at fairs this was 
 especially the case when the fabric was the result of work done by the cottagers in 
 their own homes. At the fairs and on market days much selling and bartering 
 of lace was done. 
 
 Frequently special orders were given to the lace-makers who carried out the 
 designs required by their patrons. A lady who desired lace would go to a 
 cottage and arrange with the worker for the execution of her order ; this 
 ideal, but necessarily restricted, method was adopted all over England wherever 
 practicable. 
 
 In Italy, as a rule, at the present day, the agents of the large firms go to a Agents 
 
 central point in a lace district at certain times of the year and collect the lace collect the 
 
 , i < i L i ace ln Italy. 
 
 produce of the peasants, it being always understood that the fabric must reach a 
 
78 HISTORY OF HAND-MADE LACE. 
 
 certain standard of excellence, or it will be rejected. All lace imperfectly made or 
 soiled is rejected by firms whose reputation is an important matter to them. 
 But the inferior laces are, of course, not wasted ; other merchants buy such 
 goods, send them, as a rule, to spas and watering places where people congregate 
 who have more money than discrimination, and a ready sale is found for them. 
 The barter for such goods is generally cotton or linen material for working, orders 
 for polenta and other food stuffs, rather than coin. This system, which gives rise 
 to much cheating, is still flourishing in some remote villages in Devonshire, "truck," 
 or payment in kind, being given to the workers instead of money. 
 
 Sometimes the thread is given out by foremen to the workers in a certain 
 district, and an account must be made of the amount received ; thus, if one pound 
 of flax thread be received, half a pound of lace must be handed over, as about half 
 is allowed for waste. 
 
 The history of smuggling in connection with lace is a large subject, for the 
 unlawful passing and "running" of lace has always had an intimate connection 
 with the history of lace in any country in which it has been made ; innumerable are 
 the stories of how stringent laws for the protection of the home lace industry have 
 been cleverly evaded. 
 
 Perhaps the most systematic smuggling, and that of the most ingenious order, 
 was carried on between France and Belgium in the beginning of the nineteenth 
 century, when France was using much Belgian lace. Dogs were trained to serve the 
 smugglers' purpose. In France the animal was fed well, petted, caressed, and 
 made extremely happy ; then after a time he was taken across the frontier into 
 Belgium, where he was starved and otherwise ill-treated. After a short time of 
 wretchedness, the skin of a larger dog was fitted to his body, the intervening 
 space filled with lace and sewn up, and the dog allowed to escape. He naturally 
 made direct for the old home across the frontier in France where he had been so 
 kindly treated, and was soon relieved of his contraband. The enormous extent 
 of this traffic will be judged by the fact that between 1820 and 1836 many hundreds 
 of such smuggler dogs were destroyed, a reward of three francs for each being 
 given by the French Custom House when they at last got wind of this ingenious 
 device for evading the duties. 
 
 In the eighteenth century many people lost their lives in the risky trade of 
 lace smuggling. Though foreign laces were prohibited in England the Court ladies 
 persisted in wearing them, and if they could not succeed in smuggling them 
 themselves, they got others to do so. After 1751 extraordinary severity and 
 surveillance seem to have been resorted to in order to put a stop to the unlawful 
 importation of lace; a writer ot this period remarks that "not a female within 
 ten miles of a sea-port that was in possession of a Mechlin lace cap or pinner, 
 but her title to it was examined." Lord Chesterfield writes to his son in 1751, 
 " Bring only two or three of your lace shirts, and the rest plain ones." It was 
 no uncommon thing for the milliners' and tailors' shops to be raided by the 
 Revenue officers ; and on such an occasion whatever articles of foreign 
 manufacture were found were confiscated. 
 
 George III. ordered all the dress materials worn on the occasion of the 
 
THE TRANSPORT OF LACE. 
 
 79 
 
 marriage of his sister, the Princess Augusta, to the Duke of Brunswick, to be of 
 English make. The guests and attendants took not the slightest notice of the 
 King's wishes, but gave their orders freely for prohibited stuffs, which they knew 
 would be forthcoming if the prices paid were high enough. Three days before the 
 wedding the Customs officers visited the court milliners of the day and carried 
 off all the foreign cloths, gold, silver and lace. In the same year, a seizure of 
 contraband French lace, weighing 100 lb., "was burnt at Mr. Coxe's, conformably Contraband 
 
 to the Act of Parliament." Women were arrested with L ace as 
 
 r burnt, 
 
 pies containing valuable foreign laces ; a Turk's 
 
 turban containing stuffing worth /"go in lace was 
 seized. The journals of 1764 are full of accounts of 
 seizures by the Customs for contraband transport of 
 lace. 
 
 High and low took to smuggling. A gentleman 
 of the Spanish Embassy had thirty-six dozen shirts, 
 with fine Dresden ruffles and jabots, together with 
 much lace for ladies' wear, taken from him. A body Lace was 
 
 to be conveyed from the Low Countries for interment sn j"8:gled in 
 
 11 r i cotiins, 
 
 in England was found to have disappeared with 
 
 the exception of the head, hands, and feet ; the body 
 had been replaced by Flanders lace of immense value. 
 So common was the trick of smuggling in coffins that 
 when forty years later the body of the Duke of 
 Devonshire was brought over for burial, the officers 
 not only opened and searched the coffin, but poked the 
 body with sticks to see that it was not a bundle of 
 lace. It is said that the High Sheriff of Westminster 
 successfully " ran " 6,000 worth of French lace in 
 the coffin of Bishop Atterbury, who was arraigned 
 for Jacobite intrigue when Bishop of Rochester, and 
 who died in exile in Paris in 1731. 
 
 The spies of the Custom House were everywhere. 
 Mrs. Bury Palliser relates that at a dinner party in 
 
 Brussels early in this century a lady, the wife of a Member of Parliament for one 
 of the Cinque Ports, told the gentleman sitting next to her that she dreaded the 
 seizure by the Revenue Officers of a very beautiful Brussels veil in her 
 possession. The gentleman at once offered to take charge of it for her " as he 
 was a bachelor, and no one would suspect him." The lady accepted the offer 
 aloud, for she saw one of the waiters listening to the conversation ; she at once 
 guessed he was a spy, and sewing the veil in her husband's waistcoat, succeeded 
 in getting it safely to London. Her partner at dinner, crossing two days later, was 
 subjected to the most rigorous search. 
 
 All this proves that the people who desire to wear lace will have it whatever 
 the laws, and however active may be the spies and Revenue Officers ; free trade 
 principles alone can put a stop to smuggling. 
 
 One of the Fashion Puppets, 
 3 feet in height, such as 
 were dressed in Paris and 
 sent to all the capitals of 
 Europe to display the 
 modes of the day. From 
 the Correo Museum, Venice. 
 
8o 
 
 HISTORY OF HAND-MADE LACE. 
 
 Fashion 
 puppets 
 dressed in 
 lace. 
 
 Special per' 
 mission was 
 given for 
 the entry of 
 fashion dolls 
 to our ports 
 in war time. 
 
 In writing about the transport of lace, mention must be made of puppets or 
 dolls which were dressed with lace in order to show the fashions of the seventeenth 
 and eighteenth centuries. The word puppet is derived from poupee, a baby or 
 doll. The figure used instead of the modern fashion magazine was usually below 
 life size, made like the puppets or fantoccini used in the plays. In 1721, Le Sage 
 wrote a play for puppets. The well-known puppet show scene in " Don Quixote " 
 will be remembered. The marionettes were constructed of wood and pasteboard, 
 with faces of composition, sometimes of wax. In the puppet for dancing purposes 
 each figure was suspended with threads to a bar held in the hand of a hidden 
 performer, who posed and gave action to the figures with the other hand. 
 
 In the eighteenth century, Flockton's show presented no fewer than five 
 thousand figures at work at various trades. At country fairs puppets were used 
 for depicting historical scenes, such as " The Crossing of the Alps by Napoleon " ; 
 these dolls were sometimes moved by clockwork. 
 
 A few years ago, an elaborate model was made of a staircase in the Doge's 
 Palace in Venice ; every detail of architecture and decoration was accurately 
 carried out, the whole being made to scale. On the staircase were no fewer 
 than one hundred figures represented in the correct costume of the time, which 
 included the most elaborate laces, all of the real kinds used at the period. The 
 scene represented was the execution of the Doge Marino Falieri. The executioner 
 was there, the officers in accurately-made uniforms, even the spectators in the 
 costly lace and brocade dresses of the time. 
 
 The puppets used for the display of fashions in lace were of the same make and 
 description. The custom of dressing up lay figures in the modes of the moment 
 commenced in Paris, where, in the reign of Louis XIV., one called La Grande 
 Pandore was exhibited in the court dress of the period, or in some fashion 
 conformable with grande tenue. This dress was changed with each change 
 of fashion, just as the life-size puppets in the shop windows of the present 
 day show off the latest creations from Paris and elsewhere. A second doll, smaller 
 in size, called La Petite Pandore, was exhibited at the Hotel Rambouillet clothed 
 in morning deshabille, this word meaning the less ornate garments fashionable 
 for morning and home wear, and by no means indicating the careless and 
 slovenly character of loose dress which the word deshabille has in modern times 
 come to mean. 
 
 When a fresh fashion came in, the last poupee was sent off to Vienna, 
 Italy, England and other countries where people were as desirous as now of 
 knowing the latest Paris fashions. So important was the matter considered in 
 England, that when British ports were closed in war time, special permission 
 was given for the entry of the " Grands Courriers de la Mode." These dolls 
 were dressed with the finest laces France and Italy could produce. As late as 
 1764, it is said "there has been disembarked at Dover a great number of 
 dolls, life-size, dressed in the Paris fashions in order that the ladies of quality can 
 regulate their taste on the models." 
 
 The custom dates back much earlier than the reign of Louis XIV. M. Ladouise 
 
THE TRANSPORT OF LACE. Si 
 
 of Paris, in 1391, makes entries for expenses connected with sending a fashion 
 doll to the Queen of England. In 1496, one is sent to the Queen of Spain ; in 1571, 
 a third is sent to the Duchess of Bavaria. In Miss Frier's " Henri IV." we are told 
 the King writes in 1600, before his marriage to Maria de' Medicis : "Frontenac 
 tells me that you desire patterns of our fashion in dress. I send you therefore some 
 model dolls." 
 
 It was the custom to expose such puppets for public view at fairs; in Venice, at 
 the annual fair held in the Piazza, of St. Mark on Ascension Day, a doll was always 
 shown whose dress and laces served as a model for the fashions of the year. 
 This was kept later in a shop on the Ponte dei Bareteri, which is to be seen at 
 the present day; it was called La Poupa di Franza, and was placed in the window so 
 that all might model their garments on the fashions shown by the puppet of the 
 moment. 
 
 In his picture of Paris, Mercier mentions the puppet of the Rue Saint Honore. 
 " It is from Paris that the most important inventions in fashion give the law to the 
 universe. The famous doll, that precious puppet, shows the latest modes. One 
 passes from Paris to London every month and goes from there to expand grace to 
 all the Empire. It goes North and South, it penetrates to Constantinople and to 
 St. Petersburg, and the pleat which has been made by a French hand is repeated 
 by every nation who is a humble observer of the taste of the Rue St. Honore." 
 
 Bobbin Lace, 5J inches wide, showing transition 
 stage of the Scallops between Pointed and 
 Straight which began to take place in the 
 seventeenth century. 
 
Keep your 
 lace dry and 
 warm. 
 
 CHAPTER X. 
 
 THE CARE OF LACE. 
 
 INE needle-point and bobbin lace should be kept 
 in a warm, dry atmosphere. Much old lace has 
 been damaged by being locked away in cold, 
 damp sacristies in the cathedrals and churches, 
 where hoards of ecclesiastical lace accumulated 
 in the days when the finest specimens of Spanish 
 point, laboriously-made Valenciennes, Mechlin, 
 Brussels, and Italian laces were all made for 
 Church use. A species of mould attacks lace, 
 especially black lace, if 
 kept without air ; this 
 mould is, in reality, a living 
 parasite, which grows, feeding 
 on damp, as the mould in a 
 damp preserve closet or apple- 
 room will form and grow. If laces are not used they 
 should be taken out of their drawer, shaken, and 
 frequently exposed to air. 
 
 Moth does not attack lace made with flax thread, 
 but should be guarded against if specimens of Trina 
 di Lana or Shetland point are to be stored. There 
 is no need for blue, white, pink, or mauve paper, as 
 long as the receptacle in which the lace is kept is 
 dust-proof, and air is frequently allowed access to 
 preserve the colour and kill parasitic growths. 
 
 ADAPTING LACE. 
 
 More good lace has been ruined by dressmakers 
 than by all the other destructive agencies put together. 
 
 Madame la Mode has no veneration, and will cause Plastron made of Floral 
 
 . . r Forms cut from a ragged 
 
 the finest Alenson or Burano point to be cut if it suits Floonce and joined with 
 
 her whim that a certain form shall be made in lace for new Needle-made Bars. 
 
An unusually Complete Specimen of the Lace-trimmed Christening Suits in use until the 
 close of the eighteenth century, consisting of cap, frock trimming in two pieces, c 
 and mittens. The lace is Belgian bobbin-made ft re"seau. 
 
THE CARE OF LACE. 
 
 Border of Needle-point Lace (made of three pieces, one narrower and two wider, stitched 
 together). The patterns of the fragments are of the same period, Louis XV., and 
 show how narrow laces can be effectively joined. Width 7 inches. 
 
 lace a new 
 lease of life. 
 
 which the piece was not originally intended. Here should step in the ingenuity 
 required for adapting lace without destroying the fabric. Is the piece too long ? 
 The superfluous part can be placed between the material and the lining. Is it 
 too wide ? The same plan can be resorted to. Corners can be mitred by means 
 of lace stitches, so that no join is visible ; revers made with the surplus width at 
 the lower end hidden, instead of cut. 
 
 Adaptation is not necessarily destruction ; sometimes it gives new life to a worn- Give ragged 
 out and unusually ragged lace. The 
 Devonshire lace -makers recognise 
 this as a regular branch of their 
 industry ; many a beautiful veil, 
 shawl, and flounce is concocted from 
 old fragments sent to them in a 
 seemingly hopeless condition. They 
 begin by carefully cutting out of the 
 torn pieces the designs of the old 
 work. These are spread upon a 
 paper pattern of the shape required. 
 The modes and fancy stitches are 
 restored, any flower which is re- 
 quired is supplied, and the whole is joined together on the pillow. We recently 
 saw a handsome black Honiton flounce being so treated with perfect success ; 
 black Honiton is extremely rare, and is now never made. 
 
 G 2 
 
 Two Dessert D'Oyleys made from fragments of 
 lace cut from ragged borders. 
 
84 HISTORY OF HAND-MADE LACE. 
 
 Old point lace can be given a new lease of life if the ground has given way ; and 
 this is always the first part to wear on account of the weight of the solid arabesques 
 and leaves. These should be detached from the ragged ground, placed on a pattern 
 of the desired form, then connected with fresh bars worked as nearly like the old 
 bars as possible. 
 
 Many laces which are too narrow to use effectively can be joined so that the 
 widening is almost imperceptible. 
 
 Do not put Fragments of coarse lace can be used in various ways, and merely require neat 
 
 your t orn stitching and ingenuity in arrangement to make them into graceful articles of utility 
 rag-bag. instead of useless rags. 
 
 Table-Centre or Tray-Mat, made from fragments 
 of lace. The ground is of white linen. 
 
 TO RESTORE LACE. 
 
 Before mending lace it should be ascertained exactly of what make it is, more 
 especially with regard to the ground, as this is usually the part which first shows 
 signs of wear. If the needle-point or pillow lace design is mounted on machine- 
 made net the lace is easily repaired, and the fabric does not deteriorate in value in 
 the process ; but if the lace has a needle-made ground or one made with bobbins, a 
 large proportion of the value of the lace is lost if the design is remounted on 
 machine-made ground. The needle-made grounds should be repaired to the last ; 
 of these are old Brussels, Burano, Point Gaze, Alen?on, Argentan, Mechlin, old 
 Devonshire, Flemish, and Lille. Sometimes lace is made on the pillow with 
 bobbins, and filled in with a needle-made ground, or between bobbin sprigs 
 medallions of needle-made point are let in, as in Duchesse ; in such a case the 
 needle-made net ground must be mended and not cut away. 
 
THE CARE OF LACE. 
 
 To Mend Cut Work. 
 
 The holes should be darned, the button-holing or over-sewing of the pattern Special 
 being afterwards done according to the pattern on the darned foundation. If the ^eca 
 hole is large it is sometimes worth while to sacrifice a few inches in the length of mending 
 the piece in order to patch ; this is, of course, an extreme measure, but it is better 
 to have a shorter length intact than the longer unusable, on account of holes. 
 
 To Mend Darned Netting. 
 
 Cut out the broken meshes and net new ones in their place, unpick the darned 
 design beyond the junction of the new and old mesh, and darn the pattern in again. 
 
 To Mend Needle=made Laces with Bar Grounds. 
 
 Restore the ragged parts of the pattern by cutting out the fillings in the 
 centre, and working in new fillings that match the old in design. Button-hole 
 round the cordonnet, cut out the ragged bar ground where necessary, and work new 
 bars in. Simple bars are made by passing two or three strands across the space, and 
 covering them closely with button-hole stitch. 
 
 To Mend Needle=made Lace with Machine Net Ground. 
 
 Clean the lace, unpick the pattern from the old torn ground, mend the design, 
 putting in the fancy stitches where they are incomplete ; tack the design on blue 
 paper right side downwards. 
 Lay a new piece of net that 
 matches the old as nearly as 
 possible over the sprays and 
 tack it to the edge of the 
 paper ; then with a fine needle 
 and lace thread sew it round 
 each spray, taking up minute 
 portions of the edge and not 
 the centre of the work. Sew 
 round the design on the right 
 side, after untacking from the 
 paper, a pearl edge of tiny loops. 
 Lay the lace with design upper- 
 most on a board covered with 
 flannel and rub each leaf, spot 
 or flower, and along each spray, 
 
 with the end of an ivory crochet hook to make the raised work stand up 
 in relief. Bobbin lace applique is mended with machine-made net in just the 
 same way. 
 
 Bobbin Lace before Mending. 
 
86 
 
 HISTORY OF HAND-MADE LACE. 
 
 The 
 
 cleansing 
 process. 
 
 To Mend Needle=made Laces with Needle=made Net Grounds. 
 
 Mend the fillings by imitating the stitches in the design ; do not cut away any of 
 the ground, but join the fine lace thread at a corner of the hole, as the mesh will not 
 otherwise pull into shape ; fasten the thread, if possible, into the fit de trace or 
 outline of the design. Insert the needle at about the distance of one-sixteenth of an 
 inch, bring it out as for button-hole, but twist the thread once round it, so as to make 
 a twisted strand ; work to the end of the space, and at the end of the row fasten 
 the thread to the lace with a strong stitch, and sew over and over the threads back 
 to the commencement, putting two twists into each loop. 
 
 To Mend Bobbin Laces with Bobbin Grounds. 
 
 These f are the most difficult of all laces to restore, as they must be 
 repaired on the pillow. The bobbins are passed into the meshes beyond the rent, 
 and the new work will then resemble the old. In mending bobbin lace great care 
 should be taken to exactly match the old thread, as much damage can be done to 
 delicate fabric by using too strong a thread, which tears away the old pattern. 
 
 When mending tape guipure it is often advisable to darn the pattern before 
 restoring the bobbin bars. 
 
 To Clean White and Tinted Lace. 
 
 Place the lace to be cleaned on a smooth board covered with linen, pin it with 
 small fine pins on to the linen which has previously been firmly nailed down to the 
 board, then dab the lace with warm water by means of a sponge ; the fabric must 
 on no account be rubbed, only 
 dabbed. Dissolve half an ounce 
 of the best primrose soap in two 
 pints of water and dab the lace 
 again with the sponge soaked 
 in soapy water until it is 
 perfectly clean. Rinse the soap 
 away by dabbing with warm 
 clear water and leave the lace 
 to dry after most of the moisture 
 has been removed by means of 
 a dry sponge. Old laces should 
 never be ironed or stiffened. 
 
 If the lace is so thick that 
 dabbing with a sponge will not 
 remove the dirt, it may be 
 placed in an enamelled iron 
 saucepan in cold water in which Bobbin Lace after Mending, 
 
 best Primrose soap has been 
 
 dissolved in proportion of two ounces of soap to two pints of water. Bring it to 
 boiling point, then remove the lace, rinse in clear water and pin down to a linen- 
 covered board. 
 
THE CARE OF LACE. 87 
 
 To Colour Lace. 
 
 The right colour for old lace is that of pure unbleached thread. Saffron-tinted 
 lace, butter-coloured laces and other outrages on good taste need not be 
 mentioned in connection with needle-point and bobbin lace ; they are occasionally 
 demanded by fashion, but there are always machine-made varieties to supply the 
 demand. 
 
 It is not in good taste to affect lace " Isabeau," a colour much worn recently ; 
 this is a greyish coffee colour, or in plain English the colour of dirt, the name 
 of the queen who showed her devotion to her lord by vowing to change no body 
 linen until his return from the wars, having been given to it. 
 
 To renew the unbleached effect of white lace it can be delicately tinted with tea 
 by laying it in water in which tea has been infused. 
 
 To Clean Black Lace. 
 
 Pin down upon a linen-covered board, as described lor cleaning white lace, 
 then dab with vinegar instead of soap and water, leaving it to dry on the board. 
 If the lace is mouldy, which defect black lace is very subject to, place it in a warm 
 room near a fire, brush with a fine brush and dab with spirits of wine until all sign 
 of the mould is removed. Leave to dry pinned on the board, and do not on any 
 account iron or stiffen. 
 
 There is no method of dry cleaning lace which is not damaging to the fabric ; It is impos- 
 
 when effectual dry cleaning is done acids are used, and it is inevitable that the lace sible to clean 
 
 lace effec- 
 
 should be rotted by such a process. tually by any 
 
 dry process 
 without 
 
 How to Sew on Lace without Injuring. 
 
 Needle-point and bobbin lace should always be provided with a footing or 
 engrelure, that is a narrow band or straight-edged insertion which is usually of 
 coarser quality than the lace border or flounce, and by which the lace is sewn on 
 to the material it is intended to decorate. This prevents tearing or undue dragging 
 of the main fabric. The footing can be easily renewed when worn out ; it should 
 be oversewn not too closely to the lace. If cuffs, applique collars or other laces 
 are worn, which require sewing down at the points and round the design, the 
 stitches should be put in with a very fine needle and placed at least half-an-inch 
 apart ; the cotton should be of the colour of the lace, not of the material on to 
 which it is sewn. 
 
 SOME HINTS ON JUDGING LACE. 
 
 In judging lace there are three most important points to decide : 
 
 1. Whether the specimen is needle-point, bobbin, or machine-made lace. 
 
 2. The approximate date of its manufacture. 
 
 3. The country of its origin. 
 
HISTORY OF HAND-MADE LACE. 
 
 The net 
 ground in 
 hand'made 
 lace is less 
 even than 
 that of the 
 machine- 
 made fabric. 
 
 Is it Machine made Lace? 
 
 i. The question as to machine-made lace may be dismissed in a few words 
 the threads in the manufactured article have a twisted and compressed look which 
 is never seen in hand or pillow laces. Buttonhole stitches, which are to be found 
 in such infinite variety in needle-point, are never seen in machine laces ; up to the 
 present time, however ingenious may be the reproduction of lace, no mechanism 
 has yet been invented which can achieve the button-hole stitch in its simplest 
 form. 
 
 If there are raised ornaments in machine-made lace the padding is worked over 
 and over straight : in hand-made covering the stitches always slope. 
 
 If a thread in machine-made lace is unravelled it comes out easily : in needle- 
 point, on the contrary, frequent knots impede the unravelling of the thread, and in 
 bobbin-lace the unplaiting is a tedious process. The mesh ground in machine net 
 is perfectly round and even : in needle-point lace it is either square or hexagon. 
 
 The plait of bobbin lace cannot be done by machine except by the Dentelliere 
 which was invented by a Frenchman in 1881. The expense of producing lace by 
 this machine is, however, as great as that of making bobbin lace by hand. 
 
 Needle-point Ground. 
 Much enlarged. 
 
 Bobbin-made rfeeau 
 sometimes called 
 Lille fond claire 
 the best of all 
 Grounds. Much 
 enlarged. 
 
 Needle-point Toile. 
 Much enlarged. 
 
 Bobbin-made Plait. 
 Much enlarged- 
 
 Bobbin-made Ground 
 Valenciennes. Much 
 enlarged. 
 
 Is it Needle-point or Bobbin Lace? 
 
 In judging whether the specimen is needle-point or bobbin lace, the gimp or 
 toile should decide the question. When looked at through a strong magnifying 
 glass the needle-point gimp will be seen to be made up of looped threads ; in the 
 case of pillow lace the gimp is plaited. 
 
 The net-work ground of the lace specimen to be judged supplies another test. 
 In the needle-made reseaux the threads are looped up to form the mesh : in the 
 pillow-made reseaux there is a continuous flow or plaiting of the threads. If a small 
 section is unpicked the thread in needle-point is found to be a single one : in 
 bobbin-made ground several threads are used, as in order to make progress they 
 must be twisted or plaited. 
 
THE CARE OF LACE. 89 
 
 When was it Made? 
 
 2. In deciding the age of a specimen of lace, the most conclusive test is made Hand-made 
 by unravelling a single flower or ornament until about twenty inches of the thread t h . rea <* , was 
 is obtained ; if there is no join in this length nor for a few inches beyond, we may lengths of 
 be sure that the lace was made after the beginning of the last century, when 20 inches, 
 machine-made thread was first used. Before that date all the thread used in making 
 
 lace had to be joined at least every twenty inches, because the worker could stretch 
 no further from her distaff, and had to break off and join again. 
 
 The designs varied considerably in character, according to the date of the lace, 
 and the carrying out of a similar design will be a sure help in guiding the decision 
 as to the date of a specimen. Thus, before the sixteenth century the petals and 
 other forms, which should have been rounded, were all angular. In the seventeenth 
 century the raised picots, or fleuvs volants, were diamond-shaped. 
 
 The brides ovnees alone are enough to date a piece of lace. The earliest form 
 of bar in the fifteenth century had a knot, or dot, only as ornament ; in the sixteenth 
 century, a double or single loop; in the seventeenth century, a star. 
 
 The position of the flower, with regard to the edge, also indicates the century 
 of its make. 
 
 The earliest bar-joining was V-shaped, in perfect simplicity. Afterwards a 
 looped bar appeared across the V, intersecting it. Later the barettes were no 
 longer symmetrical, but were closer and uneven, like the bars in crackle china. 
 This crackle position of the bar was introduced at the end of the seventeenth 
 century. 
 
 The edging of lace also gives indications of its age. Sharp angles in the 
 scallops indicate the Middle Ages ; in the sixteenth century a rounded scallop 
 came in ; in the seventeenth century, a scallop with dots ; in the eighteenth 
 century, a large scallop alternately with a small one, dots being in the centre of 
 each. 
 
 Engrelures or footings also vary, but this indication is not a safe one to Engrelures 
 trust to entirely, without other evidence, for the engrelure is frequently renewed or footin 2s. 
 as it receives hard wear, so the original one is seldom found on a piece of antique 
 lace. All old engrelures are hand-made. The oldest are simply a series of crossed 
 bars. The same rules with regard to knots and picots influence these bars as 
 those of the bars in the lace fabric itself. Old laces always have flax thread 
 engrelures. Modern laces, even those of hand- made workmanship, generally 
 have cotton thread engrelures, except the laces made in Venice, which have flax 
 thread engrelures only. So that the Rosaline and Burano lace made to-day 
 will, in twenty years' time, be identical with the Rosaline and Burano points made ^ j~-*-k 
 in the seventeenth century. 
 
 Where was it Made? 
 
 3. Other considerations with regard to the age of a specimen piece are 
 involved in the question as to the country of its origin, which is, perhaps, the 
 most difficult question of all to decide. For the lace workers frequently migrated 
 to other countries, taking with them their patterns and methods, and began to 
 
go 
 
 HISTORY OF HAND-MADE LACE. 
 
 practise their handicraft in their adopted country. In such cases, however, there 
 was always some small divergence which crept into the original method. For 
 instance, the workers of Alen9on were originally taught lace-making by Venetians, 
 brought into the country by Colbert in order to keep in France the enormous sums 
 spent by the courtiers on Italian laces. At first the early Alencon lace made at 
 Lonray can hardly be distinguished from Venetian point ; but after a time a new 
 kind of ground was made, fresh stitches were invented, and a century and a half 
 after the Venetian lace workers had taught their handicraft to the French workers 
 Alencon lace had a character of its own, and no longer resembled Venice point. 
 Alencon and Argentan were made until fifty years ago with a cordonnet padded 
 with horsehair. In Venice this material was never employed : cotton or flax 
 threads always formed the Italian padding. 
 
 Small Collection of Old Lace, arranged in plush trays, fitted into a specimen 
 table. On each label are written particulars of the date and variety 
 of lace. 
 
 Mediaeval 
 designs 
 in the 
 i6th 
 century. 
 
 Up to the middle of the sixteenth century lace patterns were in the mediaeval 
 style that is, symbolical groups, figures, monsters, sacred animals, and trees were 
 introduced into the design, which was carried out in hard, square lines with no 
 flowing rounded forms even in flowers or leaves. The same form was repeated many 
 times : thus a tree, a fountain, candelabra, or what not, will be constantly seen 
 with the small motifs between. This is accounted for by the fact that one worker 
 made one section. The straight joining, which was the only one known at that 
 time, necessitated the repetition of the straight line of the tree or fountain. After 
 the sixteenth century a new way of joining was found, so that not only straight 
 forms but round ones could be used for the joins. 
 
 Until the middle of the seventeenth century the geometrical style of pattern 
 was used, squares, triangles, lozenges and wheels formed the design. 
 
THE CARE OF LACE. 
 
 At the end 
 of the 
 eighteenth 
 century the 
 beauty of 
 lace began 
 to decline. 
 
 From the middle of the seventeenth century till early in the eighteenth, the 
 Renaissance patterns were used, with flowing lines, wreaths, garlands, flowers, and 
 scroll work in compact patterns or connected with bride and buttonhole grounds. 
 It was at this time that point and bobbin laces were the most used, the most 
 elaborate, and the most beautiful. 
 
 From 1720 till the end of the eighteenth century the Rococo style was used, 
 
 and stiff patterns and crowded 
 and ungraceful bouquets 
 formed the motif. Lace 
 patterns and workmanship 
 began to decline in beauty at 
 this period. 
 
 At the end of the eigh- 
 teenth century the Dotted 
 style came in ; the design 
 seemed to melt away, the 
 bouquets became sprigs or 
 mere dots ; rosettes, tears or 
 insects powdered over the 
 surface, replaced a continuous 
 design ; and drawn muslin 
 and blonde laces began to 
 supplant the rich old needle- 
 points. 
 
 HOW TO ARRANGE A SMALL 
 LACE COLLECTION. 
 
 It is extremely important How to 
 
 . , . , store lace, 
 
 to store lace in a careful and 
 
 methodical manner, for the 
 fabric in some cases is so 
 delicate that the undue drag- 
 ging and crushing which 
 crumpled folds entail, are most 
 damaging. 
 
 Few people buy lace only 
 from the collector's point of 
 view. Pleasure in its beauty, 
 interest in its history, or the 
 skill shown in its workmanship 
 
 may influence the choice ; but its use as a personal adornment generally has some- 
 thing to do with its purchase. In arranging a collection, therefore, it is important 
 to provide for the necessity of constant change in the exhibits ; there must be no 
 gluing down to coloured paper or silk to show the design as has been recommended by 
 some collectors, for this precludes the possibility of using the lace for its legitimate 
 purpose, besides taking away half the grace of the fabric by nullifying its flexibility. 
 
 Lace Cabinet suitable for a few specimens. On the lower 
 shelf are stored lengths in use or awaiting cleaning or repairs. 
 
9 2 
 
 HISTORY OF HAND-MADE LACE. 
 
 The ideal lace cabinet is one of the Chippendale design, of French make, Empire 
 or Louis period ; of white moulded wood or whatever other style suits the taste of 
 the owner, or the period of the room, whether it be the drawing-room, the boudoir, 
 or the dressing-room of madame, in which it is to stand. The illustrations we give 
 appeared in an article on this subject in the Queen. They suggest, but do not 
 altogether fulfil all the require- 
 ments of the lace cabinet. It 
 matters not what style provided 
 the cabinet be provided with 
 a cupboard with glass doors, 
 and glazed sides if possible, 
 and a few dust-proof drawers. 
 The cupboard should be lined 
 with velvet or satin ; the best 
 colour for displaying lace is 
 violet of not too deep a shade, 
 yet with no tendency to red in 
 it. Fancy, or the exigencies 
 of harmony with the other 
 decoration in the room, may 
 render another colour desirable; 
 silver-grey satin has a beautiful 
 effect under lace when it is 
 perfectly clean, but the tint 
 Isabeau on grey satin is not 
 pretty, nor, indeed, on any 
 other colour. Red of a rich 
 cardinal colour is effective, but 
 yellow is undesirable, as the 
 colour of pure unbleached flax, 
 which is the natural colour of 
 old lace, does not harmonise 
 well with that of the buttercup. 
 
 Whatever the background, 
 the lace should be pinned upon 
 it with sharp, fine steel pins- 
 Put in as few pins as possible, 
 and allow the lace to hang in 
 
 Old Casket, with modern lock and fresh rose satin lining, 
 used for storing choice specimens of Needle-point 
 and Bobbin Laces. 
 
 its own graceful folds if it be 
 of the Alen9on point Gaze and 
 embroidered net variety. If old 
 
 guipure knotted laces and other thick kinds are to be displayed, they should be laid 
 out flat, and the escalops firmly pinned against the wall of the cabinet. Arrange the 
 background with as much variety as possible. Perhaps an insertion of guipure may 
 outline the top, a fine Brussels or Argentan lappet hang on one side, while a Burano 
 fan is set sideways, open two-thirds of its whole extent. If a Limerick scarf, a 
 
THE CARE OF LACE. 
 
 93 
 
 Label suitable for Specimen 
 of Lace in small collection. 
 
 Such drawers should be 
 
 Brussels berthe or Venice collar be in the possession of the collector, such a 
 specimen should drape the entire background, and fan and lappets be displayed 
 upon a shelf. 
 
 It is a great convenience when the shelves are movable so as to form trays ; 
 they can then be slipped out of the cupboard to allow of the examination of 
 any particular specimen without disarranging the whole. 
 
 Small pieces of flounce or edging should be laid across in straight rows, such Sp 
 " majesty of ordered lines " being, however, occasionally broken by a handkerchief, * 
 folded jabot, or half-open fan. Close to each specimen 
 should be a plain white card, on which are written 
 clearly: (i) The kind of lace. (2) The date of its 
 manufacture ; as shown in the illustration. 
 
 The drawers for the storing of lace will be found 
 most useful for those pieces which are not suitable 
 in size or rarity for display, or which are in course 
 of washing, mending, or making up. But we should 
 advise all lace-lovers to insist that all the lace not 
 actually in wear should be put in the lace cabinet. 
 
 lined with cream or white soft satin, pasted or tacked against the wood, and, 
 further, should have widths of the protecting material tacked to the upper edge of 
 the sides to be drawn over and tied, like the sides of a portfolio, before the drawer 
 is shut. 
 
 All these hints on the arrangement of a collection are equally suitable for 
 large and small accumulations ; for if only a few scraps are to be shown, a velvet- 
 lined specimen table with tiny drawer can be used with perhaps some bon- 
 bonnieres and patch boxes, which will gain in effect from their proximity to the 
 lace ; or if large quantities of lace are to be displayed, larger cabinets, a variety 
 of specimen cases and tables need only to be added. In the latter case, however, 
 care should be taken to classify the laces according to their date and place of 
 origin ; for example, there must be the Flemish cabinet, where Point de Flandres, 
 Brussels, and Mechlin are shown ; the Louis cabinet, where Point de France, 
 Alengon, Argentan, and Valenciennes are displayed ; and the English table, where 
 Devonshire, Irish, and Buckinghamshire pieces are to be seen. The tasteful 
 arranger will doubtless make the idea complete by providing for her Flemish laces 
 a carved receptacle of Flanders oak, for her French laces a commode or Louis 
 cabinet, and for her English laces one of Sheraton design. The Italian lace 
 collection would be best shown in a many-leaved cabinet on a pedestal of carved 
 work; the leaves when closed showing the form of one of the carved and gilded 
 lamps which are so characteristic of the City of the Lagoons. 
 
 ecimens 
 ot lace 
 should be 
 labelled. 
 
CHAPTER XI. 
 
 THE LITERATURE OF LACE. 
 
 In 1527 
 the first 
 dated pattern 
 book 
 appeared. 
 
 ENERALLY speaking, the Literature of the 
 Art of Lace-making may be said to com- 
 mence with the pattern books designed for 
 the use of the lace-makers. St. Dunstan 
 designed patterns to be executed by the nuns, 
 and sometimes, it would appear, by the monks 
 also ; the monks of the monastry of Wolstrope, 
 in Lincolnshire, are commended for their skill 
 in needlework, and in the frontispiece of some 
 of the early pattern books of the sixteenth 
 century men are represented working at 
 frames, and we are told these books were 
 written " for the profit of men, as well as of 
 women." 
 
 Several books inherited from monasteries contain no letterpress except what 
 is required to explain the working of the patterns ; the monks would hardly have 
 
 collected the 
 volumes e x - 
 cept for the 
 purpose of 
 using them. 
 
 The earliest 
 dated pattern- 
 book was pub- 
 lished in Co- 
 logne, in 1527, 
 and is a small 
 octavo volume 
 with forty-two 
 plates ; the 
 title is in 
 Gothic letters 
 beneath wood- 
 Design for Reticella, from a Pattern Book by Vinciola. Sixteenth century. cuts represent- 
 ing women at 
 work. On the back of the leaf is a large escutcheon, the three crowns of Cologne 
 
THE LITERATURE OF LACE. 
 
 95 
 
 in chief ; supporters, a lion and a griffin; below, " O. Ecelix Colonia, 1527.'' The 
 patterns consist of mediaeval and Arabesque borders and alphabets, some on white, 
 others on black grounds, some with counted stitches. 
 
 Occasionally there is a dedication in verse, as in an undated book published at 
 
 Lyons. In this the patterns are mediaeval, and it is stated that the book is for the 
 profit of tant hommes que femmes. 
 
 In another undated Lyons book of this period there is an elaborate patti 
 representing St. Margaret holding the cross to a dragon. 
 
HISTORY OF HAND-MADE LACE. 
 
 Special 
 ballads 
 written for 
 the use of 
 lace'itiakers. 
 
 In a book published in Paris in 1584 is a ballade of twenty-eight lines. This is 
 one of the songs sung by the lace-makers while at their toil. These ballads, or 
 chansons a toile, still survive amongst the Venetian workers, and are doubtless used 
 to discourage gossip, which hinders work, besides bringing minor evils consequent 
 on the over-activity of unguarded tongues. 
 
 19! > t *"* ^^WM = m \Wt 
 
 ^5HHI*nS 
 
 Si^iNs 
 
 '^m^iff^^^iy^^i 
 
 In the silk-spinning factories in Italy at the present day the women are not 
 allowed to talk, but may sing, and the sweet rhythmic chant which rises and falls, 
 led always by the acknowledged leader, is very beautiful to hear. 
 
THE LITERATURE OF LACE. 
 
 97 
 
 The eminent Italian pianist, Signer Giuseppe Aldo Randegger, has kindly 
 composed expressly for this book the " Nenia " which is given on pp. 100 and 
 101 ; the words, by Eugenie Randegger, and the music are quite characteristic 
 of the old tradition in connection with the love story of the Venetian maid, 
 who, while waiting for her absent fisher lover, ornamented his net by twisting 
 the cords into a rude form of lace work. 
 
 The volume amongst the sixteenth century lace books which was most popular 
 with the ladies of the French Court, for whose use it was designed, is that of the 
 Venetian, Vinciolo, to whom Catherine de' Medicis granted in 1585 the exclusive 
 privilege of making the collarettes godronnees (of fluted pattern) which she 
 herself introduced. The book went through many editions, and is entitled Les 
 singuliers et nouveaux pourtraicts . . . et ouvrages de Lingerie. Two figures representing 
 ladies in the costumes of the period, with working frames, are shown on the title 
 page. The work is in two volumes ; the first devoted to Point Coupe, showing 
 beautiful geometric patterns in white on a black ground ; the second to Lacis, 
 the subjects being in squares, with counted stitches like the modern Berlin wool 
 embroidery patterns. 
 
 The reason why these early pattern books are so scarce is that the tracing, or 
 pricking, of the patterns with the metal style destroyed the paper on which they 
 were printed. They are much sought after by collectors of early specimens of 
 wood block printing. 
 
 The pattern books being costly and difficult to procure, gave rise to the Lace designs 
 production of " Sam cloths," or samplers, when several different designs in Lacis, g^ Cloths 
 or cut-work, would be copied by a child on to the more durable canvas. or samplers. 
 
 Signer Ongania, of Venice, has published a limited number of facsimiles of 
 pattern books of the sixteenth and seventeenth centuries. M. Alvin (Brussels, 
 1863) issued a brochure upon the patterns, and the same year the Marquis Girolamo 
 d'Adda contributed two bibliographical essays upon the same subject to the Gazette 
 des Beaux Arts (vol. xv., p. 342, and vol. xvii., p. 421). 
 
 In 1661 was written the celebrated Revote des Passemens, which is so often 
 quoted in order to fix the date of various laces, as every lace of any importance at 
 this period is mentioned in the poem, and its special value and beauty are declared 
 in the speech it makes. 
 
 The theme of the work represents the laces as fearing, after the enactment In the 
 against luxury of dress was passed in the seventeenth century, lest they would 
 become extinct if no longer used as an article of dress. They determine to revolt, lace was 
 assemble in battle array, and make courageous speeches, but when opposed all run 
 away. There is then a council of war, when Une grande Cravate exclaims : satire. 
 
 // nous fattt venger cet affront, 
 Revoltons, nous noble essemble. 
 
 A muster roll is called over, when Dentelles de Moresse, Escadrons de Niege, 
 Dentelles de Havre, Points d'Espagne, and many others march forth in warlike 
 array, but at the first approach of artillery all surrender, and are condemned. 
 The points to be made into tinder for the use of the King's Mousquetaires, 
 
 H 
 
9 8 HISTORY OF HAND-MADE LACE. 
 
 the laces to be converted into paper, Gueuses Passemens and silk lace to 
 be made into cordage and sent to the galleys, the gold and silver laces, as 
 authors of the " Sedition " (the Sumptuary laws, which provoked the revolt) to be 
 " burned alive." Finally, through the intercession of Love, the laces are again 
 restored to Court favour. This trifle, invented for the amusement of the courtiers, 
 has been a boon to lace collectors in determining the dates and relative values of 
 lace in the seventeenth century. 
 Bibliography Information may be found by students of the subject in the following books: 
 
 ADDA (Marquis Girolamo d') : 
 
 Le Lit de Castellazzo. (Gazette des Beaux Arts, 1863, Vol. XIV. 97.) 
 
 Essai Bibliographique sur les anciens modules de Lingerie, de Dentelles et de Tapisseries. Gazette des 
 Beaux Arts, 1863, Vol. XV. 342, 1864, Vol. XVII. 421. 
 
 ALVIN (L.) : 
 
 Les anciens Patrons de Broderies, de Dentelle et de Guipure. 4to. Bruxelles, 1883. 
 
 AUBREY (Felix): 
 
 Rapport sur leb Dentelles, les Blondes, les Tulles et les Broderies, fait & la Commission Francaise du Jury 
 International de 1'Exposition Universelle de Londres. 8vo. Paris, 1854. 
 
 Dentelles, tulles, broderies, et passementeries. Reports, Paris Exhibition 1867, IV. p. 233. 8vo. 
 Paris, 1868. 
 
 BELIN (Antoine) : 
 
 Sensuyent lis patrons de Messire Antoine Belin, etc. Small 4to. 28 designs on 14 leaves of lace patterns, 
 16th cent. Lyons, n.d. (1525 ?) 
 
 BOCK (Franz) : 
 
 Beschreibender Katalog einer Sammlung von Spitzen und Kanten, darstellend den geschichthchen 
 Entwickelunsrsgang der gesammten Spitzen-Industrie vom XVI. bisxzum XIX. Jahrhundert. 31 pp. 8vo. 
 Aachen, n.d. (Catalogue of Lace purchased by the New Museum at Dresden). 
 
 BONE LACE : 
 
 Some considerations, humbly offered to the Honourable House of Commons, concerning the Proposed Repeal 
 of an Act lately passed to render the Laws prohibiting the importation of Foreign Bone Lace, etc., more 
 effectual. 4pp. small folio. 
 
 CLEROET(Ch. Ernest): 
 
 Tracings by, tilled in as facsimiles, of the following lace and other pattern books : 
 
 La fleur de la Science de Pourtraicture, et patrons de Broderie, etc. Small fol. 60 pp. of designs. Paris, 
 F. Pelegrin, 1530. 
 
 Splendora del virtuoso giovane. Sm. obi. 4to. 42 pp. of designs. Venise. Francesco Calepino, 1563. 
 
 Triompho di Lavori, etc. Sm. obi. 4to. 9 designs. Padoue, Fra Hieronimo da Civiclad da Vridi. 1555. 
 
 Patrons pour Brodeurs, Lingeres, Massons, Verriers, et autres gens d'esprit. Sm. obi. 4to. 6 tracings. 
 Paris, Vve. Jean Rudle. n.d. 
 
 Patrons de divers manieres, etc. Sm. obi. 4to. 11 tracings. Lyons, Pierre de Ste. Lucie, 1590. 
 
 La vera perfezione del Designo, etc. Sm. obi. 4to. 23 tracings. Venice, Francesco Senese, 1591 
 
 COCHER1S (Hippolyte) : 
 
 Recueil de documents graphiques pour servir & 1'Histoire des Arts Industrials. Patrons de Broderie et de 
 Lingerie du XVIe sifecle. Reproduits par le proc^d^ Lefman et Lourdel et public's d'apres les Editions conservees 
 a la Bibliotheque Mazarine. Small 4to. Paris, 1872. 2nd edition. Small 4to. Paris, 1873. 
 
 COLE (Alan Summerly) : 
 
 Ancient Needlepoint and Pillow Lace. With notes on the history of lace making, and descriptions of 30 
 examples. Under the Science and Art Department of the Committee of Council on Education. 20 photographs. 
 Fol. London, 1875. 
 
 Lace. Article in the " Magazine of Art," London, 1879. pp. 249-251. 
 
 Cantor Lectures on the art of Lace Making, delivered before the Society of Arts, April and May, 1881. 8vo. 
 London, 1881. 
 
 DUBLIN: 
 
 Museum of Science and Art. Catalogue of Lace Collection compiled by Alan S. Cole. 1878. 
 
 FELKIN (William): 
 
 History of Machine-wrought Hosiery and Lace Manufactures. Royal 8vo. London, 1867. 
 
 FERTIAULT i Frangois de) : 
 
 Histoire de la Dentelle. Par. M. de . . . woodcuts. 12mo. Paris, 1843. 
 
 FISCHER (Hugo): 
 
 Technologische Studien im Sachsischen Erzgebirge. Mit einem vorwort von Dr. E. Hartig. 17 plates. 8vo 
 Leipzig, 1878. 
 
 FRANCO (Qiacomo) : 
 
 Nvova Inventione de diuerse mostre cosi di punto in acre, etc. Sm. obi. 4to. 6 pp. of designs ana 
 title. Venice, 1596. 
 
 Facsimile reproduction of the above complete. Sm. obi. 4to. 24 pp. lace designs. Venice, 1596. Edited by 
 F. Ongania, Venice, 1876. 
 

100 
 
 HISTORY OF HAND-MADE LACE. 
 
 NENIA. 
 
 Words by E. RANDEGGER. 
 
 Music by G. ALDO RANDEGGER. 
 
 Lento. 
 
 So - pra la re - te vo - la la mano Vo - la le ma - glie ad al - lac - ciar, Ed il pen 
 
 I I ^n^M^M^^B ^^^H ^ ^ 
 
 Lento. 
 
 -jr -* , &^ -J- 
 
 * 9 9- * 9 ***- 
 
 \^=f. 
 
 rail. 
 
 :rf=*=^1 r i * r-frr 
 
 rail. 
 
 3 i r 1 ^ 
 
 ^ a tempo. ' 
 
 -K. _J > ** 
 
 =3=3[=3= 
 
 - sie - TO vo - la lon-tano, vo - la lon-tano, lon-tano, Ion - tan su'l mar! E cu-ciai 
 
 ^ 
 
 2U 
 
 s~* ** 
 
 -9*- 
 
 7^1-^1 
 
 rall. 
 
 rail. 
 
 m^t 
 
 Jt*L 
 
 col canto. 
 
 --& 
 
 a: 
 
 ai 
 
 =r =T -2=*- 
 
 15 
 
 / //. 
 
 o^r. un poco. 
 
 ,=^ - ^ 
 
 co - ra, E cu-ciancora! e - gli e lag - giii, e -gli e lag - giu ! ti par-lail ma - re, ti par-lail 
 
 I 
 
 JU1TUr-r 
 
 /3P, 
 
 ma - re, Loa-scol - ti tu, Lo a - scol - ti tu? "Non lo ve - drai, non lo ve - 
 
 Fed.- 
 
THE LITERATURE OF LACE 
 
 101 
 
 rail. 
 
 tempo. 
 
 aj}r. unpoco. 
 
 
 - - drai, Piu mai, piu mai ! 
 
 Vien so-pra 1'a - le del tern -po - ral, Dal lar-go vien vo-ce fa - 
 
 YI//. col canto. 
 
 : tempo. 
 
 I rt^V. * poco. 
 
 
 I I 
 
 rail, mo I to. 
 
 a tempo. 
 
 rail. 
 
 J3 a tempo. 
 
 - tale, II ven-to & for - te, Par- la di mor - te ! A la ri - den - te spiag-gia del - 11 - do La ve - la 
 
 
 col canto. 
 
 . 
 f 
 
 a tempo. 
 
 rail. 
 
 a tempo. 
 
 41 
 
 \ J -f 
 
 g23=*ir 
 
 -* 1- 
 
 espressione. 
 
 bian - ca non vol - ge - ra lor-na a cu - ci - re, il ma- re e in - fi - do il ma-re e in - fi - do eil-ma - ri - 
 
 gteEi=|=g=gE3=^ j J. j-^ 
 
 
 col canto. 
 
 bJ. * - 
 
 ^ 
 
 rt^V. unpoco. con espressione. 
 
 - 
 
 =F >- 
 
 rail. 
 
 iu lento. 
 
 tnolto adagio. 
 
 ^ > 
 
 nar non tor - ne - ra E il ma - ri - na - ro non -tor - ne - r 
 
 mai piu. 
 
THE LITERATURE OF LACE. 103 
 
 FRENCH (Gilbert J.): 
 
 The Tippets of the Canons Ecclesiastical. Illustrated with woodcuts. 8vo. London, 1850. 
 
 QOUBAUD (Madame) : 
 
 Madame Goubaud's Book of Guipure d'Art. 98 illustrations. Sm. 4to. London, 1869. 
 
 Madame Goubaud's Pillow Lace Patterns, and instructions in Honiton Lace-making, Numerous illustrations 
 am. 4to. London, 1871. 
 
 HAILSTONE (S. H. Lilla) : 
 
 Catalogue of a Collection of Lace and Needlework, with a list of books on the same subject both formed by 
 anil in the possession of, Mrs. Hailstone, of Horton Hall. Illustrated by photographs. Sm 4to London 
 Privately printed, 1868. 
 
 Designs for Lacemaking. 40 coloured plates. 4to. London, 1870. 
 
 HAWKINS (Daisy Waterhou.se) : 
 
 Old Point Lace, and how to copy and imitate it. 17 illustrations by the author. 8vo. London, 1870. 
 
 JESURUM (Michel Angelo) : 
 
 Cenni Storici e Statistic! still' Industria dei Merletti. 8vo Venice, 1873. 
 
 LACE: 
 
 Statistics of the Bobbin Net Trade, etc. Fol. Nottingham, 1833-36. 
 
 Lacemaking as a Fine Art. From the " Edinburgh Review," January, 1872. 8vo. 
 
 The Queen Lace Book : a historical and descriptive pamphlet of the hand-made antique laces of all countries 
 Part I. Mediaeval Lacework and Point Lace. 30 illustrations of lace specimens, and 7 diagrams of lace 
 stitches. 4to. London, 1874. 
 
 Traits de la Dentelle Irlandaise et des jours il 1' Aiguille (Point d'Alengon). Ouvrage illustr^ de 149 gravures 
 Deuxieme Edition, revue et augmented. Post 8vo. Paris, 1876. 
 
 LACE MANUFACTURE: 
 
 Fabrication de la Dentelle clans le De"partement du Rh&ne, et les de"partements limitrophes. Industrie 
 spe'ciale de la Maison Dognin et cie. 4to. Lyon, 1862. 
 
 LACE PATTERNS : 
 
 Gioiello corona per le npbili, e virtvose Donne, libro qvarto. Nel quale si dimostra altri nuoui bellissimi 
 dissegni di tutte le sorte di Mostre di Punti in Aria, Punti tagliati, <fe Punti a Reticello ; cosi per Freggi, come 
 per Merli <fc Rosette, che con 1'Aco si vs ano hog gi di per tutta Europa. Et molte delle quali Mostre possouo 
 seruire anchora per Opere k Mazzette. Nuouamente posto in luce con molte bellissime inuentioni non mai pui 
 vsate, nfe vedute. Con Privilegio. In Venetia, Appresso Cesare Vecellio, in Frezzaria nelle Case dei Preti, 
 1593. (Facsimile Eliotipica della stampa originale esistente nella R. Biblioteca Marciana in Venezia.) Obi. 
 4to. Venezia, 1876. 
 
 Corona delle nobile et virtvose. 2nd edition of the facsimile edition by F. Ongania. Oblong 4to. Venezia, 
 1879. 
 
 Serena Opera Nova di Recami, nella qvale si ritrova varie & diuerse sorte di punti in stuora, & punti a filo, 
 & medesimamente di punto scritto & a fogliami, & punto in stuora a scachetti, & alcuni grpppi incordonati, 
 & rosete, done ogni virtuosa giouene potrk facilissimamente fare ogni sorte di bellisimo lauoriero. Opera non 
 men vtile che necessaria. Oblong 4to. Venezia, Domenico de' Franceschi, 1564. 27 patterns. Facsimile, 
 edited by F. Ongania, Venezia, 1879. This forms Part X. of the " Raccolta di Opera antiche su'i disegni dei 
 Merletti di Venezia." 
 
 LACE AND OTHER PATTERNS: 
 
 Verschiedene Modell zum Stricken und Nahen, verlegt und zu finden bey Marx Abraham Rupprecht, Johann 
 Christoph. Haffner, seel. Erben Kunstverbeger, in Augsburg. 14 plates. Sm. obi. fol. Augsburg, n.d. 
 
 Venetian, 16th century. 12 leaves of woodcut designs from a Venetian lace book of the end of the 16th 
 century. Sm. obi. 4to. n.d. 
 
 Sensuyuent les Patrons de Messire Antoine Belin, Reclus de sainct Marcial de Lyon. Item plusieurs aultres 
 patrons normeaulx, pui ont inuentez par frere Jehan Mayol, Carrae de Lyon. 22 patterns and title page. 4to. 
 
 yon, n.d. 
 
 Wilhelm Hoffmann's Spitzen-Musterbuch. Nach der im Besitze des k. k. Oesterr. Museums beflndlichen 
 original-aus gabe vom Jahre 1607 herausgegeben vom k. k. Oesterreichischen Museum f iir Kunst und Industrie. 
 Mit cinem borwort, Titelblatt und Musterbliittern. 18 photo-lithogr. plates, and frontispiece. Obi. fol. 
 Wien, 1876. 
 
 LACE AND CROCHET: 
 
 French Patterns for Crochet and Lace Borders, with instruction, for workers. 4to. n.p., n.d. 
 
 LADY'S ALBUM OF FANCY WORK: 
 
 4to. London, 1850. 
 
 LONDON EXHIBITION, 1851 : 
 
 Reports of the Juries. Class XIX., pp. 460-476. Tapestry, lace, embroidery, etc. 8vo. London, 1852. 
 
 LONDON EXHIBITION, 1862: 
 
 Reports of the Juries. Class XXIV. Tapestry, lace, and embroidery. 8vo. London, 1863. 
 
 MACRAME LACE: 
 
 A knotted Trimming, etc. By the Silkworm (the Silkworm series). 8vo. London, n.d. (1875). 
 
 MERLI (Antonio) : 
 
 Origine ed uso delle Trine a pilo di refe. 100 examples on 6 lithograph plates. 4to. Geneva, 1864. 
 
 Zierl'ich-webende Minerva, Oder neu-erfundenes Kunst-und Bild-Buch der Weber-und Zeichner-Arbeit, etc. 
 12 pp. text ; 49 pi. ; uncut, sin. 4to, mounted in folio. Nurnberg (Johann Christ. Weigel). n.d. 
 
 pa 
 Ly 
 
104 HISTORY OF HAND-MADE LACE. 
 
 MODELBUCH : 
 
 New Modelbuch von allerhandt Art, nehens und Stiekens, etc. 153 woodcut patterns. Fcp. 4to. Frankfurt 
 a/m. Niclas Bassee. 1571. 
 
 New Model Bitch. Darinnen allerley Gattung schbner Modeln der Newen aussgeschitnen Arbeit . . . zu 
 neyen, etc. (Woodcuts, Venetian designs, reprint of the third book of Vecellio's "Corona.") Obi. 8vo. 
 St. Gallen, 1593. See Vecellio (Cesare). 
 
 New Modelbueh darinnen allerley aussgeschnittene Arbeit . . . erst newlich erf unden. Sm. 4to. Woodcut 
 patterns for lace. Mumpelgarten (Montoe'liard). Jacob Foillet, 1598. 
 
 Facsimile reproduction. Gantz new Modelbuch kiinstlicher und lustiger Visirung und Muster, etc. Obi. fol. 
 18 pp. of lace designs. Frankfurt a/m., 1607. Edit, by F. Ongania. Venice, 1878. 
 
 NEH UND STRICKBUCH (Neues) : 
 
 Fur das scheme Geschlecht, etc. 27 plates of designs for Samplers and other needlework. Obi. sin. fol. 
 Nurnberg and Leipzig, 1874. 
 
 NOTTINGHAM: 
 
 Patterns of Nottingham Lace, referred to in the report of the Nottingham School of Design, March, 1850. 
 73 patterns in a folio cover. 
 
 Catalogue of Special Loan Exhibition of Lace at the Midland Counties Fine Art Museum, 1878. By Alan S. 
 Cole. 
 
 NUREMBERG (German Museum) : 
 
 Katalog der im germanischen Museum beflndlichen Gewebe und Stickereien, etc. 20 plates. Imp 8vo. Nurn- 
 berg, 1869. 
 ORNAMENTO DELLE BELLE ET VIRTUOSE DONNE, etc. : 
 
 32 leaves, with woodcut designs on both sides. Venetian, 16th century. Sm. 4to., n.p., n.d. 
 
 OSTAUS (Giovanni): 
 
 La Vera Perfettione del disegnodi varie sorti di Recami, et di cucire de punti a fogliami, punti tagliati, punti a 
 flli e rimessi, punti in cruciati, etc. Obi. 8vo. Venetia, 1567. 
 
 t'actimile reproduction. La Vera Perfettione del disegno di varie sorti di Recami, etc. xxx.. in Venetia 
 appresso Gio Ostaus, 1567. Obi. 4to. 5 pp., title, etc., and 35 pp. of designs. Edited byF. Ongania. Venice, 1878. 
 
 PAGANI (Matio): 
 
 L'honesto Essempio del uertuoso desiderio . . . circa lo imparare i punti tagliati a fogliami. Woodcut 
 designs for lace. 32 pp. Post 8vo. Venice, 1550. 
 
 PAGANINO (Ales.sandro): 
 
 Libro primo. De rechaini p elquale sfe impara in diuersa modi lordine e il inodo de recamare, cosa no mai piu 
 
 fatta ne stata mostrata, el qual modo sei insegna al lettore voltando la carta. Opera noua. Facsimile of the 
 original edition of 1527, edited by F. Ongania. 8vo. Venezia, 1878. This forms Part IX. of " Raccolta di Opere 
 an tic-lu! sui disegni dei Merletti di Venezia." 
 
 PALLISER (Mrs. F. Bury): 
 
 History of Lace. 8vo. London, 1865. 2nd edition, 8vo., London, 1869. 3rd edition, 8vo, London, 1875. 
 
 Lace. From the Quarterly Review. July, 1868. 
 
 Notes on the History of Lace, to which is added a catalogue of specimens of lace, selected from the 
 Museum at South Kensington, contributed as a loan to the Midland Counties Museum of Science and Art, 
 Nottingham. 14 illustrations. 8vo. London, 1872. 
 
 PARIS EXHIBITION (1867): 
 
 Report by M. F. Aubry. (Jury Reports, IV., p. 223.) See also Aubry (F.) 
 Report by Mrs. Palliser. Vol. 3., p. 109. See also Palliser (Mrs. F. B.) 
 
 RECHAMI (De): 
 
 Per elquale se impara in diversi modi, 1'ordine el il modo de recamare, etc. Libro. Secondo. ..terzo. ..quarto. 
 (Reprint.) Plates of embroidery patterns. 8vo. n.p., n.d. 
 
 RIEGO DE LA BRANCHARDIERE (Mile.): 
 
 The Netting Book for Guipure d'Art, etc. Obi. 16mo. London, 1868. 
 
 ROMANA (Lucretia): 
 
 Facsimile Reprint. Ornamento, Nobile, per ogni gentil Matrona, etc. Folio. 14 pp. lace designs. Venice, 1620. 
 Edit, by F. Ongania, Venice, 1876. 
 
 SAINTE-CROIX (Dr. Le Roy de): 
 
 Parement d'Autel ancien en Dentelle et Broderie, appartenant k Mrs. Hailstone. 8vo. Wakefield and Paris, 
 
 1874. 
 
 SCOTT (E.): 
 
 Flowers in Point Lace. Obi. 4to. London, n.d. (1873). 
 
 SEQUIN (Joseph): 
 
 La Dentelle ; histoire, description, fabrication, bibliographic, orn5e de cinquante Planches phototypo- 
 graphiques facsimile de Dentelles de toutes les e"poques. Passements aux Fuseaux-Points coupe's k rAiguille- 
 Points de Venise, de Genes, de France, Guipures, Valenciennes, Malines, Points d'Alengon, de Sedan, de 
 Bruxelles, d'Angleterre, Blondes, Chantilly, etc., et de nombreuses Gravures d'apres les meilleurs Maitres des 
 XVIe et XVIIe Siecles. Fol. Paris, 1875. 
 
 SIBMACHER or SIEBMACHER (Hans and Johann) : 
 
 H. Sibraacher's Stick undhpitzen-Musterbuch. Nach der Ausgabe vom Jabre, 1597. (Schon Neues Modelbuch 
 von allerley lustigne Modeln naczunehen Ziiwurcken vfi Zustiehe) in facsimilirten Copien heraus gegeben voin 
 k. k. Oesterreichischen Museum. 35 plates. Obi. 8vo. Wien, 1866. 
 
 Neu Modelbuch. With 58 plates. Obi. 8vo. Nurnberg, 1604. 
 
 J. Sibmacher's Neues Stick und Spitzen-Musterbuch in 60 Blattern. Nach der Ausgabe vom Jahre 1604 
 herausgegeben von Dr. J. G. Georgens. Obi. 8vo. Berlin, 1874. (Reprint.) 
 
 Facsimile reproduction. Stick-und Spitzen Musterbuch (Reprod. of ed. 1597). 35 plates. Obi. 8vo. Wien, 1866. 
 
 Thirty-seven plates from Hans Sibmacher's " Newes Modelbuch." Obi. 8vo. Nurnberg, 1604. 
 
 Twenty plates from Hans Sibmacher's "Schon Neues Modelbuch von allerley lustigen Modeln natzunehen 
 zu wurcken vn zu sticke." Obi. 8vo. Nurnberg, 1597. 
 
 Nineteen plates from Hans Sibmacher's " Modelbuch." Obi. 8vo. Nurnberg, 1601. 
 
THE LITERATURE OF LACE. 105 
 
 STASSOF (W.): 
 
 L'Ornement National Busse. Ime. Livraison, Broderies, Tissus, Dentelles. Coloured illustrations. Text in 
 Russian and French. Fol. St. Petersburg, 1872. 
 
 TOUCHE (V.): 
 
 The Handbook of Point Lace. 4th ed. Pub. by Wm. Barnard. Obi. 4to. London, 1871. 
 
 TREADWIN (Mrs.): 
 
 Antique Point and Honiton Lace. Containing plain and explicit instructions for making, transferring, and 
 cleaning laces of every description. With about 100 illustrations, outlines, and pickings of the principal Antique 
 point stitches and Honiton sprigs. Sm. 4to. London, n.d. 
 
 URBAN I (G. M., de Qheltof): 
 
 I Merletti a Venezia. Sm. 4to. Venezia, 1876. 
 
 VAVASSORE (Q!o. Andrea): 
 
 Opera Nova Universal intitulata corona di racammi, etc. Woodcut designs for lace, 16th cent. 36 pp. Sm. 
 4to. Venice, n.d. 
 Facsimile reprint of the above. Sin. 4to. Edit, by F. Ongania. Venice, 1878. 
 
 VECELLIO (Cesare): 
 
 Corona delle Nobili et Virtuose Donne. 22 pp. of lace designs from the 1st and 2nd books of the original 
 edition. Obi. 8vo. Venice, 1600. 
 
 Corona delle Nobili et Virtuose Donne. Libro terzo. Obi. 8vo. (Reprint of Venetian 16th century patterns 
 for lace.) 27 pp. Venice, 1620. 
 
 Facsimile reprint. Gioiella della Corona per le nobile, e Virtuose Donne. Libro quarto. 30 pp. of lace 
 designs. Venice, 1593. Edit, by F. Ongania. Venice, 1876. 
 
 Facsimile reprint. Corona delle nobili et Virtuose Donne, etc. 3 books, 78 pp. of lace designs. Obi. 4to. 
 Venice, 1600. Edit, by F. Ongania. Venice, 1876. 
 
 V1NCIOLO (Federico di): 
 
 Les singuliers et nouveaux pourtraicts pour touttes sortes d'ouvrages de Lingerie, etc. 4to. 
 
 Paris, 1587. Other editions Paris, 1595, and Basle, 1599. 
 
A DICTIONARY OF LACE. 
 
 Alencon Point. 
 
 This, the most elaborate needle-point lace which has ever been produced in 
 France, was first made in about 1 66^ Royal edicts, forbidding the wearing of 
 Spanish and Italian lacesj-having'lSeen ineffectual in inducing the nobles of Louis 
 XIV. 's extravagant court to wear the inferior laces 
 produced by France, the king's ministers determined 
 to improve the TFrench laces, and thus keep in the 
 country the enormous sums spent on Italian and 
 Flemish ruffles. 
 
 The Venetian instructors who were appointed 
 found intelligent pupils in the French lace-makers, 
 who had been accustomed to make twisted and 
 plaited thread laces; and to imitate the old Point 
 Coupe of Italy, and when their prejudice was over- 
 come, they became expert makers of the new fabric. 
 It was difficult, however, to teach the lace-makers 
 of Alen9on to exactly imitate the Venetian stitches ; 
 although until 1678 Alen9on point strongly resembled 
 Spanish and Venetian points, and is called Point de 
 France, the designs and stitches being the same, and 
 the ground in each case consisting of brides or 
 connecting bars, either plain or ornamented : after 
 that date a change is apparent in the lace made at 
 Alen9on, and it acquires characteristics of its own, 
 and has its distinctive title. 
 
 Point d'Alen9on was called a "winter" lace, 
 on account of its being of a thick and firm make. 
 This firmness is due to the cordonnet, and to this we 
 owe the excellent preservation in which the lace is 
 usually found, being far superior in this particular to 
 Brussels point. The cordonnet in Alen9on lace 
 made in France is padded with horsehair ; occa- 
 sionally specimens are found which have had the 
 padding withdrawn, doubtless because of its tendency 
 to shrink and draw up when washed. In Alen9on 
 lace, or Argentella, as it is called when made in Italy, 
 the cordonnet is flat. 
 
 (3 CD 
 
 clos 
 
 * 
 
 HO 
 
 I? 
 
io8 
 
 HISTORY OF HAND-MADE LACE. 
 
 It was during the reigns of Louis XIV. and Louis XV. that Alen9on was at 
 the height of its glory. The most extravagant prices were paid for the lace ; not 
 only were articles of clothing trimmed with it, but the beautiful fabric was used 
 as bed furniture, valances, trimmings for bath covers, and bed spreads. Altars in 
 the churches were hung with it, surplices of the priests trimmed with it, and the 
 king gave away to his court favourites cravats, ruffles, and complete robes. Before 
 the Revolution in 1794, and before the revocation of the Edict of Nantes, when 
 France lost many of her most skilled workers, the annual value of the manufacture 
 was estimated to be 12,000,000 livres. Work-people earned at this time 3 sous and 
 upwards per day. 
 
 During the Revolution the Alen9on lace factory became almost extinct, and 
 many of the workers were killed on account of their connection with the hated 
 aristocracy, as caterers to the luxury of the age. Others fled from the country, 
 
 Alenijon Point Lace ; eighteenth century. Each mesh of the reseau or net ground is made 
 
 with the needle-point. 
 
 so that it was with difficulty that sufficient workers could be found to carry out the 
 lavish orders of Napoleon I., for the emperor saw prosperity to France in the 
 revival of the lace industry. One of his gifts to Marie Louise was bed furniture 
 of rich lace ; tester, coverlet, pillow cases and edgings for sheets were all made 
 of the finest Alencons, the Royal arms on elaborate escutcheons being worked on 
 a ground of Vrai or needle-point reseau, powdered over with bees, the Napoleonic 
 cypher. 
 
 The Alenson lace factory fell with the empire. Many of the old workers died, 
 and no young ones were trained to take their places. The Duchesse d'Angouleme 
 tried to revive the industry, but her own handsome orders and those of her 
 personal friends alone could not coax it back to prosperity. In 1830 there were 
 only two or three hundred lace-workers employed. 
 
Lappet of Needle-point Lace (Point d'Alencon), 4i inches wide. This specimen 
 is especially rich in elaborate fillings. Eighteenth century. 
 
A DICTIONARY OF LACE. 
 
 log 
 
 Ten years later the old women were gathered together and another effort 
 was made. At the Exhibition of 1851 a few specimens were shown, and in 
 1856 large orders were given for the layette of the Prince Imperial. The coverlet 
 of his little bed was of Alen9on lace. The christening robe, mantle and head dress, 
 and the three baskets were all trimmed with the beautiful point. Twelve dozen 
 
 embroidered frocks were profusely trimmed with the lace, as were also the nurses' 
 aprons. 
 
 In 1859 the most costly work ever executed at Alenson was exhibited. This 
 was a dress valued at 200,000 francs, which was purchased by the Emperor 
 Napoleon III. for the Empress. 
 
 It is helpful in judging Alencon point to know something of the dates of certain 
 patterns, none of which are as fine as those used for Argentan point. 
 
no 
 
 HISTORY OF HAND-MADE LACE. 
 
 Like the designs of laces made at other factories, Aler^on patterns will be 
 found to correspond with the style of decoration in the houses and furniture of each 
 successive period. For some time after the death of Colbert, the designs were 
 chiefly flowing and undulating, showing that Venetian influence was not yet entirely 
 shaken off. It is at this period that small figures and heads are sometimes intro- 
 duced into the pattern. The eighteenth century patterns show garlands, while 
 escutcheons or lozenges of finer ground appear just as the painted medallions of 
 Boucher were inserted in the panels of the salons of the time. 
 
 Then, when in iurniture the ornate legs of tables and chairs gave place to 
 stiffer and more upright designs, the lace patterns became more rigid and angular. 
 In Louis XVI. 's reign the reseau or ground was sewn over with spots, tears, 
 sprigs or insects, and a narrow pattern used as border. The semes or powderings 
 continued during the Empire period, and they are still occasionally used in con- 
 junction with designs from real flowers now in vogue. At present the finest modern 
 Alencon Point is made at Bayeux, and at the Royal lace factory at Burano, near 
 Venice. It was of Alencon lace that the beautiful wedding veil of Princess Helene 
 of France, who in 1895 married the Due d'Aosta, was made. On the groundwork, 
 which was the Vrai reseau or net made with the needle-point, was a floral design. 
 Medallions in the centre enclosed the armorial bearings of the bridegroom 
 surmounted by the Cross of Savoy, the Fleur de Lys, and the arms of France. 
 This veil was of an unusually large size, being no less than fourteen feet long. 
 
 Modern Alencon lace ranks as fifth in value compared with other laces. It 
 was so placed by the Commissioners at the Great Exhibition in 1851, Brussels, 
 Mechlin, Valenciennes, and Lille taking rank above it. 
 
 Aloe Lace. 
 
 The peasants of Albissola, in Italy, have from remote times been accustomed 
 to make a coarse kind of lace from the fibres of the aloe. Tatting is done in 
 aloe thread at Manilla, in the Philippine 
 Islands. The lace work so produced is not 
 much in demand, as it becomes mucilaginous 
 in washing. Although it is usually executed 
 in tatting, the threads are sometimes twisted 
 and plaited. Such work is also done by the 
 natives of Paraguay, South America. 
 Alost Lace. 
 
 A bobbin-made lace of the Valenciennes 
 type, under which heading it is described. 
 Antwerp Lace. 
 
 A bobbin lace resembling Mechlin, but 
 with bolder design. The industry was 
 founded at Antwerp in the seventeenth 
 century, and the work executed there is 
 sometimes known as Flanders lace. It 
 was made in order to supply the increased 
 demand for Mechlin lace. Antwerp lace was of two kinds : 
 
 Aloe Lace work, 7J inches wide, made by the 
 natives of Paraguay, South America ; 
 nineteenth century ; known as ' ' Toile 
 d'Araigner." 
 
 one with a design 
 
A DICTIONARY OF LACE. 
 
 in 
 
 worked upon a ground, the other with the sections of the design merely attached 
 to each other by means of brides or bars. The plait thread characteristic of 
 Mechlin pillow lace was used to outline the design, which gives it an effect like em- 
 broidery. Lille lace is now 
 made in the neighbourhood, > 
 though some of the peasants ^~ 
 still work at the old pot , 
 pattern, which is a relic of 
 the elaborate design repre- 
 senting the Annunciation 
 the Angel, the Virgin Mary, 
 and the lilies are shown in 
 seventeenth century speci- 
 mens, but all these items 
 have gradually been omitted 
 until the pot which held the 
 lilies alone remains. Much 
 of this lace was at one time 
 exported to Spain, but now 
 little of the Potten Kant 
 leaves the country. Brussels 
 lace is also made at 
 Antwerp. 
 
 Applique Laces. 
 
 Many kinds of laces in 
 different parts of the world, 
 such as Brussels and 
 Honiton, in Devonshire, are 
 made by applying the bobbin 
 or needle-point sprigs to a 
 machine-made net ground ; 
 or by applying lawn on net, 
 muslin, or cambric. Such 
 work was a most popular 
 pastime during the last 
 century, and the home 
 needlework thus produced 
 was largely used, where the 
 more expensive laces would 
 have taken its place had not 
 the heavy duties rendered 
 their wear impossible for the 
 masses. The embroidery 
 was worked partly to imitate 
 lace, and partly to imitate 
 the popular Indian muslin 
 
Needle-point Lace (Point d'Argentan), 6| inches wide; the latter end of Louis XIV. 's reign 
 
 (early eighteenth century). 
 
A DICTIONARY OF LACE. 
 
 - < | . 
 
 ct-'fD 
 
 - 
 
 -0-5 
 
 8 =5 
 
 embroidery. (Descriptions of the different kinds of applique laces are given under 
 their various headings.) 
 
 Argentan Lace. 
 
 The needle-point lace made at Argentan is the only needle-point lace with 
 a net ground besides Alencon which has ever been made in France. It is probable 
 that factories at both places were established 
 in the reign of Louis XIV. by Colbert, but 
 its name does not appear in the ordinance. 
 
 Like that made at Alencon, the Argentan 
 lace was at first called Point de France, 
 and though lace-makers near Ligneres-la- 
 Doucelle and in other villages worked for 
 both establishments, there are many distinct 
 characteristics in the two fabrics. The 
 Argentan excelled in the brides, or bars. A 
 speciality of Argentan is the bride picotee, a 
 remnant probably of the Venetian teaching, 
 for Italian workers were brought over to 
 show the French lace-women the art of 
 needle-point lace-making. This fact accounts 
 for the Venetian character of the early 
 designs and stitches. The bride picotee 
 consists of a six-sided button-hole bar, 
 fringed with a little row of three or four 
 pearls on each side. This bar is also called 
 bride epingle'e, because pins were pricked on 
 the pattern to show where the loops or 
 boucles were to be made hence another 
 name, bride bouclee. The art of making the 
 bride bouclee was for a long time lost. An 
 effort was made about 1830 to revive it, and 
 an old worker was found who had made it 
 in her girlhood. A distinctive feature in 
 Argentsn point is that the pattern is 
 always larger and bolder than that worked 
 in Point d'Alen9on. The toile is flatter and 
 more compact. The workmanship of 
 Alencon is more minute and less effective, 
 the reseau ground is finer. It is well to 
 know the points of difference, as the two 
 fabrics are often confounded. Both flou- 
 rished during the reign of Louis XIV. 
 
 In 1708 the manufacture of Argentan 
 had fallen into decay, when Sieur Guyard, 
 a merchant of Paris, applied to the Council 
 of the King for permission to re-establish the 
 
 
 
 p.* 
 
 11 
 
 CD l-l 
 
n 4 HISTORY OF HAND-MADE LACE. 
 
 manufacture, and to employ six hundred workwomen. He desired to place the 
 Royal Arms over his door, and asked that his engraver and draughtsman, 
 Montulay, should be exempt from all taxes except capitation. His request was 
 granted. Guyard's descendants continued the work, but the famous draughtsman, 
 Montulay, went over to a rival firm, with whom there was much quarrelling, 
 both on this account and also because of the impartiality of the Dauphin, 
 the King, Richelieu, and foreign royalties, in placing their orders with either 
 firm. The number of lace-makers in Argentan and its environs at that time 
 amounted to 1,200. Many names of gentlewomen of noble houses appear on the 
 lists of the workers, indicating that the making of point lace was carried on by 
 both rich and poor. 
 
 It was during the reigns of Louis XV. and Louis XVI. that Point d' Argentan 
 was at its best. It became almost extinct at the time of the Revolution, through 
 dispersion of the workers and failure in demand for the fabric. Since that time 
 little attempt has been made to revive it. Embroidery is now made by the town 
 workers, and the hand-spinning of hemp by the cottagers of the once-famous 
 lace-making district now takes the place of the old industry. 
 
 Argentella Point. 
 
 This needle-point lace was made in Italy, chiefly at Burano, some time after 
 the early Venetian raised and flat points had begun to wane in popularity, and was 
 the result of an effort on the part of the Italians to conform to the fashion for light 
 fine lace, when the taste for the heavy raised points had declined. It resembles 
 Argentan and Alen9on lace, but has no raised outline cord like that seen in the 
 French fabrics, the lines of button-hole stitch which surround the fillings being as 
 flat as the stitches themselves. The designs are chiefly powderings or semes, of 
 circles, ovals, or small sprays upon a net-patterned ground. By some, this Burano 
 Point is considered superior to Brussels lace, as the designs are more delicate and 
 the thread is whiter. 
 
 Arras Lace. 
 
 The bobbin lace made at Arras, in France, is identical with that produced at 
 Lille, but inferior in quality. Until the treaties of Aix la Chapelle in 1668, and 
 Nimeguen in 1678, both these lace-making centres belonged to the Netherlands, so 
 that it is not surprising that the character of the laces resembles that produced in 
 other parts of Flanders. 
 
 It is believed that the Emperor Charles V. first introduced the manufacture oi 
 lace into Arras. Primarily it was of the coarse thread variety, which was much 
 used in England. Later, finer threads were introduced. Between 1804 and 1812 
 the lace trade of Arras was in a most flourishing condition, but since that time the 
 industry has declined, and in 1851 there were only 8,000 lace-workers within a 
 radius of eight miles round the city, while their earnings did not exceed 65 centimes 
 a day. 
 
 The lace of Arras is perfectly white, firm to the touch, and very strong ; 
 mignonette is the name of the favourite design. Very little variety is found in the 
 patterns, and for this reason it is less in demand than the lace made at Lille, which 
 it much resembles ; as a rule the edges are straight and the patterns stiff. The 
 
A DICTIONARY OF LACE. 115 
 
 lace-makers achieve their work with extraordinary rapidity through long working 
 at the same pattern. The number employed in the industry, which in the last 
 century reached 30,000, is now reduced to a few hundreds. 
 
 Many years ago gold lace was also made at Arras ; in the account of the 
 coronation of George I., a charge for 354 yards of Arras lace appears amongst the 
 expenses. 
 
 Asbestos Lace. 
 
 The non-combustible mineral asbestos has been woven into a lace-like fabric. 
 This curiosity was at one time kept in the Cabinet of Natural History at the Jardin 
 des Plantes, in Paris. 
 
 A solution of asbestos is sometimes used for rendering lace non-inflammable. 
 Lace draperies and flounces used on the stage near naked lights are frequently 
 steeped in such a solution. 
 
 Austrian Bobbin Lace. 
 
 There is a comparatively modern variety made in Austria, in Bohemia. It 
 resembles old Italian bobbin lace; the school where it is made is under government 
 
 Austro-Hungarian Bobbin Lace, 6J inches wide ; nineteenth century. 
 
 patronage. The industry was commenced as a means of relieving the distress in 
 the Tyrol in 1850, and continues to flourish. 
 
 At Laybach, in Austria, there was at one time a bobbin lace factory which 
 produced lace much esteemed in the eighteenth century ; this factory no longer 
 exists. Point Gaze and a few less important laces are made in Bohemia still, but 
 little of artistic merit. Hungarian lace is made at the present day, some of it being 
 of good and artistic design. 
 
 Auvergne Laces. 
 
 The origin of the making of lace in the province of Auvergne is assigned to 
 the fourteenth century, and nearly all the point lace of Aurillac passed through for 
 
 I 2 
 
n6 HISTORY OF HAND-MADE LACE. 
 
 exportation to Spain. At the end of the seventeenth century the products of Aurillac 
 and other fine laces of Auvergne, sold on the Place at Marseilles, were valued at 
 350,000 livres per annum. It seems that the Point d'Aurillac of that period was a 
 gold and silver lace. The fabrication ended with the demand for less costly 
 ornaments at the time of the Revolution. 
 
 The laces of Murat (Upper Auvergne) were points much valued on account of 
 their beauty, and were chiefly made at La Chaise Dieu, Alenches, and Versailles. 
 At Tulle a speciality was made in galloons, which were tied together with a net 
 similar to the twisted ground of Torchon lace. These galloons were called 
 entoilages, and were used as insertions with the finest laces. The industry died with 
 the French Revolution. 
 
 At Le Puy the lace industry still flourishes, and an account of it will be found 
 under that heading. 
 
 Ave Maria Lace. 
 
 Bobbin lace of a simple Valenciennes variety. The ground is plaited. It is 
 chiefly made at Dieppe by the peasants, who have given it its special name. 
 
 Bath Brussels Lace. 
 
 A broad lace made at Honiton, under which heading it is further mentioned. 
 
 Bayeux Lace. 
 
 In the department of Calvados, Bayeux and Caen are celebrated as centres of 
 the lace-making industry. Before 1745, the lace-workers made a white thread lace 
 of Venetian design, the needle-point flowers being surrounded by a thick heavy 
 cordonnet. Light thread laces were occasionally made. 
 
 In 1740 a merchant, M. Clement, opened an establishment in Bayeux, 
 and from that time the lace-making trade there has flourished exceedingly, until 
 at the present time it is one of the first in France. The lace of Bayeux closely 
 resembles that of Chantilly and is frequently sold as such. Many of the so-called 
 Chantilly lace shawls in the Exhibition of 1862 were made at Bayeux ; the designs 
 are the same ; the mode of working is identical ; the most experienced lace judges 
 are sometimes unable to detect the difference. Silk laces were first made at Bayeux, 
 Caen and Chantilly in 1745; the silk was of ecru colour, brought from Nankin ; 
 white silk from Cevennes was afterwards used. One thickness of silk is used for the 
 ground and another for the pattern ; the manufacture of hand-made white blonde 
 lace has languished since the invention of machines for lace-making at Nottingham 
 and Calais. When large pieces of lace, such as veils, scarves, and deep flounces 
 for skirts are made, the beautiful raccroc stitch is used and the pieces are joined 
 imperceptibly, so that a shawl which would at one time have taken two women a 
 year to make, can now be completed by fifteen women in six weeks. Alen9on lace 
 is now made at Bayeux. (Further information will be found under Black Silk 
 Lace and Chantilly.) 
 
 Bedfordshire Lace. 
 
 This is a bobbin variety differing but little from Lille lace. Its manufacture 
 flourished during the seventeenth and eighteenth centuries. Queen Catherine of 
 Aragon introduced the making of lace into the county during her two years' 
 
A DICTIONARY OF LACE. 
 
 117 
 
 residence at her jointure manor of Ampthill, and encouraged by example and 
 subsidies the industry of the workers. 
 
 Much Bedfordshire pillow lace is still disposed of by itinerant lace-sellers. 
 Baby lace was made m Bedfordshire when babies' tiny frilled caps were worn, 
 quantities being used for sewing to the edges of cambric frills. This is sometimes 
 called English Lille, on account of the resemblance to the Lille patterns and to 
 those of Mechlin. The industry in this 
 county, however, as in Devonshire, is, unfor- 
 tunately, dying out, especially with regard to 
 the working of the finer patterns. The work is 
 carried out chiefly in the cottages, and geo- 
 metric or Maltese designs are worked, frequently 
 in cotton thread or flax with cotton admixture. 
 Beggars' Lace. 
 
 A term of contempt once given to the 
 
 narrow braid laces of gueuse, bisette, compane 
 
 and mignonette patterns. In the reign of 
 
 Louis XIV., many edicts were published to 
 
 prevent the courtiers from squandering their 
 
 wealth on foreign laces, and to encourage the 
 
 home manufactures by compelling the nobles 
 
 to wear the coarse kind of Torchon made in 
 
 France at the time ; but the fastidious French- 
 men would have none of the " Beggars' Lace," 
 
 which was never worn except by the lower 
 
 classes who could only afford a cheap and easily 
 
 executed lace. Cheap laces are no longer called 
 
 Beggars' Lace. 
 
 Belgian Laces. 
 
 The only original lace of Belgium is the old Flanders Point. All other kinds 
 are reproductions of the laces of the other countries of Europe. The Italian 
 laces are made, the application, and fine French and English varieties. During 
 the Austrian occupation of Italy, when the lace industry declined considerably 
 in the Peninsula, the trade in Belgium was extremely prosperous. Again when 
 Point d'Angleterre was required for England and Fiance, in the seventeenth and 
 eighteenth centuries, Belgium supplied large quantities. The imitative faculty 
 is extraordinary. "Made in Belgium" is to the lace trade what "Made in 
 Germany " is to the trade of the nineteenth century in fancy goods ; that is to say, 
 whenever a new type or pattern in hand-made lace appears in Italy, France, or 
 elsewhere, that same lace, at a rather cheaper price, will a month afterwards 
 appear from Belgium. 
 
 Flanders has disputed with Italy the honour of introducing to the world so 
 lovely a fabric as lace, but we think there are conclusive proofs ot the priority of 
 
 \T 
 
 Venice in making needle-point lace, as we have briefly shown in our opening 
 chapters. As to bobbin lace, the arguments used in favour of the invention in 
 
 Bobbin "Baby Laces," 1| inches wide, 
 made in Bedfordshire "and adjacent 
 counties ; nineteenth century. 
 
n8 
 
 HISTORY OF HAND-MADE LACE. 
 
 Flanders are based upon a picture in a side chapel in the Church of St. Peter's, at 
 Louvain. Quentin Matsys has depicted a girl working at a pillow. This picture 
 was painted in 1495, and the occupation was evidently chosen as one common in 
 the country at the time. But on close examination it will be found that it is 
 embroidery and not lace which is being made. 
 
 Every northern country in modern Europe learnt the art of bobbin lace-making 
 from the Netherlands, chiefly through the refugees who brought their knowledge 
 of the handicraft with them when they fled from the horrors of the religious 
 persecutions of the sixteenth century. 
 
 So keenly alive were the Belgians to the profit accruing from the national 
 handicraft of lace-making, that in 1698 an Act was passed in Brussels making it a 
 criminal offence to 
 suborn the workpeople, 
 as so many of the most 
 skilful were emigra- 
 ting, led away by the 
 high wages offered in 
 France and other coun- 
 tries. Well organised 
 ecoles dentellieres, or 
 lace schools, still exist 
 in Belgium, and chil- 
 dren's education in 
 lace-making com- 
 mences at five years 
 of age. This being so, 
 it is little wonder that 
 lace is a source of 
 national wealth. 
 Large quantities are 
 made in the ateliers 
 and lace schools in the 
 towns, some also by 
 the villagers in their 
 own homes throughout Belgian Tape Lace, lOi inches wide ; seventeenth century. The rseau 
 the country. ~ or ground is needle -P int - 
 
 As early as the sixteenth century, the Emperor Charles V. ordered that 
 lace-making should be taught in the schools and convents, and we have seen an 
 interesting proof in the Musee Cluny in Paris that he patronised the lace-makers 
 in a practical manner by wearing cut-work and embroidery. The form it takes is 
 that of a cap worn by the Emperor underneath his crown. It is made of evenly 
 woven linen and designs of very fine lacis or cut-work alternating with the imperial 
 arms embroidered in relief. 
 
 Large quantities of black lace are manufactured in Belgium at the present day, 
 this industry especially flourishing in and around Grammont. The lace-making 
 industry of Mechlin has declined considerably on account of this lace being an 
 

 
 ira^c^MTt". .>A x ^W% 3,i*C^\ 
 
 fe^ ^^^p'swt^S . MSw^ 
 
 Lappet of eighteenth-century Belgian Bobbin Lace, 4* inches wide. The gimp or toile' 
 of the close parts of the design is as fine as cambric ; the cordonnet is raised. 
 
A DICTIONARY OF LACE. n 9 
 
 easy one to imitate by machinery. Louvain and Antwerp were the towns which 
 once gave their names to laces made in the neighbourhood. 
 
 Special descriptions of Belgian laces will be found under the headings 
 Antwerp, Binche, Brussels, Flanders, Mechlin, Trolle Kant, Valenciennes, etc. 
 Binche Lace. 
 
 Binche Lace, or Guipure de Binche, made at a town in Hainault. The variety 
 now executed is of the Brussels bobbin make. Flat sprigs wrought with the 
 bobbins are afterwards appliqued on to machine-made net. The making of lace at 
 this town began early in the seventeenth century, and the fabric produced was at 
 one time a rival to the now more famous Brussels ; it was then, and until the end 
 of the eighteenth century, called Guipure de Binche. The plait ground was never 
 made : spider and rosette grounds were used together with the mesh patterns. It 
 resembled old Valenciennes more than any other kind of lace. This is accounted 
 for by the fact that Valenciennes, when lace was first made there, formed part of 
 the ancient province of Hainault, and was only transferred to France by treaty 
 and conquest at the end of the seventeenth century. It is almost impossible to 
 distinguish Binche Lace from that made at the French centre. 
 
 Bisette Lace. 
 
 A bobbin lace made during the seventeenth century in the villages in the 
 neighbourhood of Paris. It was coarse and narrow as a rule, though there were 
 three grades, of varying widths and quality. The peasant women who made it used 
 it principally for ornamenting their own caps. Gold and silver thread laces were 
 also called Bisette. These were sometimes further ornamented with thin plates of 
 the metal. 
 
 Black Silk Laces. 
 
 It would be extremely difficult to determine when the black silk lace industry 
 was commenced. In the reign of Louis XV. in France the fabric was worn ; as 
 early as the occasion of the marriage of Louis XIV. with the Infanta Marie 
 Therese it is mentioned. At this time it was used over coloured brocade, and also 
 as a trimming for the decolletage. Black silk guipure has never been very 
 popular, though at the time when in the early Victorian Era Indian shawls were 
 much worn in winter, black silk lace shawls replaced the warm material in summer, 
 and the arrangement of the folds was considered a severe test of elegance. The 
 shawl was worn folded, the two points nearly reaching the edge of the skirt at the 
 back, and the front being fastened across with a shawl brooch or ornamental pin 
 specially made for the purpose. 
 
 Black silk lace is now made at Bayeux, at Chantilly, in Malta, and in 
 Catalonia. Embroidered net lace work is extensively made in the prisons in Italy, 
 machine-made black net being darned with silk in bold effective patterns. A coarse 
 loosely-woven silk thread is used for the purpose. 
 
 Blandford Lace. 
 
 Defoe wrote of Blandford in Dorsetshire : " This city is chiefly famous for 
 making the finest bone lace in England ; they showed us some, so exquisitely fine, 
 as I think I never saw better in Flanders, France, or Italy; and which, they said, 
 they rated above ^"30 sterling a yard." This was in 1731. Soon after the whole 
 
I2O 
 
 HISTORY OF HAND-MADE LACE. 
 
 town, with the exception of twenty-six houses, was consumed by fire, and the 
 lace trade greatly declined, being replaced by that of button making,' in which it 
 is now chiefly engaged. 
 
 Black Lace of Caen and Bayeux (much reduced) ; nineteenth century. 
 
 Blonde de Caen. 
 
 A silk bobbin-made lace. It was about 1745 that the blonde laces, which 
 have rendered Caen famous, first appeared ; both black and white flax thread 
 laces had formerly been made in the neighbourhood. 
 
 At first the blondes were of a creamy colour, hence the name nankins or 
 blondes, the silk being imported from Nankin. Later improvements in the 
 preparation of the silk made white blondes possible, and their lightness and 
 brilliancy account for their popularity. 
 
A DICTIONARY OF LACE. 
 
 121 
 
 When, early in the nineteenth century, the thread lace-makers were reduced 
 to ruin by the introduction of machine-made net, the silk blonde workers enjoyed 
 increased prosperity. It was about 
 1840 that the lace-makers of Caen 
 began the manufacture of black silk 
 
 laces of the same pattern as the white ^ 
 
 and cream laces ; so delicate are the g 
 
 tints of these latter that it is said that S* 
 
 the women work in the open air during & 
 
 the summer to preserve the purity of 1 
 
 colour, and in winter they sit in the | 
 
 lofts over the cow houses. These lofts 
 
 being warmed by the breath of the ~ 
 
 animals, no fire is required with its W 
 inevitable smoke. 
 
 MJ 
 
 The old blonde laces had a ground * 
 
 of coarse mesh ; the later ones are g 
 
 finer, the designs in better proportion. |- 
 
 It was at Chantilly that the double g 
 
 ground or Paris point was first used. ^ 
 
 It is strange that none of the authors g- 
 
 of the seventeenth and eighteenth cen- 8- 
 
 turies mention the town of Chantilly, g. 
 which was the most important blonde 
 
 lace-making centre outside Paris. V 
 
 Blonde de Fil. g 
 
 This is described under Mignonette f 
 Lace. 1 
 
 Oi 
 
 CD 
 
 Blonde Net Lace. ", 
 
 O 
 
 Bobbin lace with a fine network 
 
 ground and heavy pattern. Blonde , 
 
 lace has a silk reseau resembling that ^ 
 
 for which the thread laces of Lille are 
 
 celebrated, and the toile is worked with ~ 
 
 a broad, flat strand, which glistens 
 
 effectively ; to this brightness blonde 
 
 laces owe their popularity, for there is t? 
 
 usually little artistic merit in their g 
 
 design. Such laces are made at Caen, g 
 Chantilly, Barcelona, and Catalonia, 
 and they are more fully described under 
 Blonde de Caen and Chantilly. 
 
 Bobbin Lace. 
 
 The correct name for lace made on a stuffed cushion by twisting and plaiting 
 threads wound on bobbins. By this term the fabric was known during the seventeenth 
 
122 
 
 HISTORY OF HAND-MADE LACE. 
 
 and eighteenth centuries to distinguish it from other hand-made laces which, though 
 frequently supported on a pillow, were executed without bobbins. During the 
 early part of the nineteenth century, when there was little accurate knowledge of 
 lace, the custom of calling bobbin lace " pillow lace " grew, but none who have seen 
 the workers of lace in the great modern schools of Europe and know that needle- 
 point and knotted laces, as well as bobbin lace, are supported in the hands of the 
 worker on a pillow, can accept the term pillow lace as a distinctive title for one kind 
 only. The French dentelle au fuseau alludes to the bobbins, the Italian term 
 a Piombini signifies iron-weighted bobbins, and Merletti a Ftiselli bobbin lace, 
 
 
 Cuff. Band of Linen embroidered in Satin Stitch and edged with a broad and with a narrow length of 
 silk Bobbin-made Lace with a wavy tape-like pattern. Probably Maltese ; seventeenth century. 
 
 correctly so called by Lady Layard in her " Technical History of Italian Lace." 
 It is time that England returned to her old accuracy in describing this kind of 
 lace. 
 
 The fact that lace has been made upon the pillow with bobbins can usually 
 be detected by the plaiting and twisting of the threads. The forerunners of the 
 bobbins used by pillow lace makers were little implements which are to be seen 
 in a picture in a Harleian MS. of the time of Henry VI. and Edward IV., in 
 which directions are given for the making of " Lace Bascon, Lace Indented, 
 Lace Bordered, and Open Lace, &c." The MS. describes how threads in 
 combinations of twos, threes, fours, fives, tens, and fifteens are to be twisted and 
 
A DICTIONARY OF LACE. 
 
 123 
 
 plaited together ; instead of the pillow bobbins and pins with which pillow lace is 
 now made, the hands were used, each finger serving as a peg. Occasionally the 
 hands of three or four assistants were required to " furnish sufficient pegs for a broad 
 border." In the middle of the seventeenth century, the best period for bobbin as 
 for all other laces, it was made as follows, and the methods have changed but 
 little : A pattern was first drawn upon a piece of paper or parchment, then pricked 
 with holes. Great skill was required for this process, as a pricker must determine 
 where the principal pins should be stuck for guiding the threads. The pricked 
 pattern was then placed upon the cushion. (This " pillow" varies in shape and size 
 in different countries, or with the taste of the individual worker, some using a 
 circular pad backed with a flat board, in order that it may be placed upon a table 
 and easily moved as the worker may wish, while others use a well-stuffed bolster, 
 
 Bobbin Lace, 2i inches wide, made in Mechlin, Belgium ; late eighteenth century. The 
 sprigs are made separately from the reseau, into which they are afterwards worked. 
 
 short and flattened at both ends.) On the upper part of the pattern were fastened 
 the ends of the threads unwound from the bobbins, which thus hung across the 
 pillow. These bobbins were thrown and twisted with regulated precision, in order 
 to form the fabric of the ground and pattern. 
 
 Bobbin lace is constantly made according to the patterns of needle-point laces; 
 in the seventeenth century especially, the points of Venice were extensively 
 reproduced. The bobbin lace of Buckinghamshire has been celebrated in England 
 ever since the eighteenth century. The most used " edging " bore the name of 
 " trolly," fronx " Trolle Kant," or sampler lace, sent round by the bobbin lace- 
 makers of Mechlin, to show the special variety of patterns upon which the workers 
 were engaged at the time. Mechlin has always had a very high reputation for 
 
I2 4 
 
 HISTORY OF HAND-MADE LACE. 
 
 good bobbin lace, since the days when lace-making patterns and peculiarities 
 came to be identified with certain localities. In the seventeenth century Mechlin 
 was called the "Queen of Lace." The chief characteristics of the lace made in 
 this town (which are explained more fully under Mechlin Lace) are the plaiting 
 of the meshes and the outlining of the patterns with a thread. In Brussels 
 bobbin lace the meshes of the groundwork are hexagonal, four of the sides being 
 of double twisted threads, and two of four threads plaited four times. This fact 
 
 Italian Bobbin-made Tape Lace, 4J inches wide ; seventeenth century. This specimen 
 
 was purchased in Milan. 
 
 is an infallible guide in the judging of Brussels bobbin lace. On the other hand, 
 the Mechlin mesh, though hexagonal in shape, has four sides of double twisted 
 threads and two sides of four threads plaited three times. 
 
 The soft quality of fine bobbin -made lace is a guide in distinguishing 
 between bobbin-made and needle-point lace, the latter having a much harder 
 and crisper appearance, however fine the threads with which it is worked. In 
 Brussels bobbin lace a bone instrument was used to give concave shapes to 
 
A DICTIONARY OF LACE. 
 
 I2 5 
 
 certain parts of the design, such as petals and leaves, which were much 
 improved by the realistic effect thus obtained. The edges of such flowers 
 were sometimes emphasized by a slighly raised plaited work, which gave the 
 effect of a cordonnet. 
 
 The first mention of a bobbin lace is in the year 1596, in the Nuova 
 Inventione, published by Giacomo 
 Franco, which gives two patterns 
 of lace made with bobbins for o 
 household linen. 
 
 CO 
 
 Both Vinciolo and Parrasoli, 
 in the early part of the seventeenth 
 century, give examples of Merletti 
 a Piombini (lead bobbin laces). *, 
 (Full descriptions of special bobbin ' 
 laces will be found under their 
 several headings.) g 
 
 Bone Lace. 
 
 The name first given to bobbin- 
 made laces on account of the bones 
 of fishes and splinters of the bones 
 of animals being used instead of 
 pins, and the bobbins being fre- 
 quently of carved bone. 
 
 Bone point is sometimes spoken 
 of; this signifies the finest quality 
 of bobbin lace, for though it might 
 be expected that point should mean 
 needle-point, it does not always do 
 so the word point being used by 
 lace experts to describe a fine 
 quality of lace, whether of needle- 
 point or bobbin lace. 
 
 Brazil Lace. 
 
 T 
 
 A bobbin lace of coarse texture 
 and feeble design, used only amongst 
 the natives. It resembles the bobbin 
 laces of Europe in a slight degree, 
 the patterns being in the style of the 
 Valenciennes and Torchons, but is 
 far inferior in wear, as Brazilian 
 lace is made with cotton thread. 
 
 Maceio, in the province of Alagoas, was the chief centre of the lace trade in the 
 middle of the nineteenth century. 
 
126 
 
 HISTORY OF HAND-MADE LACE. 
 
 Bridal Lace. 
 
 This is frequently mentioned in 
 records of Elizabethan times, and seems 
 to have been made of blue thread, being 
 worn by the guests at a wedding rather 
 than by the bride herself. Bridal lace 
 was made at Coventry until the Puritans 
 discountenanced the wearing of such 
 gauds. 
 
 Broderie de Malines. 
 
 The name sometimes given to old 
 Mechlin Lace, under which heading it 
 is described. 
 
 Broderie de Nancy. 
 
 One of the names given to Drawn- 
 work, to which heading the reader is 
 referred. 
 
 Bruges Laces. 
 
 Guipure de Bruges, or Point 
 
 Duchesse, is a bobbin lace of fine quality ; 
 
 the sprigs resemble those of Honiton lace, 
 
 and are united by brides or bars ornees. 
 
 A large quantity of Valenciennes lace 
 
 is also made at Bruges, but the quality 
 
 is not as good as that produced elsewhere, for in forming the ground, the bobbins 
 
 are only twisted twice, while 
 those, for example, at Ypres and 
 Alost are twisted four and five 
 times. The oftener the bobbins 
 are twisted the clearer the effect 
 of the mesh ground. 
 
 Bruges pillow lace has the 
 reputation of washing thick. 
 
 The lace-making at Bruges 
 is now mostly in the hands of 
 religious communities. Duchesse 
 is the most popular type. The 
 Guipure of Honiton resembles it 
 and the Venetian Mosaic, but the 
 English lace is not worked with 
 such fine thread, nor are the 
 Devonshire leaves and sprays of 
 such good and bold design, weak 
 
 TT*' design being the chief defect of 
 
 Duchesse Spray of Bobbin Lace, such as is made at Bruges . .. TT -^ i 
 
 at the present day. the modern Honiton lace. 
 
 Bobbin-made Cotton Lace from Maceio, in the 
 province of Alagoas, Brazil ; made in 1850. 
 
A DICTIONARY OF LACE. 
 
 127 
 
 The lace resembling Duchesse made in Venice in the present day is called 
 Mosaic lace, on account of small sprigs being used to build up the pattern as the 
 pieces of stone and glass are used in Mosaic work. 
 
 Brussels Lace. 
 
 The needle-point lace of 
 Brussels is known as Point a 
 1'Aiguille and Point Gaze. The 
 bobbin lace is sometimes named 
 Point Plat or Flat Point the 
 word point in this case signifies 
 the fine quality of the lace, and 
 has nothing to do with the needle 
 point. Point Plat Applique is the 
 name given to Belgian bobbin - 
 made sprigs which are after- 
 wards applied to machine-made 
 net. The term Point d'Angle- 
 terre, as applied to a Belgian 
 lace, recalls an interesting page 
 in the history of Brussels lace. 
 In 1662, the English parliament 
 was so alarmed at the effect on 
 English trade of the large quantity 
 of lace imported into England, 
 that English laces were protected 
 by Act of Parliament, and a law 
 was passed forbidding the impor- 
 tation of foreign laces. The 
 English lace merchants were 
 determined not to be deprived of 
 their lucrative trade, however, 
 for large quantities of lace were 
 required in order to supply the 
 extravagant court of Charles II., 
 so it came about that Belgian 
 lace was first called Point d' Angle- 
 terre, for under no other name 
 would its sale in England be legal. 
 The merchants combined, bought 
 up all the finest lace in the 
 Brussels market, and, smuggling 
 it over to England, sold it under 
 the name of English point ; and 
 so the mistaken idea arose that 
 all Point d'Angleterre was made 
 
128 
 
 HISTORY OF HAND-MADE LACE. 
 
 in Belgium, and that it originated in that country : the chief portion of the finest 
 Point d'Angleterre was made in England. 
 
 The thread used in making Brussels lace is of exquisite fineness ; the flax for 
 its manufacture is grown in Brabant ; it is cultivated for lace-making at St. 
 Nicholas, Tournay, and Courtrai. The steeping or rouissage is done in the Lys, 
 the river close to Courtrai, which gives better results than any other water. 
 
 Every aid which can be devised is rendered to the spinner. A background of 
 dark paper is placed where it will best show up the thread as it is drawn from the 
 distaff, and the room is so arranged that a single ray of light is thrown upon the 
 
 Specimen of Brussels Lace which once belonged to Queen Charlotte. 
 
 work. Even with this assistance the spinners rely upon the "feel" of the thread 
 as it passes through their fingers, rather than upon the sight of what is so fine as to 
 almost escape their eyes. 
 
 The wages of a clever Brussels thread-spinner are extremely high, which seems 
 just, when we know that from one pound of flax lace can be manufactured to the 
 value of ^"700 ; the hand-spun thread, however, costs as much as ^240 per pound. 
 It is now little used. Thread spun by machine in England from Belgian flax 
 is much used in Belgium ; this is occasionally depreciated in value by cotton 
 admixture, and the fineness has never equalled that made by hand. 
 
A DICTIONARY OF LACE. 129 
 
 The earliest Point a 1'Aiguille patterns resembled those of ancient Point de 
 Venise. Lace appears to have been first made in Brussels in the fifteenth century, 
 and a few rare specimens are still preserved in the old churches of Brabant. The 
 designs were taken from the early Genoese Guipures in Gothic style. The designs 
 of Brussels laces have always followed the fashions, which, indeed, affected lace in 
 every part of Europe. The most ancient style was Gothic or Geometric. Then 
 came the stately and flowing Renaissance lines which were used until the simplicity 
 in all fabrics at the time of the Revolution demanded less ornate designs. The first 
 Empire fashion demanded semes or powderings of spots, insects, or tears, together 
 with small floral borders and wreaths. Since 1830 the patterns have become more 
 floral, the flowers themselves following the lines of nature closely and being less 
 conventional. Many sprays display flowers made of needle and bobbin lace 
 mingled together. These are frequently mounted on machine-made net. 
 
 The Brussels flowers are of two kinds, needle-point and those made with 
 bobbins ; both these are made separately from the grounds. In old Brussels lace 
 the ground was worked with bobbins round the flowers. Later the flowers were 
 sewn into the ground. This method obtains in the present day. Sometimes the 
 flowers are sewn on to the ground. The modes connecting Brussels lace designs 
 are most elaborate, as are the fillings or intricate stitches. Relief is given to the 
 outlines of the flowers and fibres of leaves by a raised plaited cordonnet in the 
 bobbin laces ; in the needle-point lace the cordonnet is not covered with button- 
 holing. 
 
 The present-day method is to make the lace in separate pieces ; one worker 
 makes the flowers, another " hearts " them, that is, adds the intricate centres and 
 the open work, or jours. This method, though it ensures perfection in the working 
 of each separate stitch, does not encourage individual artistic effort, for it is the 
 master alone who selects the ground, chooses the thread, and knows the effect the 
 whole will produce. He it is who chooses the design, pricks it into the parchment, 
 and cuts this up into pieces, handing each piece ready pricked with a section of the 
 pattern to the special worker whose business it is to put in the stitches of which 
 she is the best exponent. Sometimes, however, in the smaller lace factories, single 
 workers undertake the whole process. 
 
 Machine-made net has been used for the application of Brussels flowers 
 land sprigs since the invention of machinery for making net; but no ground yet 
 (invented is superior to the needle ground. This is worked in strips not more than 
 an inch wide, which are joined to the required size by a stitch known to the lace- 
 |makers of Brussels, Alen9on, and Venice only. This is the assemblage, or point de 
 raccroc, or fine joining which cannot be distinguished from the net itself. 
 
 The vrai reseau is now seldom made ; it is stronger, but three times more 
 expensive than the bobbin ground. It differs from the Alencon ground in being a 
 (simple looped stitch instead of being whipped a second time as in the French 
 /ariety. 
 
 In the bobbin-made Brussels ground, two sides of each hexagonal mesh are 
 formed by four threads plaited, and the other four sides by threads twisted together. 
 
 A magnificent collection of the needle-point ground lace was presented 
 Josephine on her first public entry into Brussels with Napoleon. 
 
13 
 
 HISTORY OF HAND-MADE LACE. 
 
 The Brabancon or Brussels lace has one great defect that of discolouration. 
 In order to conceal the brownish tint of the needle-point sprays as they come from 
 the hands of the workers, the workwomen place the flowers in white lead powder, 
 and beat them with their hand to whiten the flax. This operation is extremely 
 dangerous to the worker, who frequently contracts lead poisoning from inhaling the 
 injurious powder, and also makes the lace turn black when exposed to sea air or to 
 heated rooms. This black tone can never be removed. 
 
 Lime is occasionally used to whiten discoloured lace, but this means absolute 
 destruction of the fabric by burning when water is applied. 
 
 Buckinghamshire Lace. 
 
 The bobbin lace of Buckinghamshire is celebrated for its fine, clear grounds, 
 which rival those of Lille, the twisted plaits used for such grounds being generally 
 of the same model, though occasionally made according to the Valenciennes 
 
 Border of Bobbin-made Buckinghamshire Trolly Lace, 2J inches wide ; late eighteenth century. 
 
 method. All Buckinghamshire lace is worked in one piece on the pillow, reseau 
 and toile being formed by means of the bobbin. 
 
 Queen Catherine of Aragon did much in introducing and encouraging the lace- 
 making industry in Buckinghamshire, as she did that of the neighbouring counties of 
 Bedfordshire and Northamptonshire. It flourished exceedingly, until in 1623 a 
 petition was addressed to the High Sheriff of Buckinghamshire from Great Marlow, 
 showing the distress of the cottagers from "the bone lace-making being much 
 decayed." In 1626 Sir Henry Borlase founded and endowed the Free School of 
 Great Marlow, for twenty-four boys to read, write, and cast accounts, and for 
 twenty-four girls "to knit, spin, and make bone lace," and, in consequence, the 
 trade of that place flourished again, even French authors speaking of the town 
 with its "manufactures de dentelles au ftiseau" which, however, they say are "inferieutt 
 a cells de Flandres." 
 
 In the seventeenth century lace-making flourished in Buckinghamshire. Later, 
 a petition from the poet Cowper to Lord Dartmouth in favour of the lace-makers 
 
A DICTIONARY OF LACE. 
 
 declared that hundreds in this little town (Olney) are upon, the point of starving, 
 and that the most unremitting" industry is barely sufficient to keep them from it." 
 Probably some change in fashion had caused this distress. 
 
 There were lace schools at Hanslope, and children taught there could maintain 
 themselves, without further assistance, at eleven or twelve years of age. It is 
 interesting to note that boys were taught the handicraft as well as the girls, and 
 many men when grown 
 up followed no other 
 employment, which 
 seemstousan economic 
 mistake, as there are 
 so many trades suitable 
 for men, so few for 
 women as home 
 workers. The lace 
 made at Hanslope in 
 the eighteenth century 
 was valued at from six- 
 pence to two guineas a 
 yard, and the lace trade 
 was most important, 
 800 out of a population 
 of 1275 being engaged 
 in it. 
 
 Newport Pagnell, 
 from its central 
 position, was of great 
 commercial import- 
 ance with regard to the 
 bone lace manufacture. 
 In the Magna Britannia, 
 1720, it is spoken of as 
 "a sort of staple for bone 
 
 Bobbin-Made Buckinghamshire Laces ; nineteenth century. 
 
 lace, of which more is 
 thought to be made here 
 than in any town in 
 England. That commodity is brought to as great perfection almost as in Flanders." 
 In 1752 the first prize, for the maker of the best piece of bone lace in England, 
 was awarded to Mr. William Harriot, of Newport Pagnell, Bucks. In 1761, we 
 are told by Mrs. Bury Palliser, Earl Temple, Lord Lieutenant of Buckingham- 
 shire, presented, on behalf of the lace-makers, a pair of lace ruffles to the King. 
 His Majesty asked many questions respecting this branch of the trade, and was 
 graciously pleased to say that the inclination of his own heart naturally led him to 
 set a high value on every endeavour to improve English manufactures, and 
 whatever had such recommendation would be preferred by him to works of possibly 
 higher perfection made in any other country. 
 
 K 2 
 
132 
 
 HISTORY OF HAND-MADE LACE. 
 
 The manufacture of lace in Buckinghamshire and Bedfordshire was consider- 
 ably improved by the influx of French emigrants who took refuge in England at 
 the end of the eighteenth century. In the neighbourhoods of Burnham and 
 Desborough especially the trade was much extended. 
 
 In Sheahan's " History of Bucks," published in 1862, the following places are 
 mentioned as being engaged in the trade: Bierton (where both black and white 
 lace was made), Cuddington, Haddenham, Great Hampden, Wendover, Gawcott 
 (where black lace was chiefly produced), Beachampton, Marsh Gibbon, Claydon, 
 Oving (celebrated for its black and white laces), Bletchley, Lavendon, Great 
 Sandford, Loughton, Milton Keynes, Moulsoe, Newton Blossomville, Olney, 
 Winslow, and other villages. 
 
 The narrow edgings so much used when tiny frilled caps were worn by 
 
 babies, were made in 
 Buckinghamshire, and 
 known in the trade as 
 Baby lace. The dis- 
 continuance of this 
 fashion, together with 
 the introduction of 
 machine-made lace, 
 has caused the making 
 of Buckinghamshire 
 lace to decline con- 
 siderably. The in- 
 dustry has, however, 
 revived to a small 
 extent within the last 
 few years, and some 
 fine specimens were 
 shown at the Health 
 Exhibition, in London, 
 
 in 1884. The name trolly is used in connection with the thick thread, or cordonnet, 
 with which the outline of the pattern is accentuated this is known as " a trolly " by 
 the workers. Large quantities of lace for the Queen's trousseau were made in 
 Buckinghamshire, shawls, sunshades, and trimming for underlinen having been 
 executed in the neighbourhood of Paulerspury and elsewhere. It was in this 
 district also, we are informed by Miss Burrowes, that the Princess May gave a 
 large order for Buckinghamshire baby lace to trim the little garments prepared for 
 Prince Edward of York. 
 
 Bullion Lace. 
 
 A lace made of gold and silver threads. The earliest laces were made of gold 
 threads. A specimen was discovered on the opening of a Scandinavian barrow 
 near Wareham in Dorsetshire. Bullion lace is still much used in the East for 
 ornamenting robes of state, and in Italy and France for elaborate priests' vestments 
 and saints' robes. In the time of Queen Anne, Bullion lace was lavishly used for 
 
 Border of Gold and Silver Gimp ; eighteenth century. 
 
A DICTIONARY OF LACE. 
 
 133 
 
 Eurano Needle-Point Lace. 7i inches wide. The fine net 
 ground is made entirely with the needle. Nineteenth 
 century. 
 
 decorating the livery of menservants ; and in its braid form still serves this purpose, 
 and that of ornamenting the uniforms of officers in the army and navy. Officers' 
 epaulettes are of Bullion lace or braid, really of gold wire ; the thick kind is called 
 Bullion; the thinner frisnre ; the flat kind or braid is termed clinquant ; and all kinds 
 are classed under the name 
 cannetille. 
 
 Bunt Lace. 
 
 This is described under 
 the heading Scotch Lace. 
 
 Burano Lace. 
 
 In the Island of Burano 
 a considerable quantity of 
 Venetian point lace was 
 manufactured during the 
 eighteenth century. The 
 ground was the reseau, not 
 the bride variety, so that, in 
 this particular, the lace resem- 
 bled Alengon and Brussels. 
 The thread used was ex- 
 tremely fine and delicate. Until 1845 the art of lace-making lingered on in the 
 nunneries, but little was made elsewhere. During recent years a revival has taken 
 place, and the Burano lace of the present day is in no way inferior to the old fabric, 
 while laces identical with the finest Venetian, Rose Point, Point de Gaze, Alencon, 
 and Argentan are produced, which rival in beauty such laces made in the best 
 years of their native manufacture. 
 
 In 1874 M. Seguin wrote, "There still xist Some women who make needle- 
 point lace at Burano, a small island not far from Venice, where in past times the 
 most famous laces were produced." 
 
 The revival of the Burano lace industry, which took place at the same time as 
 
 that of Venice, Pelestrina, 
 and Chioggia, is one of the 
 most interesting pages of 
 modern lace history, and 
 should inspire those who are 
 desirous of helping the in- 
 dustrial classes of their own 
 country to commercial pros- 
 perity. In 1872 the hard 
 winter reduced the fishing 
 
 Point Gaze, or Point Bruxelles, made at the Royal Lace School 
 at Burano ; late nineteenth century. 
 
 population of Burano to semi- 
 starvation. Relief was given temporarily and a fund was created, headed by Queen 
 Margherita of Italy and the Pope, for resuscitating the lace industry. One old 
 woman, Cencia Scarpariola, had worked at the old Burano point and could 
 remember the stitches, but could not teach them. Madame Anna Bellorio d'Este, 
 
i 3 4 HISTORY OF HAND-MADE LACE. 
 
 the present mistress of the Burano school, watched the worker, practised herself, 
 then taught eight pupils. Ladies interested in the work came forward with the 
 necessary funds ; and the excellence of the lace produced assured constant orders. 
 The artist Signor Paulo Fambri, together with the Princesse Giovanelli and 
 Comtesse Marcello, were on the board of direction, and during the first year prizes 
 were gained for the excellence of the work. At the present moment 600 workers 
 are constantly employed either at the Royal Lace School, which has its head- 
 quarters in the Municipal Buildings, or at their own homes, after receiving not less 
 than two years' instruction at the school. There is a school of design in connection 
 with the factory, and excellent results have been obtained from the slight artistic 
 training which is necessary for the worker in the higher branches. The prosperity 
 of the island has increased enormously, the marriage rate has doubled in twenty 
 years, and many a young worker is able to save out of her earnings the ^"30 or 
 ^"40 which will purchase a little cottage to serve as her dot. 
 
 Only the choicest and most beautiful kinds of lace are made at Burano at 
 the present day ; they include Point de Venise, Tagliato a fogliami, Point de 
 Venise a la rose, Point d'Argentan, Point d'Alencon, Point de Bruxelles, and 
 Point d'Angleterre. 
 
 Campane Lace. 
 
 A bobbin-made edging, used to sew at the edge of cambric muslin or stuffs, 
 also for widening other laces, and occasionally to replace picot or pearl. In 1690 
 it is described as " a king of narrow pricked lace." The word " pricked " refers 
 to the pricking of the pattern upon the pillow. Campane laces were also made of 
 gold and coloured silks, and had a scalloped edge. These were used for trimming 
 mantles and scarves. In the wardrobe accounts of George I. an entry appears of 
 gold Campane buttons. Campane lace is now unknown to commerce. 
 
 Cannetille. 
 
 Another name for Bullion Lace, under which heading it is described. 
 
 Carnival Lace. 
 
 A reticella lace made in Italy, Spain, and France during the sixteenth 
 century; its distinguishing feature was the pattern, which was formed of the 
 cyphers, crests, and armorial bearings of the families for whom it was made ; in 
 this particular only does it differ from other reticella lace. 
 
 Large quantities of it were used in the making of the trousseaux of brides of 
 noble houses; and the garments which were trimmed with it were worn only at the 
 wedding and upon great ceremonies and state occasions afterwards, such as carnivals. 
 It is sometimes called BridkHace. 
 
 Carrickmacroff Lace. 
 
 Like all Irish lace, this is a copy of the lace of other countries. There are two 
 kinds now made in Co. Monaghan, the Applique and Guipure. Applique is 
 worked upon machine-made net ; the Guipure, which is really more of an 
 embroidery than a lace, is made with finest Mull muslin or lawn, upon which the 
 design is traced ; a thread is then run round the outlines of the design or overcast 
 
A DICTIONARY OF LACE. 135 
 
 very closely, the centres of the flowers are cut away, button-holed, and filled with 
 open stitches and wheels. The various detached parts of the pattern are united 
 with bars ornamented with pearls or picots ; the material is then cut away close to 
 the overcast. This lace when washed is apt to fray away from the overcast, so 
 should be handled with great care. 
 
 Caterpillar Lace. 
 
 Caterpillar lace was once made at Munich by means of large hairy caterpillars. 
 A man had the ingenious idea of making the insects unconscious lace-makers. 
 He made a paste of the food of the caterpillars, which was thinly spread on a flat 
 stone. A lace design was then traced upon the paste with oil, and the insects 
 were placed at the bottom of the stone, which was put in an upright position. 
 As they ate their way from the bottom to the top, they avoided all parts touched 
 with the oil, and spun a strong web as they went, which served^ to connect the 
 uneaten parts together. The lightness of the lace thus formed was extraordinary. 
 The corresponding quantity made in finest flax thread weighed hundreds of times 
 heavier than the web of the catterpillar. 
 
 Caul Lace. 
 
 The ancient name for Netting. 
 
 Ceylon Pillow Lace. 
 
 This is made by the native women. That it resembles the lace of Malta is 
 accounted for by the fact that the knowledge of its manufacture was probably 
 imported by early settlers who had acquired the art of making Maltese lace from 
 the Venetians who then owned the island. It is of no commercial value. 
 
 Chantilly Lace. 
 
 A bobbin lace made of black silk and linen thread. Flax thread lace was 
 first made at Chantilly in 1740. Previous to this there had been a lace establish- 
 ment formed at the beginning of the seventeenth century by Catherine de Rohan, 
 Duchesse de Longueville : she had a lace school at her chateau at Etripagny, where 
 the double or Chantilly ground was first made. The workers originally came from 
 Dieppe and Havre, and the town of Chantilly rapidly became the centre of a 
 district of lace-makers ; the principal villages employed in the industry were Saint 
 Maximien, Viarmes, Meric, Luzarches, and Dammartin. 
 
 Narrow laces were first made ; these were afterwards replaced by guipures, 
 white thread and black silk laces. The last-named were the black silk blonde laces 
 which made Chantilly so famous. The black laces were at first not approved at 
 Versailles, but both Marie Antoinette and the Princess de Lamballe afterwards 
 patronised the Chantilly lace factory, as is proved by an old order book belonging 
 to a lace firm. Madame Dubarry was a large purchaser, and seems to have 
 delighted in the patterns. The workers at Chantilly incurred the displeasure of 
 the mob at the time of the French Revolution, and many of the unfortunate lace- 
 makers perished with their aristocratic patrons on the scaffold ; the royal industry, 
 in fact, practically ceased to exist, and it is not until 1805, when white blonde 
 became the rage in Paris, that we again hear of Chantilly laces. The taste for 
 
i 3 6 
 
 HISTORY OF HAND-MADE LACE. 
 
 black lace eventually revived, and vast quantities were made for export to Spain 
 and the American colonies. 
 
 The fineness of the reseau ground, the close workmanship of the flowers, 
 together with the cordonnet of flat untwisted silk, are characteristics of the lace 
 much admired by connoisseurs, who are able to detect the subtle difference between 
 the fabrics 
 made at Cal- 
 vados and 
 those of Chan- 
 tilly. 
 
 (Further 
 details are 
 given under 
 Blonde de 
 Caen and 
 
 Blonde 
 Lace.) 
 
 Net 
 
 Chenille 
 Lace. 
 
 A needle- 
 point lace 
 made in 
 France during 
 the eighteenth 
 century. The 
 ground was a 
 silk honey- 
 comb reseau. 
 The patterns 
 were chiefly 
 geometrical, 
 and were out- 
 lined with fine 
 white chenille ; 
 
 Scarf of Chantilly Lace ; nineteenth century. 
 
 the fillings were thick coarse thread stitches. 
 
 Chioggia Lace. 
 
 Bobbin lace, resembling the old Flemish laces, but coarser in quality, is no^ 
 much made at the Island of Chioggia, near Venice. The revival in this industry 
 took place under the direction of Fambri in 1872, at the same time as the revival 
 in needle-point lace-making at Burano was initiated. 
 
 Church Lace. 
 
 An Italian needle-point lace made in the seventeenth century for the 
 borderings of altar-cloths and priests' vestments. The ground was coarse, and the 
 pattern in button-hole stitch was worked upon it. Elaborate pictures were made, 
 figure subjects illustrating incidents in the Bible and Church history being 
 
A DICTIONARY OF LACE. 137 
 
 wrought in the button-hole stitching. The rarest and most beautiful laces of all 
 kinds have also been used for Church purposes since lace was first made. Further 
 details are given in the chapter on " Ecclesiastical Lace." 
 
 Cinq Trous. 
 
 A lace made at Le Puy and in other parts of France ; the ground is five-sided 
 mesh. Le Puy Lace is described under its own heading. 
 
 Clinquant. 
 
 The flat kind of Bullion Lace, to which heading the reader is referred. 
 
 Cluny Guipure Lace. 
 
 This is one of the earliest forms of lace known ; its origin is lost in antiquity ; 
 it was known as Opus Filatorium in early times, and as Opus Araneum or Spider 
 Work in the Middle Ages. Many patterns of these laces are to be found in the 
 pattern books of Vinciola of the sixteenth century. Cluny Guipure is distinguished 
 from the ordinary darned netting or Point Conte, by raised stitches, wheels, circles, 
 and triangles ; sometimes a shiny glazed thread was introduced to emphasize the 
 pattern, as the thread used in other parts of the lace was unglazed. 
 
 What is known as modern Cluny lace is a coarse, thick, strong bobbin variety, 
 usually of old design, frequently geometric in character. It is made in France at the 
 present day, and in Italy, especially in the neighbourhood of Como. The modern 
 Cluny lace takes its name from an ancient dwelling-house in Paris, which is now the 
 Musee Cluny, antique art treasures being stored in the mansion and courtyard ; 
 possibly it was thought desirable to give this modern type of lace a title suggestive 
 of mediaeval times. (Further particulars will be found under Guipure.) 
 
 Colbertan Lace. 
 
 A network lace, made in France in the seventeenth century, and named after 
 Colbert, the King's minister, who did so much towards establishing lace- making in 
 France, in order to add to the revenues of the kingdom. It is strange that, 
 although Colbert laid such stress on the perfection of the lace to be made at the 
 new factories, and spared neither pains nor money to attain beauty and delicacy in 
 the Points de France, even sending for famous Venetian workers to instruct the 
 French lace-makers, yet the lace named after him should have been a common and 
 gaudy fabric with network of open square mesh, used only for ordinary household 
 purposes. 
 
 Coralline Point. 
 
 One of the varieties of flat Venetian points ; its make has never been achieved 
 by other countries than Italy, where it originated. Its characteristic consists in 
 the branching coral-like lines which meander through the design, giving a close but 
 somewhat confused effect. 
 
 Corfu Lace. 
 
 A coarse Greek lace, made by the natives of the island, but of little value or 
 artistic beauty. 
 Courtrai Lace. 
 
 A bobbin lace resembling Valenciennes, but produced in greater widths than 
 that made in France or in other parts of Belgium. In the last century the laces of 
 
138 HISTORY OF HAND-MADE LACE. 
 
 Courtrai were in high favour, being known as fausse Valenciennes, as were all those 
 
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 Cluny Guipure Lace, made to ornament a bed-quilt belonging to Louis XIII ; seventeenth century. 
 
 of the same pattern and make which were not actually produced at Valenciennes. 
 Since the decay of lace-making in its native city, the terms fausse and vrai, with 
 
A DICTIONARY OF LACE. 
 
 139 
 
 regard to Valenciennes lace, have died out, though often mentioned by those who 
 do not see the absurdity of the distinction. The story was set on foot in 1804 by 
 M. Dieudonne, who states : " This beautiful lace is so characteristic of the place, 
 that it is a fact that if a piece of Valenciennes lace is begun in the town and 
 finished outside the walls, the commencement will be the more perfectly executed 
 part, even though the same work-woman twist the bobbins with the same thread." 
 
 D'Oyley of Crochet-Work in Cotton Thread, made under the superintendence of the Carmelite 
 Convent, New Boss, co. Wexford ; nineteenth century. 
 
 M. Dieudonne evidently believed in magic, and it is extraordinary how many 
 people have seriously repeated his canard. 
 
 Crete Lace. 
 
 Lace of the loose thread torchon variety is made in Candia or Crete. The 
 designs are generally geometrical, and the ground is formed of coloured silks or 
 dyed flax. The distinguishing feature of this lace, which is of ancient origin, is the 
 
1 4 o HISTORY OF HAND-MADE LACE. 
 
 embroidery in coloured filoselle in chain stitch upon the outline of the lace ; the 
 effect is extremely gaudy. 
 
 Creva Drawn Lace. 
 
 Made in Brazil by the negroes. It is evidently a rough copy of the Italian 
 drawn-work, and has no artistic merit. 
 
 Crochet. 
 
 This art was known in Europe in the sixteenth century, and is so connected 
 with lace that it deserves mention. The word is derived from the French crochet or 
 croc, and the old Danish krooke, a hook. Crochet was done chiefly in the nunneries, 
 and was indifferently classed as nuns' work with lace and embroidery, until the end 
 of the seventeenth century. Under the name of Irish Point, it has attained great 
 perfection in Ireland, chiefly at Monaghan, where the art was known much earlier 
 than in England. In Scotland it attracted little attention until about 1838, when 
 it became fashionable as a fancy work for the leisured classes. Numerous cottons 
 have been manufactured and patterns printed. The finer and more intricate 
 designs are called Irish Point. Point de Tricot, Raised Rose Crochet, and Honiton 
 Crochet are made for commercial purposes by the peasantry of Ireland. 
 
 Curragh Lace. 
 
 Another name for Irish Point. 
 
 Cut-work. 
 
 Cut-work, or Italian Punto Tagliato, was made by cutting spaces out of closely- 
 woven linen, and after buttonholing round the sides to prevent fraying, partly filling 
 in the space with ornamental stitches. Elaborate embroidery in white linen thread 
 is usually found upon the plain linen in ancient specimens of this work. Gradually 
 more of the linen was cut away, and more elaborate designs were filled in, until 
 mere threads were left ; these were buttonholed over, and Reticella or Greek lace 
 was evolved. 
 
 Another method of making cut-work, which obtained later, was by means of a 
 light wooden frame, on which threads were fastened from side to side, crossing and 
 interlacing. Under this reticulation of threads was fastened, usually with gum, a 
 piece of fine cloth or lawn, called " quintain " (from the town in Brittany where the 
 best quality was made). Then the net-work was sewn to the lawn background 
 with a firm edge of buttonhole stitching, which followed the line of the pattern 
 desired. The superfluous parts of the lawn were cut away afterwards, so that the 
 design remained in lawn, accentuated with the buttonhole edging, which gave a 
 slightly raised effect. This variety was sometimes erroneously called "Punto a 
 Reticella." 
 
 Cut-work and embroidery executed in the convents in Italy is called Greek 
 lace, and it is likely that the art first came from the Ionian Isles and Greece, which 
 were closely connected with the Venetian Republic. The work once transplanted 
 into Venice, where all the arts were pursued with such practical earnestness, it 
 quickly grew in beauty and variety of pattern. Complex stitches were introduced, 
 alterations and delicate improvements were made on the original modes, until in 
 the sixteenth century the linen threads of foundation linen were altogether dispensed 
 

 
A DICTIONARY OF LACE. 
 
 141 
 
 with, and any pattern was drawn and worked on parchment ; thus Punto in Aria 
 could develop into the graceful and beautiful " Point de Venise," for lace-making 
 was no longer hampered by the necessity for square and rectangular designs only 
 because of the linen threads being stretched only at right angles. 
 
 
 In the fifteenth and sixteenth centuries Punto Tagliato, or cut-work, was much 
 used. In 1558, Matteo Pagan published the " Glory and Honour of Cut Laces and 
 Open Laces," and a Venetian, F. Vinciolo, printed in Paris, in 1587, designs for 
 " Point Coupe." Cut-work declined in popularity when other laces of more 
 elaborate workmanship were made. At the end of the seventeenth century, 
 
142 
 
 HISTORY OF HAND-MADE LACE. 
 
 however, Lady Layard states that in the inventory of the linen garments which 
 form a part of the dowry of Cecelia de Mula, cloths with broad borders of cut 
 lace are mentioned. 
 
 When used for altar cloths, bed curtains, or other large surfaces, cut-work 
 was arranged with alternate squares of plain linen. The armorial shield of the 
 family was a favourite device. Initial letters, fleurs-de-lis, and lozenges were 
 frequently pressed into the service for ornamentation. Many samplers, or "sam 
 cloths," are still extant, which show us patterns for cut-work. The pattern books 
 being costly and easily destroyed, for the pattern had to be traced on to the cloth 
 
 Collar of White Silk Cyprus Bobbin Lace ; latter half of the nineteenth century. Exhibited in the 
 Cyprus Court of the Colonial and Indian Exhibition, 1886. 
 
 with a style, children were taught to copy the patterns on to their samplers. 
 These were preserved carefully, and they have frequently been found upon the walls 
 of farmhouses and cottages, where lived the yeoman ancestors long ago. 
 
 Cyprus Lace. 
 
 A lace resembling cut-work, of very ancient origin. It was much used and 
 highly thought of in the Middle Ages, and was brought to England and 
 France. An ancient variety was made of gold and silver threads. Its manu- 
 facture is now extinct. The peasants, however, now make a coarse thread 
 lace, and some fine specimens have recently been made of silk. These were 
 exhibited in the Cyprus Court of the Colonial and Indian Exhibition, held in 
 London in 1886. 
 
A DICTIONARY OF LACE. 
 
 H3 
 
 Dalecarlian Lace. 
 
 A bobbin lace, made by the peasants for their own use in Dalecarlia, Sweden. 
 In examining this fabric we are able to see the identical patterns of lace used by 
 the rest of Europe two centuries ago, and if we watched its manufacture we should 
 also see the method of bobbin lace-making of two hundred years ago, for these 
 peasants have never changed in any way 
 their mode of making nor their patterns 
 an extraordinary example of conserva- : 
 tism, worthy of China itself. The firmness % 
 and solidity of this lace is extraordinary. g 
 It is made to absorb a large quantity of 
 starch, and is then used standing outward y 
 from the face, as a shelter from the sun. 5. 
 Its coffee tint is greatly admired. The ^ 
 fabric is seldom washed only re-starched %% 
 when more stiffness is necessary. The 3. 3 
 lace- workers are few and much scattered a; 1 -* 
 over large districts. As there is no centre 
 of the industry, and no management of I g 
 the methods and patterns, the work is ~ " 
 gradually dying out. {- 
 
 ft 
 
 Danish Lace. g-g 
 
 tf p 
 Cut- work was well-known in Denmark |_ 
 
 long before pillow-lace making was intro- 3- a. 
 duced from Brabant ; it is still used by 3 g 
 the peasants for ornamenting their best ^3' 
 household and table linen, namely, that &^ 
 used on the occasions of births, deaths, 
 and marriages. Lace-making has not t^ 
 been much practised in Denmark, but in g.^ 
 North Schleswig, or South Jutland as it rg, 
 is called, a manufacture was established b 
 in the sixteenth century. It was in 1647 
 that a merchant named Stienbeck engaged ^ 
 twelve persons from Westphalia to improve jl 
 the trade ; these lace-makers settled in 
 Tender and taught both men and women 
 the handicraft. This was the origin of & 
 the famous Tender lace ; that made at 
 other placesjn the district was also well- 
 known ; the lace was both black and white. In 1712 the work was improved by 
 the settlement of a number of Brabant bobbin-lace makers. The patterns of the 
 early Tender laces are Flemish in character; the Dutch flowers and trollies appear ; 
 in later specimens the Brabant influence is traceable in the finer grounds and the 
 open stitches. Mechlin grounds follow with the run patterns. 
 
i 4 4 HISTORY OF HAND-MADE LACE. 
 
 The Schleswig laces are frequently of excellent quality, and are kept as 
 heirlooms through successive generations. When the fine needle laces came in 
 there was less solidity, and the lace-makers became less skilful. The best work- 
 women were those who devoted their lives to making one special pattern. One 
 widow is recorded to have lived to the age of eighty, and to have brought up seven 
 children on the produce of a narrow edging sold at sixpence a yard. Each pattern 
 had its local name, such as cock-eye, spider, lyre, chimney pot, feather. Tender 
 lace embraces many varieties. In 1830 cotton thread was introduced into it, and 
 the quality at once deteriorated. The lace schools were given up, and the trade fell 
 into the hands of hawkers who could not afford to buy the fine points. The Tender 
 lace trade is now at a very low ebb. 
 
 A species of Tender lace work is made by drawing the threads of fine muslin, 
 like the Broderie de Nancy or drawn work. In this lace work, both the needle- 
 point and bobbin laces are imitated, the muslin being drawn out, re-united, and 
 divided so as to follow all the intricacies of a flower or arabesque design. Some- 
 times a thin cordonnet outlines the pattern. 
 
 Darned Netting. 
 
 Darned Netting, Darned Lace, or Spider Work, is one of the earliest forms of 
 lace work ; it has a netted ground. During the Middle Ages it was called Opus 
 Araneum, Ouvrages Masches, Punto Ricamato a Maglia, Lacis, and Point Conte 
 this last when the ground was darned with a counted pattern. 
 
 Darned Netting was most popular all over Italy in the sixteenth century. 
 Siena was specially famous for it, and it is sometimes called Siena Point. The 
 plain netted ground was made as are garden or fishing nets of the present day, and 
 the pattern darned upon this rezel or ground. The groundwork of netting was 
 sometimes in square meshes, and, according to an old pattern book, was made by 
 commencing with " a single thread, and increasing a stitch on each side until the 
 required size was obtained." If a strip of long pattern was to be made, the netting 
 was continued to its prescribed length, and then finished off by reducing a stitch 
 on each side. It was, in fact, identical with modern netting. 
 
 This plain net-ground, without further ornament, was much used for bed 
 furniture, window curtains, and valances, unornamented. It was called Reseau, 
 Rezel, and Rezeuil; decorated with a pattern Lacis, or Darned Netting. It is 
 now worked with fine linen thread when used for personal adornment, and with 
 coarse threads for furniture. Formerly, coloured silk threads and those of gold and 
 silver were used; these are still much employed in the Russian varieties. Network 
 is darned upon with counted stitches like tapestry ; it is then called Point Conte, 
 or filet brode a reprises by modern French workers in England, and in Italy the 
 modern variety is called guipure d'art. The net is stretched upon a large frame, 
 and the worker darns the pattern upon the stretched net ; sometimes half-a-dozen 
 girls are to be seen in the Venetian lace factories at work upon a large curtain or 
 bed-spread. 
 
 Dentelle. 
 
 The French term for lace. Laces were known as dentelles in France at the 
 end of the sixteenth century ; before that time they were called passements. 
 
A DICTIONARY OF LACE. 
 
 Dentelle a la Reine. 
 
 A needle-point lace made in 
 Amsterdam, chiefly by French 
 refugees, after the revocation of the 
 Edict of Nantes, 1685. The lace had 
 been made by them in France, so that 
 Dentelle a la Reine is not peculiar 
 to Amsterdam, but achieved a marked 
 popularity during the short time that 
 it was made in Holland. 
 
 Dentelle a la Vierge. 
 
 A bobbin lace made in the neigh- 
 bourhood of Dieppe by the peasants ; 
 Darned Netting (Italian), 26 inches wide. k faas a douWe Normandy ground and 
 
 Dentelle au Fuseau. a simple pattern. 
 
 The French term for bobbin lace. 
 Dentelle de Fil. 
 
 A name by which simple thread laces, such as torchon, are sometimes called. 
 
146 
 
 HISTORY OF HAND-MADE LACE. 
 
 Dentelle Irlandaise. 
 
 This will be found described under the heading Modern Point Lace. 
 
 Dentelle Redin. 
 
 Lace having a net ground. 
 
 Dentelle Renaissance. 
 
 Particulars of this lace are 
 given under Modern Point Lace. 
 
 Devonia Lace. 
 
 A special kind of Honiton 
 Lace, which is described under 
 that heading. 
 
 Devonshire Lace. 
 
 The introduction of the lace- 
 making industry into Devonshire 
 is attributed to the Flemings who 
 took refuge in England during the 
 persecutions of the Duke of Alva. 
 It is more probable, however, 
 that the narrow silk and coarse 
 thread laces were already made 
 by the cottagers in Devonshire 
 as they were in all parts of Eng- 
 land, and that the Flemings 
 improved upon these early 
 methods by introducing their own 
 fine threads and beautiful jours 
 and fillings. That the bone lace 
 trade was considerable is proved 
 by the inscription, to be seen at 
 the west end of Honiton Parish 
 Church: "Here lieth ye body 
 of James Rodge, of Honiton, in 
 ye County of Devonshire : Bone 
 lace seller, who hath given unto ye poor of Honiton Parish the benyfite of 100 
 for ever " a considerable sum in the seventeenth century. In the Lady Chapel 
 of Exeter Cathedral the monument of Bishop Stafford shows a network collar 
 with good design. This tomb is late fourteenth century work. In the same 
 cathedral the recumbent effigy of Lady Doddridge shows cuffs and tucker of lace 
 in geometric design. These tombs are in splendid preservation even now. 
 
 So excellent was the make of English lace in 1660 that a royal ordinance of 
 France set forth that a mark should be affixed to thread lace imported from 
 England as well as to that from Flanders. 
 
 The lace trade was carried on in most of the Devonshire villages, and the 
 lace-makers were pillaged by the dragoons in the suppression of Monmouth's 
 
 Dentelle a la Vierge (local name for Double-ground 
 Lace) made by the peasants in the neighbourhood 
 of Dieppe ; nineteenth century. 
 
A DICTIONARY OF LACE. 
 
 147 
 
 rebellion in 1680. In Defoe's time the lace manufacture extended from Exmouth 
 to Torbay. 
 
 By the end of the eighteenth century the Devonshire workers could rival the 
 beauty of Flemish lace, and it is a mistake to believe that all Point d'Angleterre 
 was made in Belgium. Trolly lace 
 was made in Devonshire until, some 
 fifty years ago, fashion ceased to de- 
 mand this special kind. Lappets and 
 scarves as well as baby lace were 
 made. Devonshire Trolly lace was 
 made with English thread of a coarser 
 quality than that of Flanders. Men 
 and women both worked at Devonshire 
 Trolly lace, and every boy, sixty years 
 ago, attended the lace schools until he 
 was old enough to work in the fields, 
 etc. When outdoor labour was scarce, 
 or the fishermen were unable to go to 
 sea, they returned to their lace-work 
 to add to their weekly wage. 
 
 Another Devonshire lace was the 
 so-called Greek lace, which resembled 
 simple Torchon. It was introduced 
 from Malta into the small village of 
 Woodbury by the wife of William IV. 
 The little colony of workers copied the 
 coarse geometric designs with great 
 facility. 
 
 Black lace was made in Devon- 
 shire until twenty years ago, the 
 designs being those of the Honiton 
 lace, and the working identical. Some- 
 times the Honiton sprigs are mounted 
 on black silk machine-made net ; 
 sometimes they are united by brides 
 or bars, as in the Honiton Guipure. 
 The making of black silk lace in 
 Devonshire has now completely died 
 out, though many of the old workers 
 still remember to have seen the work 
 done. It was with the greatest diffi- 
 culty that we were able to obtain a 
 few specimens of this now extinct 
 industry at Colyton and Sidmouth. 
 
 Axminster, once the great head- 
 quarters of the Devonshire trade, has 
 
148 
 
 HISTORY OF HAND-MADE LACE. 
 
 now no workers, nor can a yard of Devon-made lace be purchased in the town. In 
 Colyton, Beer, Seaton, Colyford, Shute, Sidmouth, and other villages and towns 
 a few old lace -makers are busy at the sprigs, collars and ties, which were fashion- 
 able in the early Victorian period. They draw from the stock of "prickings" 
 
 possessed by their 
 mothers and grand- 
 mothers, often distorted 
 beyond recognition by 
 frequent working. Little 
 attempt is made to supply 
 any demand of modern 
 fashion, and new and 
 artistic designs are 
 looked upon with dis- 
 trust. This being the 
 case, it is little wonder 
 that the payment is poor, 
 and children and young 
 girls do not learn the 
 stitches, as they are able 
 to earn twice as much 
 money at dressmaking, 
 millinery, and other 
 trades. The conse- 
 quence is that there are 
 fewer workers each year, 
 as the old women die and 
 young ones do not take 
 their place. If artistic 
 direction of the workers 
 
 could be obtained, together with co-operation with some well-established lace 
 merchants who would dispose of the lace, a revival of the lace industry of Devon- 
 shire might take place ; but though Mrs. Fowler, of Honiton, does much to 
 encourage the fine grades of work, Mrs. Tread win, of Exeter, can show good 
 specimens from her employees, and Miss Trevelyan has done much by giving out 
 fine Italian patterns and privately encouraging the workers, yet a larger and 
 wider effort, combined with systematic trade co-operation, is needed to put the 
 industry on a sound commercial basis. 
 
 Dieppe Lace. 
 
 This is sometimes called Dieppe Point, when the quality is fine. It is a 
 bobbin lace resembling Valenciennes, but less complicated in its make, requiring 
 fewer bobbins ; and, while only a length of eight inches of Valenciennes can be 
 worked without detaching the lace from the pillow, Dieppe Lace can be rolled. 
 
 From the beginning of the sixteenth century lace-making has been the 
 principal occupation of the women of Normandy, the wonderful caps with long 
 
 Honiton Lace Sprig made on the pillow with bobbins ; nineteenth century. 
 
A DICTIONARY OF LACE. 
 
 149 
 
 lappets richly trimmed being the pride of the well-to-do peasant families. In 
 1692, the Governor of Havre found the lace trade employed 20,000 women in the 
 department. Haarlem thread was used, both black and white laces were made, 
 and the price varied from five sous to thirty francs per ell. The most thriving 
 centres of the Normandy lace trade were Havre, Honfleur, Eu, Fecamp, 
 Dieppe, Pont 1'Eveque, and Pays de Caux. Guipure or darned net-work and 
 Valenciennes were also produced. 
 
 In the inventory of 
 Colbert's household 
 effects " Point du Havre" 
 is mentioned as trimming 
 his pillow cases. In the 
 eighteenth century the 
 laces of Dieppe and 
 Havre rivalled those of 
 Argentan and Caen, we 
 are informed by an eight- 
 eenth century chronicler. 
 Later, we read, they 
 yielded only in precision 
 of design and fineness of 
 make to those of Mechlin. 
 At the time of the Revo- 
 lution disastrous effects 
 were felt by the Nor- 
 mandy lace-makers and 
 traders. 
 
 Within the last half- 
 century the industry has 
 still further diminished, 
 though much lace is still 
 exported to Spain and 
 America. In 1826, a 
 
 lace school was established at Dieppe, under the direction of two sisters from a 
 convent at Rouen. This school, which was under Royal patronage, is most suc- 
 cessful ; Valenciennes of every width is made, the Belgian variety with the square- 
 meshed grounds being a speciality. The thread used is pure flax unmixed with 
 cotton. The design most popular is that named Poussin (chicken) ; other patterns 
 are Ave Maria and Vierge, and there are many other names given locally by the 
 peasants. 
 
 Dorsetshire Lace. 
 
 Wiltshire and Dorsetshire bone or bobbin lace was at one time celebrated for 
 its beauty. In the time of Charles II., one Mary Hurde, of Marlborough, tells, in 
 her " Memoirs,'' how she was apprenticed to a maker of bone lace for eight years ; 
 and after that time was over she apprenticed herself for five years more. This 
 
 Drawn-work, showing how the threads are drawn away and the 
 thick sections buttonholed ; eighteenth century. 
 
150 
 
 HISTORY OF HAND-MADE LACE. 
 
 was the period when quantities of bobbin lace were required and lace-making in 
 every country in Europe was at the height of its beauty and prosperity. Since 
 then it has declined, and there is now little made in the county. 
 
 Drawn -work. 
 
 Drawn-work, or Punto Tirato, is one of the most ancient forms of open work 
 and plays an important part 
 in the evolution of lace. It 
 was known all over Europe 
 as Hamburg Point, Indian 
 work (when executed in 
 
 muslin), Opus Tiratum, Punto W&UJf&K ^ ^ .* 
 
 Tirato, Broderie de Nancy, M^^^li^ = t ^ 
 
 Dresden Point, Fil Tire, ^ 
 Drawn - work, and Tender j 
 Lace. The fabric was chiefly t 
 made at the convents, and was \ 
 largely used for ecclesiastical 
 purposes and for ornamenting ? 
 grave-clothes, together with j 
 cut-work and embroidery. 
 
 The material in old drawn- \ 
 work is usually loosely woven 
 linen. The threads were 
 retained in the parts where the ; 
 pattern was thick, and where 
 it was open they were drawn \ 
 aside and caught together or < 
 drawn away. 
 
 
 
 The taste for drawn-work \ 
 of the geometrical style has 
 recently revived. The woof 
 or warp threads are drawn 
 away from coarse evenly- \ 
 woven linen and the support- ~ 
 ing threads, which remain to \ 
 form the pattern, are button- 
 holed or overcast with fancy ! 
 stitches. 
 
 1 
 
 Broderie de Nancy, I 
 Dresden Point, and Hamburg 
 Point were usually worked in 
 coloured silk. They were 
 frequently enriched with 
 embroidery and coloured 
 stitches. 
 
 i 
 
A DICTIONARY OF LACE. 151 
 
 Dunkirk Lace. 
 
 Previous to 1685 nearly all Flanders laces were known as " Malines " ; the 
 laces of Ypres, Bruges, and Dunkirk passed under that name. At Paris, Anne of 
 Austria is mentioned as wearing a veil " en frezette de Maline." French blondes 
 were made at Dunkirk later, when the payment of the lace-makers is thus spoken 
 of: "Though they gain but twopence half-penny daily, it is a good worker who will 
 
 Border of English Bobbin-made Tape Lace, 4J inches wide, with Needle-point 
 Fillings ; eighteenth century. 
 
 finish a Flemish ell, twenty-eight inches, in a fortnight." Mechlin Lace is fully 
 described under its heading. 
 
 Dutch Lace. 
 
 Holland has always been celebrated for her flax thread, with which the finest 
 Brussels and other laces have been made, rather than for the excellence of the lace 
 made in the country. Lace schools have been established from time to time, 
 
1 52 HISTORY OF HAND-MADE LACE. 
 
 one in 1685, when the Regency Point was made. Another, where Point 
 d'Espagne was made, was protected by the government, but it did not flourish, 
 notwithstanding that the importation of foreign laces was prohibited in the 
 eighteenth century. Dutch lace is coarse, as a rule, and more suitable for the 
 ornamentation of household linen than for personal wear. 
 
 English Laces. 
 
 The laces made in England in the fifteenth century, besides cut-work and 
 drawn-work, which are rather lace-like embroideries than lace, consisted of narrow 
 plaited and twisted thread borders. Such laces were used to unite two pieces of a 
 garment, an example of which we see in the boot laces of the present day and in 
 the narrow bands for hats. Loosely-twisted and plaited threads " purlings," as 
 
 Border of Bobbin Lace, called Buckinghamshire " Trolly " Lace, 2 inches wide ; early 
 nineteenth century. The design resembles that of some of the Mechlin laces made 
 early in the eighteenth century ; the reseau is, however, composed of six-pointed 
 star meshes. 
 
 they were called for ornamenting the edges of linen, cambric, silken and woollen 
 fabrics, were also made at this early period. 
 
 The Protestant refugees who fled to England in 1563 and 1571, brought with 
 them and taught to English artisans the art of making "matches of hewne stalks 
 and parchment lace." Queen Elizabeth, the daintiest of dressers, had parchment 
 lace " of watchett and syllver at seven and eightpence the ounce." 
 
 In the seventeenth century the Venetian fashion in linen needlework reached 
 England, and the artistic use of linen threads became known ; such knowledge 
 being assisted in many places in England from time to time by Flemish or other 
 foreign lace-makers who were driven out of their own country, as well as by the 
 importation of foreign laces. 
 
 Bone lace came into vogue, the mevletti a piombini of Italy, where the bobbins 
 were weighted with iron, and the passements au fuseaux of France. In the seven- 
 teenth century all Europe felt the influence of Colbert's efforts in France to 
 encourage the art of lace-making. Bobbin lace-making was much more widely 
 practised in England than needle-point lace-making, which, being a more costly 
 industry, required the powerful incentive of State aid to assist it an assistance 
 which in France and other countries was accorded to it. 
 
 Owing to the patronage of Catherine of Aragon English lace began to be of 
 some value, and by Elizabeth's time it was frequently mentioned by the court 
 
A DICTIONARY OF LACE. 
 
 gossips of the age. It 
 continued to improve, 
 and Acts of Parliament 
 were passed to protect 
 the trade from foreign 
 competition. Much of the 
 Point d'Angleterre attri- 
 buted to Flanders was 
 made in England, which 
 country has hitherto 
 received but scant credit 
 for her point lace from 
 Mrs. Bury Palliser and 
 other historians of lace. 
 Although no kind, 
 with the exception of 
 Honiton (in Devonshire), 
 has been specially identi- 
 fied with one locality, 
 consequent on the varied 
 settlements of foreign 
 workers, yet Bedford- 
 shire, Buckinghamshire 
 and Northamptonshire 
 are usually considered 
 the centres for the pro- 
 duction of English Lille, 
 Valenciennes, and plaited 
 laces, Brussels, Maltese, 
 guipures, and black laces. 
 In Middlesex black and 
 white blonde laces were 
 produced, and Dorset- 
 shire was, until the eight- 
 eenth century, famous 
 for the laces of Bland- 
 ford and Lyme Regis. 
 A century ago the laces 
 made in Devonshire and 
 Cornwall were of con- 
 siderable variety, but at 
 present Honiton applica- 
 tion and bobbin lace are 
 chiefly made. Descrip- 
 tions of the laces will be 
 found under their various 
 headings. 
 
 Lappet of Bobbin-made Point d'Ang-leterre, style of Louis XV. ; 
 eighteenth century. 
 
i 5 4 HISTORY OF HAND-MADE LACE. 
 
 English Lille. 
 
 This name was given to bobbin lace made in Bedfordshire, Northamptonshire, 
 and Buckinghamshire, during the eighteenth century, on account of the close 
 copying of the Lille pattern by the English workers. It is described under the 
 headings Lille and Arras Laces. 
 
 English Point. 
 
 English Point, or Point d'Angleterre, which is extremely beautiful, equal in 
 design and execution to many of the French and Venetian points, has not received 
 the attention with regard to its English origin which it deserves. The fact that 
 large quantities were smuggled into England from Belgium in the seventeenth 
 century, when enormous supplies were demanded by fashion, has given rise to the 
 belief that all Point d'Angleterre was made in Belgium, which was by no means the 
 case. Rodge, of Devonshire, obtained the Flemish secret of making the fine 
 fillings and jours which give the finishing touch in rendering Point d'Angleterre 
 one of the most perfect types of lace which have ever been invented. In this lace 
 the reseau is always worked with the bobbins after the toile, or pattern, has been 
 executed, the threads being attached to the open edge of the toile and worked in 
 round the pattern. There are frequently to be seen raised ribs on the leaves and 
 in other parts of the design, such raised effect being brought about by twisting 
 and plaiting of the bobbins, and never by using thicker thread. Great diversity 
 of ground characterises this most beautiful of laces. The mesh reseau frequently 
 varies in size in single specimens, and brides, also bobbin-made, appear more 
 especially to accentuate the design, in which case the specimen is called Point 
 d'Angleterre a Brides. Occasionally fine needle-point fillings are added. 
 
 It is quite time English people realised that one of the finest results of the 
 lace industry which the world has ever seen, was an original English product, and 
 that it only owed an occasional improvement in fine stitching to foreign influence. 
 Even in the seventeenth and eighteenth centuries, when lace was at its best, Point 
 d'Angleterre held its own for beauty with the finest laces of Italy, and was worn by 
 the elegantes of Paris as one of the most beautiful laces obtainable. It is much to 
 be regretted that the debased designs of Devonshire, so deplored a quarter of a 
 century ago, cannot be improved, and an industry revived which has lain dormant 
 for so many years. 
 
 The needle-point lace worked to a small extent by the leisured classes in 
 England at the present day, is usually made of braid of varying sizes and widths 
 arranged in a pattern, the design being filled in with stitches copied from those 
 used in antique foreign needle-points. 
 
 Filet Brode a Reprises. 
 
 The French name for modern Darned Netting, under which heading it is 
 described. 
 
 Filet de Canasier. 
 
 The French name for Macrame. 
 
 Fil Tire. 
 
 The French term for Drawn-work. 
 
Portrait of Mme. Q. den Dubbelde, by B. van der Heist. From a photograph by Hanfstaengl. 
 The white lace is Point de Flandre ; the black, Chantilly. 
 
A DICTIONARY OF LACE. 
 
 155 
 
 Fino d'Erbe Spada. 
 
 Lace made from the fibre of the aloe. 
 
 It is described under Aloe Lace. 
 
 Flemish Bobbin-made Silk Lace, 5 inches 
 wide. Seventeenth century. 
 
 Fisherman's Lace. 
 
 A bobbin lace, described under the heading Point Pecheur. 
 
 Flanders Lace. 
 
 Flanders asserts priority over Italy in the invention of both needle-point and 
 bobbin lace. Certainly it was a country 
 where both varieties of the fabric early 
 became articles of commerce, and the indus- 
 try throve for more than two centuries on 
 account of the encouragement and liberty 
 accorded to the workers. In the Church 
 of St. Peter's, at Louvain, there is a 
 fifteenth-century portrait in which the 
 figure is adorned with lace ; and Baron Ruffenberg, in his memoirs, asserts 
 that lace caps were worn as early as the fourteenth century. A Flemish poet sings 
 the praises of lace-making in 1651 " Threads which the dropping spider in vain 
 attempts to imitate." In the seventeenth century, when Colbert established the 
 manufactory of the points of France, Flanders was alarmed at the number of lace- 
 makers who had emigrated, and passed an Act, dated December, 1698, threatening 
 
 with punishment any who should entice her 
 work-people away. Certainly it was the 
 lace industry that saved the country from 
 ruin after the disastrous wars of the six- 
 teenth century. 
 
 The Flanders lace-workers taught the 
 art of bobbin lace-making to every country 
 of Northern Europe. The varieties of 
 Flanders lace are manifold ; many of them 
 are still wrought at the present day. The 
 most celebrated are old Flemish, the only 
 original lace of Flanders, known as Trolle 
 Kant, after which English Trolly lace has 
 been named ; Brussels ; Point de Flandre, or 
 Point d'Anglcterre ; Point Gaze, first made 
 in the fifteenth century, and now as beauti- 
 fully worked as ever ; Mechlin, or Point 
 de Malines, made at Antwerp, Lierre, and 
 
 Turnhout ; Lille, made in French Flanders ; Valenciennes, made at Ypres, Alost, 
 Courtrai, and Bruges. Black blonde lace is made at Grammont. Descriptions 
 of these laces are given under their various headings. 
 Flat Points. 
 
 A term used for laces made without any raised work in relief, to distinguish 
 them from the raised points. 
 
 Florentine Lace. 
 
 Lace was made at Florence at a very early date, the poet Feregnola mentioning 
 
 Flemish Needle-point Lace Collar, 8i 
 inches wide. The design is outlined 
 with raised buttonhole stitching. 
 Seventeenth century. 
 
i 5 6 
 
 HISTORY OF HAND-MADE LACE. 
 
 it in 1546. Henry VIII. of England granted to two Florentines the privilege 
 of importing, for three years, all "manner of fringys and passements wrought 
 with gold and silver or other wire." Florentine lace has no marked pecularity, 
 and is merged in the other Italian laces, which are described under their respective 
 headings. 
 
 French Laces. 
 
 It was at Le Puy that the first French lace was made, and at the present day 
 the province has a large and flourishing lace trade, no 
 fewer than 100,000 workwomen being scattered along the 
 Haute Loire, the Loire, and Puy de Dome. To Italy, in 
 the sixteenth century, France owes the fashion of lace- 
 wearing. Under the Medici influence the fashion of 
 wearing costly laces of gold, silver, and thread achieved 
 its greatest popularity ; cut-work or point coupe was also 
 much worn. Henri II. of France invented the ruff 
 to hide a scar on his neck, and the fashion spread for 
 these lace-trimmed ornaments; the making of lacis or 
 darned netting was the favourite employment of the 
 court ladies. 
 
 When Marie de' Medicis, Richelieu and Louis XIII. 
 passed away, the courtiers of the Regency under Anne of 
 Austria vied with each other in extravagance. Colbert, 
 coming into power, saw in the taste for lace a possible 
 source of revenue to the country. He set up factories at 
 L'Onray and other places ; subsidised the industry ; got 
 the best workers over from Florence to teach the French 
 lace-workers the Venetian method and stitches ; and 
 succeeded in preparing for the king and the court such 
 Points de France as reconciled the gallants of the royal 
 circle to the new rule that no other lace should appear at 
 court except that made in France. Then the lovely 
 Alen9on fabric was evolved; and Argentan, another 
 town in the department of the Orne, also became cele- 
 brated as a lace-making centre. Establishments were also 
 founded at Sedan, Loudan, Chateau-Thierry, Rheims, 
 Arras, and elsewhere. Valenciennes became celebrated 
 for its bobbin laces ; Lille and Normandy bobbin laces were also of commercial 
 value. At the present day Alenon lace is made chiefly at Burano. 
 
 Argentan lace became almost extinct at the time of the Revolution, when all 
 the lace industry suffered. Black and white silk blonde laces, extensively made 
 and exported during the eighteenth century, are still worked at Bayeux, Caen, and 
 Chantilly. At Mirecourt the Lille lace is still made ; while near Paris, Point de 
 Paris, a guipure lace, and Point d'Espagne are made. In Normandy Valenciennes 
 lace is still a flourishing industry, while Dieppe and Havre are known for their 
 
 Chain Pattern of Point d' Alen- 
 <;on, 2^ inches wide, with 
 various grounds and fill- 
 ings ; eighteenth century. 
 
A DICTIONARY OF LACE. 
 
 '57 
 
 French Bobbin-made Lace (Valenciennes), \\ inches wide ; late seventeenth century. 
 
 Petit s Poussins, Ave Maria, and Dentelle a la Vierge. Full descriptions of these 
 laces are given under their various headings. 
 
 Frisure. 
 
 This will be found described under Bullion Lace. 
 
 Frivolite. 
 
 The French term for Tatting. 
 
 Genoa Laces. 
 
 Genoa was the first to imitate the ancient gold laces of Cyprus ; this was at 
 the end of the fourteenth or the beginning of the fifteenth century. Venice and 
 Milan followed the example of Genoa, and these three Italian towns produced 
 silver and gold laces made of drawn wire. Milan was the last to give up this art ; 
 but by the end of the seventeenth century even at this city the manufacture was 
 extinct. Genoa lace is mentioned in the great wardrobe accounts of Queen 
 Elizabeth ; it appears then to have been made entirely of silk. Point de Genes is 
 enumerated amongst the effects of Mane de' Medicis seventy years later; but it 
 was not until the end of the seventeenth century that the points of Genoa were in 
 general use throughout Europe. The Sumptuary laws of the Genoese Republic 
 forbade the wearing of gold and silver lace without the city walls, but home-made 
 point was allowed. In 1770, the peasant women still wore aprons edged with point 
 lace. At the beginning of the nineteenth century the industry was almost extinct, 
 but that of Macrame or knotted lace-making had revived. The seventeenth 
 century was the most flourishing time for the lace trade at Genoa : then both 
 needle-point and bobbin laces made in the town were highly esteemed all over 
 Europe, and were a most important article of trade. It was, however, the bobbin 
 work a piombini which was the most valuable ; handkerchiefs, collarettes, aprons 
 and fichus were more worn than lace by the yard, such piece laces were the 
 Genoese speciality par excellence. In the sixteenth and seventeenth centuries 
 Genoa was the centre of the bobbin lace industry, as Venice was that of the needle- 
 point varieties. 
 
 The chief lace industry was situated at Santa Margherita and Rapolla. Many 
 votive offerings of lace are mentioned in the archives of the Churches of Santa 
 Margherita. 
 
 When blonde lace became fashionable, an imitation of Chantilly in black lace 
 was made with the bobbins ; later, about 1840, guipures for France were made 
 these are now the chief products of Genoa for exportation. 
 
i 5 8 
 
 HISTORY OF HAND-MADE LACE. 
 
 The Genoa lace made at Albissola, near Savona, was black or white, silk or 
 thread ; much of this was exported to Spam. Enormous cushions were used in its 
 making, as many as four women sitting at one pillow and manipulating sixty dozen 
 bobbins. This is work frequently undertaken by poor gentlewomen. Some fine 
 laces made at Albissola were bought by lace merchants of Milan for use at the 
 coronation of Napoleon ; since then, however, the lace trade at Albissola has 
 declined, and it is now extinct. Another kind of lace made at one time in the 
 
 Genoese Plaited Lace, 3 inches wide ; sixteenth century. 
 
 district was the Aloe lace, Fino d'Erbe Spada ; one of the threads of the plant was 
 twisted into a lace- work of the natural cream colour, and some of it was dyed black 
 before working. This lace, like the Aloe lace of Barcelona, will not bear washing, 
 as it becomes mucilaginous. 
 
 At the Albergo de Poveri, at Genoa, an ingenious work called Macram6 
 lace is made. This handicraft is also taught in many of the schools on the 
 Riviera, and carried to great perfection at Chiavari. It consists in the skilful 
 knotting together of long threads into intricate designs. It was generally 
 used to ornament towels when originally long fringes of the huckaback were 
 
A DICTIONARY OF LACE. 
 
 159 
 
 left at the ends all ready for knotting into geometrical designs. This work 
 is frequently used for Church purposes, and Macrame always forms an 
 important part in the trousseau of a Genoese lady. A great deal of this 
 work is exported. 
 
 At the present day a kind of guipure is worked at Genoa, the lace-making 
 industry employing about two thousand women. This lace is exported chiefly 
 to South America, especially to La Plata. It is also made in the villages near 
 Como. 
 
 German Laces. 
 
 In the middle of the sixteenth century Barbara Uttmann, a burgher's daughter 
 of Nuremberg, improved upon the coarse networks of the Saxony Hartz Mountains, 
 and introduced into Germany the making 
 of pillow lace an art she had learnt from 
 a Brabant Protestant, expatriated by the 
 cruelties of the Duke of Alva. In 1561 
 she set up her own factory at Annaberg, 
 and the industry soon spread from the 
 Bavarian frontier into the surrounding 
 country, until, at her death, in 1575, 30,000 
 persons were employed. On her tomb in 
 the churchyard of Annaberg is inscribed 
 " Here lies Barbara Uttmann, died i4th 
 January, 1575, whose invention of lace in 
 the year 1561 made her the benefactress 
 of the Hartz Mountains." These words 
 give an erroneous impression. Frau Utt- 
 mann introduced pillow lace into Germany : 
 she did not invent lace. Much Treillis 
 d'Allemagne was sold in the Paris shops in 
 the seventeenth century. French refugees 
 spread over Germany, settled in Dresden, 
 and still further improved the lace-making 
 methods. 
 
 At one time Saxony point was made 
 in imitation of old Brussels, and this is 
 extremely costly. Maltese pillow lace is 
 also made in Dresden. In Northern 
 Germany the manufacture of lace was 
 much stimulated by the Act of Revocation 
 of Louis XIV., which alienated so many 
 of the most skilful workers in France. 
 Hamburg received the refugees with open Modern Saxony Bobbin-made Lace. 
 
 arms, and benefited by her hospitality to 
 
 such an extent that gold and silver lace was for long known as Hamburg Point. 
 Other laces were extensively made, and continue to be so. Miss Knight, in 
 
i6o 
 
 HISTORY OF HAND-MADE LACE. 
 
 her autobiography, says : " At Hamburg, just before we embarked, Nelson 
 purchased a magnificent lace trimming for Lady Nelson, and a black lace cloak 
 
 for another lady, who, he said, had been 
 very attentive to his wife during his 
 absence." 
 
 Settlements of lace-workers carried on 
 their craft at Potsdam, where Frederick 
 William, Elector of Brandenburg, wisely 
 anxious to attract them, had issued an 
 edict in their favour. In Berlin also 
 factories were opened, though none had 
 been there previously, and France was soon 
 buying from Germany the lace made by the 
 hands of her own exiled workmen. 
 
 Hanover, Leipsic, Anspach, Elberfeld, 
 and the Erzgebirge district, both on the 
 Saxon and on the Bohemian side, also pro- 
 fited by the industry brought by the refu- 
 gees. All these fabrics were, as it were, 
 offshoots of the Alenson trade. In his 
 pictures of German life in the fifteenth, 
 sixteenth, and seventeenth centuries, Gustaf 
 Freytag says, " Dandyism began in Ger- 
 many in 1626, when the women first wore 
 silver, which appeared very remarkable, 
 and at last, indeed, white lace." The new 
 fashion soon caught on, and soon the lace 
 equipages de bain were as rich as those of 
 Versailles, and the love of dress had taken 
 such a hold on even the student class that 
 Bishop Douglas, in 1748, says that Leipsic 
 students think it more honourable to beg 
 with a sword by their side than to gain a 
 livelihood. " I have often," he says, " given 
 a few groschen to one finely powdered and 
 dressed with sword and lace ruffles." 
 
 Of the laces of Southern Germany little 
 is known, but in 1600 specimens of Nurem- 
 berg lace were made by a certain Jungfrau 
 Pickleman. These pieces are of a Venetian 
 character, and are evidently worked from 
 the pattern books of Vecellio. Several 
 pattern books were published in Germany. 
 That printed at Augsburg by John Schwartzenberg in 1534 is the most important. 
 That printed at Cologne in 1527 is the earliest dated pattern book known. A small 
 quantity of Valenciennes and other pillow lace is made now in Germany. Torchon 
 
 c 
 
 o So 
 
 Si 2 
 
A DICTIONARY OF LACE. 
 
 161 
 
 is made in Saxony, the special make being so strong that it is sometimes called 
 " Eternelle." 
 
 Ghent Lace. 
 
 The lace schools of Ghent are celebrated, and a very large number of the 
 female population is actively employed in lace-making. Savary, in the eighteenth 
 century, describes the bobbin-made Valenciennes such as were called fausses 
 Valenciennes, on account of their not being made in France, as being "less tightly 
 made, a little less durable, and a little less expensive " than the French-made 
 Valenciennes. The lace was largely exported to Holland and England, to Spain 
 and her colonies. The West Indian colonists delighted in Flemish lace and fringes. 
 It will be remembered that Robinson Crusoe, when at Lisbon, sends " some 
 Flanders lace of a good value as a present to the wife and daughter of his partner 
 in the Brazils." 
 
 Narrow widths of lace are, as a rule, executed at Ghent. The ground is 
 quickly made, as fewer twists are given to the bobbins than in Valenciennes 
 ground made elsewhere. 
 
 Gold Lace. 
 
 The twisting of gold and silver thread of metal wire into patterns was the 
 earliest form of lace-making. Gold thread work was known to the Romans. 
 Gold lace has been found dating from pre-historic times. Egyptian mummy cases 
 have enclosed fragments of it ; Nero the emperor wore a net or head-covering of 
 gold threads. In Anglo-Saxon times gold thread was not only used in the elaborate 
 embroidery of the age, but also for weaving ecclesiastical and other vestments. In 
 the fifteenth century occurs the first mention of the celebrated gold thread from 
 Cyprus ; then comes the " fringe of gold of Venys" ; and later the gold and silver 
 threads of Genoa and Lucca are written of. Early Italian 
 and Flemish paintings of the fifteenth century show open- 
 work borders of gold threads, twisted and plaited together, o 
 Sumptuary laws were constantly made in the countries 
 where the wearing of gold and silver thread laces were 
 fashionable ; so that in its manufacture and import is largely > 
 involved the early history of the civilised world. It was -jf 
 greatly owing to such laces that the beautiful thread laces ^ 
 of the present day were evolved, for, gold and silver thread g 
 lace-making becoming an unprofitable industry on account 
 of edicts forbidding the wearing of the precious metals, 
 the lace-makers worked out their patterns in flax thread ; | 
 and when they found how much easier of manipulation ~ 
 was the substituted material, more intricate designs were ^ 
 attempted, graceful stitches invented, and so the flax thread I" 
 lace was gradually evolved, and has grown in delicacy and E? 
 loveliness. 
 
 The variety of pattern worked in the stiff metal thread 2 
 was never considerable, the geometric designs being the ^ 
 most complicated that were attempted. The zenith of 
 
1 62 
 
 HISTORY OF H'AND-MADE LACE. 
 
 success for gold and silver thread lace, or Point d'Espagne, was attained in 
 the latter half of the seventeenth century. Though called Spanish lace, there 
 was far more of it made at Aurillac and Lyons than in Spain. The Jews expelled 
 from Spain in the fourteenth century had brought their handicraft with them, 
 and continued the work chiefly in France. Paris was also noted for its gold and 
 silver laces. Later on gold threads were largely manufactured at Madrid, but 
 this was chiefly in connection with the manufacture of tapestry. 
 
 In Sweden gold lace was made in the fifteenth century, and in Russia it was 
 the first kind attempted. 
 
 The gold and silver lace of the present day would be more correctly called 
 braid or galoon ; it is made by machinery, and is used for uniforms, theatrical 
 purposes, and liveries. It is usually made of a silken warp thread, or silk and 
 cotton combined, the weft being of silk covered with gold or silver-gilt. 
 
 Grammont Lace. 
 
 A bobbin lace once made in the town of Grammont. It is coarse and cheap, 
 and is little known beyond the neighbourhood where it was made. Recently 
 black silk lace resembling Chantilly blonde has been made at Grammont in large 
 quantities. The ground is coarser and the patterns are not so well defined as in 
 the Chantilly 
 lace, nor is the 
 silk so true a 
 black. However, 
 large pieces are 
 made for dress 
 skirts, flounces, 
 and shawls, and 
 exported to 
 America. 
 
 Greek Point. 
 
 This is one 
 of the earliest 
 forms of needle- 
 made lace ; it is 
 also called 
 Roman Lace, 
 Reticella, and 
 sometimes Vene- 
 tian Guipure. It 
 is now made in 
 Italy of a finer 
 kind than the 
 fabric of the 
 same name in 
 
 the Ionian Isles. 
 
 T*, , , Reticella or Greek Point Lace, recently copied from a piece found in a 
 
 The designs of convent at Milan. 
 
A DICTIONARY OF LACE. 163 
 
 the earliest Greek laces were all geometrical, the oldest being usually simple 
 outlines worked over cords or threads left after others had been drawn or cut. 
 Next in date came the patterns which had the outlines further ornamented with 
 half-circles, triangles, or wheels; later, open-work with thick stitches was produced. 
 In old Greek Point coloured silk threads were used, and occasionally gold and 
 silver threads. The modern Greek Points are made with flax thread only. The 
 principle places of manufacture were the Ionian Isles, Zante, Corfu, Venice, 
 Naples, Rome, Florence, and Milan. Imitations of the lace were also made 
 in Spain, France, England, and Germany, the designs being copied from Vinciola's 
 collection of lace patterns, published in 1587. 
 
 Grounded Venetian Point. 
 
 A name sometimes given to Burano Point, which has a hand-made needle-point 
 net ground or reseau. It was first made when the Alencon lace had set up a 
 demand for a light and transparent lace. 
 
 Queuse Lace. 
 
 A pillow lace resembling Torchon, which was manufactured in France before 
 the time of Colbert, and also during the seventeenth century. It was known as 
 Beggar's Lace on account of its coarse quality. 
 
 Guipure. 
 
 The old Guipure of the Middle Ages was very different from the " Guipure 
 d'Art " of the present day. The word Guipure is now indiscriminately applied 
 to all large-patterned laces with coarse grounds, which require no "brides" 
 or bars, and no delicate groundings ; but formerly it was the name for a kind of 
 gold and silver thread lace. 
 
 Guipure was also the name given to a sort of passement or gimp made with 
 " cartisane " and twisted silk. The word is derived from guipe, a thick cord 
 round which silk is rolled. Carlisane is a little strip of thin parchment or vellum, 
 which was covered with silk, gold, or silver thread. 
 
 The work of Guipure lace-making was done either with bobbins or with a 
 needle, the stiff lines which formed the pattern being held together by stitches 
 worked with a needle or by the plaiting of the bobbins. From its costliness, 
 being made only in gold, silver, or coloured silk, Guipure was only worn by the 
 rich, or on the livery of the King's servants. In the reign of Henri III., the 
 headgear of his pages was covered with Guipures and passements, the colours 
 borne in the armorial bearings being used. Large quantities of narrow Guipures 
 were made in the environs of Paris during the first half of the eighteenth century. 
 Lately the vellum, or cartisane padding, has been replaced with cotton thread 
 called Cannetille, as it was found that the card stiffening was not sufficiently 
 durable : it shrivelled up with heat, was reduced to pulp by damp, and would not 
 wash. 
 
 The word Guipure is not found in inventories and records of English lace : 
 Parchment Lace and Dentelle a Cartisan are, however, frequently met with. It 
 is difficult to decide when the word Guipure was first transferred to thread 
 passements and lace made with tape, rather than with rolled cord outline, but there 
 
 M 2 
 

 
 
 
 
 
 
 Border of French Gimp or Guipure, 6 inches wide, with pattern in red, white, 
 and blue silk gimps ; seventeenth century. 
 
A DICTIONARY OF LACE. 
 
 165 
 
 are plenty of examples of Louis XIV. design to show that thread Guipures were 
 of very old date. The finest were produced in Flanders and Italy, and were 
 usually distinguished by bold and flowing patterns. The groundwork was a 
 coarse reseau, or mesh, called " round ground," from the shape of the interstices. 
 Some of the patterns were united by brides ; this is especially noticeable with 
 
 Border of tape Lace a Brides, 13| inches wide. Both bars and fillings are of needle-point. 
 
 Eighteenth century. 
 
 the Tape Guipures, the outlines of the design being formed by a bobbin, or 
 hand-made tape. The filling was frequently put in with the needle. 
 
 In 1620, Guipure, together with rose or raised needle-point lace, and Genoa 
 point, were in great demand, so that all the lace factories began to supply them 
 in a greater or lesser degree, with the exception only of Belgium. That country 
 did not follow the general fashion in tape lace-making, but created a new and 
 
166 HISTORY OF HAND-MADE LACE. 
 
 special type which has always remained the characteristic lace of Flanders with 
 its close workmanship and exquisite fineness of thread. 
 
 The Guipure of the seventeenth century was extremely ornamental, the parts 
 of the design in tape being united, and the openings filled with ornamental 
 stitches. On the commencement of the fashion of the falling collar, the make 
 of Guipure became heavier on account of the desirability that the fabric should 
 hang from the neck rather than stand out as the edging of the ruff, which had 
 hitherto required lightness and delicacy rather than weight. The additional 
 weight was given by means of a kind of Point d'Esprit, of grain-shaped 
 enrichment. 
 
 When the word Guipure is used for modern Honiton Maltese lace, and its 
 Buckingham imitations, or for the coarse raised points of Venice, it is misapplied. 
 Lace called Guipure d'Art, Filet Erode, and Filet Guipure, is the modern survival 
 of the Opus Filatorium, or Darned Netting (under which last heading it is 
 described). 
 
 The modern tape Guipures were first made in Italy, Genoa leading the 
 industry ; the designs are simple, and have been brought to great perfection in 
 France and Venice. The black modern guipure is very popular, as being specially 
 adaptable to the exigencies of modern fashion. This lace in black silk is now the 
 chief manufacture of Le Puy, in France. 
 
 Guipure d'Art. 
 
 This is described under Darned Netting. 
 
 Guipures de Flandre. 
 
 The name given to.old Flemish laces made with bobbins, to distinguish them 
 from old needle-point Flanders lace. 
 Hainault Lace. 
 
 Brussels lace was made in Hainault during the seventeenth and eighteenth 
 centuries, also a Valenciennes lace at Binche, a town of Hainault. These are 
 described under their various headings. 
 Hamburg Point. 
 
 A point lace made at Hamburg by the French Protestant refugees after the 
 revocation of the Edict of Nantes. It is described under German Lace. 
 Holesom. 
 
 A local name for Swedish Lace. 
 Hollie or Holy Lace. 
 
 A needle-point lace worked in the Middle Ages, the subject of the pattern 
 being taken from Holy Writ. ^^^^^^^^^^BHMnanH^^MIMHB^^H 
 The name " Hollie'' is a corrup- 
 tion of Holy Point, and is some- 
 times used to denote any Church 
 laces, whether formed of drawn 
 or cut work, darned netting (the 
 true Hollie Lace) or needle-point, 
 provided the subject is a 
 
 Hollie or Holy Point, formerly made for Church use only, but 
 c ne. gince tlie R e f orma tion used for lay purposes ; eighteenth century. 
 
A DICTIONARY OF LACE. 
 
 167 
 
 bobbins, and then applying them 
 
 The wearing of Hollie Point was not thought of till after the Reformation, 
 when the Puritans used, for lay purposes, many things that had belonged hitherto 
 exclusively to the Church. The bearing cloth or mantle, used to cover a child 
 when carried lo its christening, together with its christening cap and shirt, with 
 bib and mittens, which formed the christening suit, were frequently of Hollie Point. 
 Such subjects as the " Tree of Knowledge," " The Holy Dove," or " The Flower 
 Pot and Lily of the Annunciation," were the favourites. (In the chapter on 
 "Ecclesiastical Lace" and under Church Lace further details are given.) 
 
 Honiton Application. 
 
 This lace is formed by making the sprays with 
 on to a net ground, made either with the needle, 
 with bobbins, or by machinery. It is the hand- 
 made ground which makes the lace so valuable, 
 in consequence of the length of time required in 
 its making, and the fineness, and consequent 
 dearness, of the Antwerp thread used, It was of 
 this kind that our Queen's lace wedding veil and 
 dress were made. The order was executed by 
 Miss Jane Bidney, who placed the different 
 sprays in the hands of workers in and around 
 the little village of Beer, in South Devon. The 
 lace cost 1,000. The patterns were immedi- 
 ately destroyed when the lace was complete, but 
 fragments of some of the sprigs are treasured 
 in cottages here and there in the neighbour- 
 hood. In examining such specimens the work 
 is seen to be of great beauty. 
 
 Honiton Application is chiefly made now by 
 working the sprays on the pillow, and applying 
 them on to a machine-made net. (Further 
 details are given under Honiton Lace.) 
 
 Honiton Bobbin-made Lace Daisy. 
 The centre stitch, called Dia- 
 mond Plaitings, is made after 
 the other parts of the spray 
 have been worked. The leaves 
 are in cloth stitch and half 
 stitch with pearl edge ; the 
 stem is in stem stitch with plain 
 pearl edge. Nineteenth century. 
 
 Honiton Crochet. 
 
 This is referred to under Crochet and Irish Point Crochet. 
 
 Honiton Lace. 
 
 Honiton has been the centre of the lace trade since the days of Queen 
 Elizabeth, when coarse bobbin or bone laces were made plaited laces of silk, gold 
 or silver threads, like the Italian and Greek Reticellas. The lace-makers were 
 reinforced by the Flemings who took refuge in Devonshire from religious persecu- 
 tion during the sixteenth century, and traces are still to be found of Flemish names 
 amongst the lace-making families, such as Stocker, Gerard, Murch, Kettel, Groot, 
 Speller, and Trump. 
 
 In the seventeenth century the Honiton workers tried to imitate Brussels lace, 
 which was then popular, but the effort was not altogether successful, as the thread 
 used was inferior. 
 
A DICTIONARY OF LACE. 
 
 169 
 
 A great fire at Honiton in 1756 caused much distress'amongst the lace-makers. 
 Just before this calamity, in the " Complete System of Geography," by Emanuel 
 Bowen, it is said of Honiton : " The people are chiefly employed in the manufactory 
 
 of lace, the broadest sort that is made in England, of which great quantities are sent 
 to London." At this time Devonshire lace is sometimes called Bath Brussels lace. 
 It is owing to its sprigs that Honiton has become famous. They were, and 
 still are, made separately first worked with bobbins, and afterwards sewn, or 
 appliqued, on to the ground. The making of the plain pillow ground was an 
 important branch of the industry, but has now almost died out. In the last 
 
1 70 HISTORY OF HAND-MADE LACE. 
 
 4 
 
 century the hand-made net was very expensive, and was made of the finest 
 thread from Antwerp: in 1790 this cost ^"70 per pound, sometimes more. At 
 that time the mode of payment was decidedly primitive : the lace ground was 
 spread out on the counter, and the cottage worker covered it with shillings 
 from the till of the shopman. As many coins as she could place on her work 
 she took away with her as wages for her labour. ' It is no wonder that a 
 Honiton lace veil, before the invention of machine-made net, often cost a hundred 
 guineas. Heathcoat's invention of a machine for making net dealt a crushing 
 blow to the pillow-made net workers. The result is easily guessed. After 
 suffering great depression for twenty years, the art of hand-made net became 
 nearly extinct, and when an order for a marriage veil of hand-made net was given, 
 it was with the greatest difficulty that workers could be found to make it. The net 
 alone for such a veil would cost ^"30. There was a curious wave of careless design- 
 ing and inartistic method during the time of this depression, and ugly patterns show 
 " turkey tails," " frying pans," and hearts. Not a leaf, nor a flower, was copied 
 from nature. At last a petition was sent to Queen Adelaide on behalf of the 
 distressed lace- workers, and she ordered a dress to be made of Honiton sprigs, on 
 machine-made net, so that both industries should feel the benefit of her patronage. 
 The wedding dress of Queen Victoria, also made in Devonshire, is described 
 under Honiton Application ; those of the Princess Royal, Princess Alice, and the 
 Princess of Wales were all of Honiton bobbin-made sprigs, mounted on machine- 
 made net ; the patterns were of the national flowers, the Prince of Wales' feathers 
 being used on that of the Danish Princess. 
 
 Honiton lace sprigs are now used for the modern Honiton Guipure. The 
 sprigs are made on the pillow with bobbins, sewn on to the blue paper, and then 
 united by cut-work or purlings, or else joined with the needle by such stitches as 
 reseau, cut-work, or buttonhole stitch ; the purling is made by the yard. The 
 Honiton lace trade is now improving slightly, owing to the revival of interest in all 
 hand-made laces. Frequent industrial exhibitions, prizes to skilful and artistic 
 workers, together with a return to nature for inspiration in pattern-designing, have 
 raised the standard with partial success ; but the isolated efforts of a few individuals 
 are not sufficient to bring about a steady and persistent revival in the great and 
 important industry of Honiton lace-making. While the demands of fashion are 
 ignored, and inferior designs worked, the " trade," which is such an important 
 factor in the success of any lace revival, will not trouble to give orders ; and 
 
 though the stitches in themselves may be beauti- 
 ful, the lace is frequently but an example of 
 misdirected talent and industry, on account of 
 the ugly, heavy patterns, clumsy arabesques, and 
 weak imitations of natural flowers, which form 
 the chief designs of the present day. 
 
 A speciality of Honiton lace, unknown in 
 England until 1874, is that called Devonia lace. 
 Its characteristic is the raising in relief of the 
 
 Devonia Bobbin-made Lace Flower inner petals of the flowers, butterflies' wings, or 
 
 with petals in relief ; latter half of ..ir ii - u ,oi 
 
 the nineteenth century. other ornamental forms, imitating the natural 
 
A DICTIONARY OF LACE. 171 
 
 objects from which they are copied, and standing out from the ground. This 
 variety was known in Belgium and worked there for several years before the 
 Honiton workers commenced the new method. (Further details are given under 
 Devonshire Lace.) 
 
 Huguenot Lace. 
 
 An imitation lace- work made at the commencement of the present reign, but 
 now obsolete. Rosette-shaped flowers of Mull muslin were mounted on net ; buds 
 and leaves were also formed of the muslin combined with lace stitches. 
 
 Indian Lace. 
 
 It is strange that in India, a country remarkable for the skill and patience 
 shown in the native embroideries, there should be little trace of the art of lace- 
 making. A simple open mesh gauze, embroidered with gold or silver, is all that 
 can be found resembling lace amongst the gorgeous collections of Indian textiles and 
 needlework, with the exception of a kind of knot-work made with a continuous 
 series of thick buttonholes, every three stitches of which are drawn together with a 
 loop. The whole forms a massive fabric very far removed from the lightness and 
 grace of Western lace work. In comparatively recent times lace has been made 
 at some of the European mission schools, of which the best known are those of 
 Travancore and Tinnevelli. The natives show considerable aptitude in learning 
 the handicraft. 
 
 Indian Point Lace or Indian Work. 
 
 Names given to Drawn-work, under which title the fabric is described. 
 
 Irish Laces. 
 
 All the laces produced in Ireland are copies of those worked in other countries: 
 none of them are original, and it is only within the last fifty years that lace-making 
 has become an industry of the people. It is now made at Youghal, New Ross, 
 Killarney, Kinsale, Clonakilty, Waterford, Monaghan, and other places in Ireland. 
 When the Irish Rebellion was at an end, a friendly exchange of fashions set in 
 between England and Ireland, and the lace-trimmed ruff and fall of Flanders Point 
 appeared in due course in the island. At the beginning of the eighteenth century a 
 desire began to show itself to patronise the productions of the country. Swift com- 
 posed a prologue to a play to be acted for the benefit of the Irish weavers, in which 
 he says: "We'll dress in manufactures made at home." In 1743 the value of 
 the bone lace made by the children in the workhouses of the city of Dublin amounted 
 to ^"164 143. io|d. " In consequence of this success the Society ordain that 
 ^"34 2S. 6d. be given to the Lady Arabella Denny to distribute among the children 
 for their encouragement in making bone lace." In 1703 only 2,333 yards, worth 
 only 116, or about one shilling per yard, passed through the Irish custom house. 
 Ireland received her needle-points from France or Flanders. A Mrs. Rachel Arm- 
 strong, of Co. Kilkenny, was awarded a prize of 11 73. 6d. for having caused a 
 considerable quantity of bone lace to be made by girls whom she instructed and 
 employed in the work ; and Lady Arabella Denny, the good genius of Irish lace, in 
 1765 had the freedom of the city of Dublin conferred upon her for her good work. 
 But with all this fostering it was not until the time of the great famine (1846 to 
 
1 7 2 
 
 HISTORY OF HAND-MADE LACE. 
 
 1848) that any real attempt to make lace a general production commenced. Then 
 schools were opened in various parts of the country by the exertions of patriotic 
 ladies, and, assisted by Government, reproduction of Brussels Applique was com- 
 menced at the Curragh Schools. Limerick Lace, Irish Point, Belfast, and fine 
 crochet reproductions of old points are the best-known laces of Ireland; and other 
 laces have been made, such as Irish Guipure or Carrickmacross, Point Jesuit, 
 Spanish, Venetian and Rose Point, Pearl Tatting, Knotted and Lifted Guipure, 
 Black and White Maltese, silver, black, 
 and white blondes, and wire-ground 
 Valenciennes. 
 
 Irish Point. 
 
 This lace is also called Curragh lace. 
 It is made at Youghal, New Ross, Ken- 
 mare, Killarney, Kinsale, and Waterford. 
 It was Lady de Vere who taught the 
 mistress of the school to make applica- 
 tion sprigs in the Brussels method, and 
 lent her own Brussels lace as patterns. 
 The lace was so good that success at 
 once attended her efforts. Sometimes 
 these sprays are joined with corded bars, 
 which attach them to machine-made net, 
 the foundation being cut away from 
 beneath the sprig. (Further details are 
 given under Irish Laces.) 
 
 Irish Point Crochet. 
 
 This is worked in imitation of Spanish 
 and Venetian guipure patterns. It is also 
 known as Honiton Crochet. 
 
 Isle of Man Lace. 
 
 Much lace of all kinds was conveyed 
 into England under the name of Isle of 
 Man Lace, which was smuggled over 
 from the Continent when the importation 
 of foreign laces to this country was for- 
 bidden. During the eighteenth century 
 a pillow-made edging like a coarse Valen- 
 ciennes was made on the island, but 
 the industry never flourished, and it is 
 now extinct. 
 
 Isle of Wight Lace. 
 
 This is of two kinds: (i) Bobbin 
 lace, resembling that made in Wiltshire ; 
 the manufacture is now extinct. (2) The 
 
A DICTIONARY OF LACE. 173 
 
 second kind is not a lace at all in the true sense of the term, as it is machine- 
 made net, upon which a design is run in a coarse flax thread, the pattern being 
 outlined, and fine needle-point stitches afterwards used to fill in the design. 
 Her Majesty the Queen at one time wore Isle of Wight lace for her cap-strings. 
 
 Italian Laces. 
 
 The laces of Italy have always been, and still are, unrivalled in beauty. 
 Exquisite needle-point laces were produced as early as the fifteenth century, and 
 the art was universally practised in the convents in the sixteenth century. Although 
 lace was at first almost exclusively made for Church purposes, the splendour of the 
 Romish ritual encouraging the 
 art to a great extent, yet the 
 rich dress of the sixteenth cen- 
 tury demanded its manufacture 
 for personal adornment also. 
 
 The earliest forms of lace 
 made in Italy, as in the rest of 
 Europe, were twisted threads of 
 gold, silver, and silk, cut-work, 
 darned netting, and drawn-work, 
 
 besides the knotted laces of 
 
 Italian Bobbin Lace, 5t inches wide ; sixteenth century. 
 Genoa, which were a most 
 
 important article of trade. The Venetian points are the most beautiful and 
 elaborate laces that have ever been made. The art of producing such work 
 has not been lost, and a revival is taking place in the taste for fine needle-point 
 and pillow lace which is enabling the lace-makers of Italy to show that the 
 capacity for exquisitely artistic work has merely lain dormant, but is not extinct. 
 The beautiful Point de Venise was created at the end of the sixteenth century, 
 in order to supply a demand for some novelty when lace-wearing was on the 
 increase, and was sa popular that enormous quantities were exported to France 
 and other countries until the latter half of the seventeenth century. 
 
 The laces of Milan also were celebrated, and, with those of Ragusa, were worn 
 at all the Courts of Europe. The decay of the Italian lace industry was due to the 
 clever imitative powers of the French people, who, after being taught the Venetian 
 method by instructors imported from Italy by Colbert, in the reign of Louis XIV., 
 became so apt at learning the art of needle-point lace-making, that they no longer 
 needed the large supply formerly drawn from Venice ; they were, in fact, able to 
 supply not only themselves but other European nations with the French Point de 
 Venise, called Point de France, and many other varieties which they evolved from 
 the original types. 
 
 Descriptions of the Italian laces are given under their various headings. 
 Jesuit Lace. 
 
 An Irish reproduction of Spanish and Venetian lace designs executed in 
 crochet. They are described under Irish Laces. 
 Knotted Lace. 
 
 A variety of the Ragusa and Reticella Guipures, known in Italy as Punto a 
 
174 
 
 HISTORY OF HAND-MADE LACE. 
 
 Groppo. The word groppo signifies a knot or tie which is a characteristic of this 
 lace, it being formed of threads knotted together like the fringes of Genoese 
 Macrame. 
 
 The old Ragusa Guipure was chiefly executed in gold and silver threads. It 
 is the kind of lace most 
 resembling the Egyptian 
 bordering to garments, 
 and was first produced 
 at Genoa for ecclesias- 
 tical purposes. Such 
 lace is made upon a 
 wooden support or 
 pillow with twine, cut 
 into short lengths and 
 made into patterns by 
 being tied into knots at 
 well-arranged distances, 
 with the fingers, and 
 without the aid of 
 bobbins or needle. 
 Sometimes, when the 
 pattern is finished, the 
 threads are allowed to 
 hang down to form a 
 fringe ; in other cases 
 the ends are worked up and cut off so that there is no fringe edging. 
 
 Knotted lace is now made in Calabria, and near to Rome, the countrywomen 
 using it for trimming their underdresses and ornamenting the linen cloth used as a 
 head-covering by the Roman peasants. 
 Lace. 
 
 The name now applied to ornamental open-work formed of threads of flax, 
 cotton, silk, gold, silver, hair, or aloe fibre. Such threads are either looped, plaited, 
 or twisted by means of a needle, by small wooden implements called bobbins, or by 
 machinery, when imitations of both needle-point and bobbin laces are produced. 
 The name was formerly given to narrow plaited or twisted bands for uniting two 
 portions of a garment or for ornamenting hats and caps. The boot-laces of the 
 present day are a survival of this form. 
 
 Lacis. 
 
 One of the names for Darned Netting, under which heading it is described. 
 
 Lagetta. 
 
 The inner bark of the Lagetta lintearia, or lace bark tree of Jamaica, is 
 separated by the natives, thin layers of it having the appearance of a mesh ground, 
 and bearing some resemblance to white lace. In the time of Charles II., the 
 governor of Jamaica presented to His Majesty a cravat and ruffles of Lagetta. 
 At the Exhibition of 1851, a dress of this fibre was presented to the Queen. 
 
 Italian Knotted Lace, 5 inches wide, in thread of unbleached flax ; 
 sixteenth century. 
 
A DICTIONARY OF LACE. 
 
 Lavoro a Groppi. 
 
 Fine net-work, 
 with knotted 
 pattern. 
 
 Lavoro a Maglia. 
 
 Lacis, or net- 
 work ground 
 darned. 
 
 Le Puy Laces. 
 
 Le Puy is 
 famous as being 
 the oldest lace 
 centre in France. 
 For more than two 
 centuries the 
 women of Auvergne 
 have devoted them- 
 selves to lace- 
 making of whatever 
 special kind was 
 known and fashion- 
 able at the time. 
 In the seventeenth 
 century the indus- 
 try received a 
 severe blow from 
 the S^u m'p t u a r y 
 
 edicts issued by the Parliament of Toulouse, which forbade the inhabitants, under 
 penalty of a heavy fine, to wear upon their clothes any lace, either of gold or 
 silver, fine or coarse. The extinction of the industry of the whole province was 
 averted by means of the energy of a Jesuit Father, who was afterwards canonised 
 for his good work, and has since been considered the patron saint of the lace- 
 makers, the edicts being revoked through his exertions. In the eighteenth 
 century, the workers were much distressed by severe export duties, and the 
 manufacture of the recently introduced, and then fashionable, blondes was 
 advised as a help to the industry, for the coarse laces of Le Puy, which had 
 been used in enormous quantities in England, Italy, Spain, Portugal, and 
 Germany, were no longer popular. 
 
 Le Puy lace is now most popular. Black and white thread and silk 
 guipures are chiefly made, and blondes of every kind, much variety in design 
 being shown to keep pace with the modern variation in taste. 
 
 It must be remembered that Le Puy is a lace centre. Many varieties pro- 
 duced in the Haute Loire district are known as Le Puy laces. 
 Lie"ge Lace. 
 
 A bobbin lace made at the town in Hainault, from the beginning of the 
 
 Specimen of the Inner Bark of the Lace Bark Tree, Lngetta lintearia 
 (Jamaica), 5 inches wide. 
 
176 
 
 HISTORY OF HAND-MADE LACE. 
 
 seventeenth century until the end of the eighteenth. In 1802 the French 
 Commissioners classed this lace as of little importance. The fabric resem- 
 bled the manufacture of Binche (under which heading further particulars will 
 be found) and was much used for Church purposes. A pattern book of lace 
 designs was published at Liege by Jean de Glen, as early as 1597. It is 
 sometimes known as Dentelle de Liege, and was made both in fine and in 
 coarse threads. 
 
 Lille Lace. 
 
 This bobbin lace was made as early as the sixteenth century, the period when 
 lace-making became an important industry in the Netherlands, of which country 
 Lille was at one time a part. In 1582, the work of the Lille lace-makers is 
 specially described. It is 
 identical with Arras lace, 
 both having special grounds 
 called fond simple, made by 
 twisting two threads round 
 each other on four sides, 
 and the remaining two sides 
 of the hexagon by the simple 
 crossing of the threads over 
 each other. 
 
 The old Lille laces have 
 a very fine and clear ground, 
 and the pattern is delicate: 
 these characteristics have 
 always made them favou- 
 rites for summer wear. 
 Straight stiff edges are found 
 in the old Lille laces, the 
 designs of which are marked 
 with a thick thread. These 
 straight edges are, however, 
 no longer made, the Mechlin 
 patterns having been 
 adopted, together with the 
 seme, or powdering of dots, 
 both round and square. 
 
 The making of black 
 lace at Lille has been dis- 
 continued. When Lille was 
 transferred to France, in 1668, many of the lace-makers retired to Ghent, but 
 sufficient remained to continue the industry. Lille laces have always been 
 favourites in England, the black especially. At the end of the eighteenth 
 century it was computed that one-third of the production was smuggled into 
 England. 
 
 Old Lille Lace (eighteenth century) made on the pillow 
 with bobbins. It is especially admired for its clear 
 ground. 
 
A DICTIONARY OF LACE. 
 
 177 
 
 Limerick Lace. 
 
 This is now recovering its prestige, which was lost in the sixties through 
 the emigration to America of many of the best lace-makers, The manufacture 
 was commenced in 1829, when Charles Walker, a man who had been educated 
 
 Cut Cambric and Needle-work, called "Lace," made at Limerick, 10 inches wide; 
 
 nineteenth century. 
 
178 HISTORY OF HAND-MADE LACE. 
 
 for the Church, married the daughter of a lace manufacturer in London, and went 
 over to Ireland, taking with him twenty-four girls as teachers. They began the 
 industry in Limerick. He employed travellers all over the United Kingdom, and 
 many people of note gave great encouragement to the manufacture. The fabric, 
 which is rather embroidery than lace, in the strict sense of the term, is of three 
 varieties: Tambour, which is made by working upon machine-made net a design 
 in chain stitch; Run, in which lines of a pattern are run with a coarser thread upon 
 the net ; and Applique, in which cambric or net is laid over net, the design being 
 formed by overcasting the pattern, and the background being then cut away so 
 that the foundation shows through and thickens the design. 
 
 Limoges Lace. 
 
 A guipure made at Limoges. Guipure Lace is described under that heading. 
 
 Luneville Lace. 
 
 This bobbin-made lace, well-known in the seventeenth century, was, together 
 with Mirecourt and other laces, made in Lorraine. Its manufacture formed almost 
 the sole occupation of the female population ; it was made with hempen thread, 
 which was spun at Chalet-sur-Moselle. At this stage of its development the lace 
 a coarse guipure was called a passement. In the latter half of the seventeenth 
 century this coarse fabric was laid aside and a more delicate lace produced a 
 kind of Mignonette with double ground. Lorraine laces are sometimes known as 
 the Saint Michel laces, from the town of that name, where much of it is made. 
 A pattern called Point de Flandre is still a favourite, and laces similar to those of 
 Lille and Arras are also produced. Application flowers like those of Brussels and 
 Honiton are made, and the Lorraine lace has great advantage over the former 
 kind in that the sprigs come clean and white from the hands of the workers, and 
 no bleaching with lead is required. Luneville and other laces made in Lorraine 
 are largely exported to America, England, and the East Indies at the present 
 time. There were factories where lace of the same kind was made at Dijon, 
 Auxerre, Lyons, St. Etienne, He de France, Rheims, and Sedan ; others in the 
 neighbourhood of Paris, such as St. Denis, Montmorency, Villier-le-Bel, and 
 Groslait. 
 Lyme Regis Lace. 
 
 The point and pillow laces of Lyme Regis, in Dorsetshire, were at one time 
 as celebrated as those of Honiton and Blandford. The fabrics of this watering- 
 place, which was most fashionable in the eighteenth century, were bought by 
 the ladies and gallants who frequented the Spa. Broad Street, the principal 
 thoroughfare, was inhabited by lace-makers, and the gossips entertained their 
 patrons with stories of the valiant deeds of Lyme men in Monmouth's time, and 
 by talk and raffles accelerated the sale of their points. When Queen Charlotte 
 first entered England she wore " a head and lappets of Dorset lace," and later, a 
 splendid lace dress was made for her at Lyme, which gave great satisfaction at 
 Court. So quick was the decline of the industry, however, that when a worker 
 was invited from Lyme Regis to assist in carrying out the order for the marriage 
 lace of Queen Victoria, not one was to be found in the town. (Further description 
 will be found under Dorsetshire Lace.) 
 
A DICTIONARY OF LACE. 
 
 179 
 
 Macrame Lace. 
 
 This pillow lace is made in many of the convents of the Riviera, and is taught 
 by the nuns to the cottagers, the children of either sex beginning their training in 
 
 this handicraft very young. 
 It is a survival of the Knotted 
 Point lace, which was much 
 used in Spain and Italy during 
 the fifteenth, sixteenth, and 
 seventeenth centuries, for the 
 ornamentation of Church vest- 
 ments, and other ecclesiastical 
 purposes, and is still worn by 
 the peasants in the neighbour- 
 hood of Rome. The name 
 Macrame is of Arabic origin ; 
 in the great picture of the 
 supper in the house of Simon 
 the Canaanite, by Paul 
 Veronese, the ends of the table- 
 cloth are ornamented with 
 Macrame lace. House linen 
 richly ornamented with 
 Macrame forms an important 
 item in the trousseau of a 
 Genoese lady. It was not 
 until 1843 that the Macrame 
 made on the Riviera was 
 executed in any but the 
 simplest designs ; then a piece 
 of old Macrame or knotted lace 
 was brought by Baroness 
 d'Asti to the Albergo de Poveri 
 from Rome. Marie Picchetti, 
 one of the workers, carefully 
 unpicked and examined the complicated knots, and managed to discover the art 
 of producing the intricate effects. Since then many fresh patterns have been 
 designed, and the results are excellent. (Under Genoa Lace other particulars will 
 be found.) 
 
 Madagascar Lace. 
 
 A twisted thread lace made by the natives of the island from which it takes its 
 name. It possesses no artistic value. 
 
 Madeira Laces. 
 
 Bobbin laces, imitating Maltese, Torchon, and Mechlin, are made in Madeira, 
 but there is no native lace belonging to this place ; the manufactory has existed 
 for about sixty years. 
 
 N 2 
 
 Fringed border of Knotted White Thread, Punto a 
 Groppo, or Macrame work, of Genoa, 8f inches wide ; 
 nineteenth century. 
 
i8o 
 
 HISTORY OF HAND-MADE LACE. 
 
 Madras Lace. 
 
 Bobbin lace, imitating the designs and methods of Maltese black and white 
 silk guipure, is 
 made in Madras. 
 The school for 
 making the 
 fabric is of 
 recent founda- 
 tion. 
 
 Maltese Lace. 
 
 A bobbin- 
 made lace, which 
 has been made 
 in Malta ever 
 since the com- 
 mencement of 
 the sixteenth 
 century. The 
 character of the 
 design, which 
 was at that time 
 
 like the Mechlin or Valenciennes without the fine ground, has since altered, 
 and the lace now resembles Greek guipures. It is now made both in thread 
 and in black and white silk, known as Barcelona silk, such as is used in 
 Spain and France for the Chantilly blonde laces. Occasionally some raised 
 stitches are worked, but usually the patterns are simple and geometric in 
 character, Maltese lace is also manufactured in Auvergne, Le Puy, Ireland, 
 Buckinghamshire, and Bedfordshire. In Ceylon the natives work a kind of 
 Maltese, and in Madras also this make is worked. 
 
 Manillese Lace. 
 
 This work is executed in the Philippine Isles with Manilla grass; it is a kind 
 of drawn thread work, combined with 
 embroidery, and does not resemble 
 lace to a great extent. Sometimes 
 the fibre is tatted or twisted in 
 loops. 
 
 Maltese Lace, a bobbin-made fabric, usually executed in black, white, 
 or ecru silk ; nineteenth century. 
 
 Lace-like border, 2| inches wide, from Manilla, 
 Philippine Islands ; nineteenth century. 
 
 Mantilla Lace. 
 
 The national head-dress of the 
 women is the principal form of lace 
 manufactured in Spain. There are 
 three kinds, (i) White, which is the 
 colour de rigueur for the Spanish lady on state occasions, such as birthdays, bull- 
 fights, and Easter festivals. (2) The second is the black blonde lace mantilla. 
 (3) The third mantilla, or head-dress for ordinary wear, is frequently made of 
 silk and trimmed with black velvet and lace. The silk for these mantillas is 
 
(1) Lappet of eighteenth-century Mechlin Bobbin Lace, 4k inches wide. The main ground of 
 the compartments is of small meshes ; here and there the intervening groups of ornament 
 are lightened by the insertion of fancy open bars. 
 
 (2) Lappet (one of a pair) of Valenciennes Bobbin Lace, 3J inches wide. French, eighteenth 
 century. 
 
A DICTIONARY OF LACE. 
 
 181 
 
 specially woven near Barcelona for the purpose, and it is used for the blonde 
 laces throughout the country. A Spanish woman's mantilla is held sacred by 
 law, and cannot be seized for debt. 
 
 Margherita Lace. 
 
 A lace-like fabric made by embroidering on machine-made net ; it is an 
 invention of the nineteenth century, named after the present Queen of Italy, and 
 is made in Venice in large quantities at the present day. 
 
 Mechlin Lace. 
 
 Before 1665, nearly all lace made in Flanders was called Malines. The pillow 
 laces of Ypres, Bruges, Dunkirk, and Courtrai were so named in Paris. In 1681, 
 a visitor to Flanders notes that " The common people here, as throughout all 
 Flanders, occupy themselves in making the white lace known as Malines." 
 Mechlin lace 
 became fash- 
 ionable in 
 England at 
 the end of the 
 seventeenth 
 century, and 
 Queen Anne 
 purchased it 
 largely, pay- 
 in?, in 1713, 
 ^247 6s. gd. 
 for eighty- 
 three yaids. 
 It was the 
 favourite lace 
 of Queen 
 Charlotte; 
 and Napoleon, 
 when he first 
 saw the ex- 
 quisite tracery 
 of the Cathe- 
 dral spire of 
 Antwerp, ex- 
 claimed, 
 
 " C'est comme de la dentelle de Malines." This lace was much used at the 
 India muslin period, at the end of the eighteenth century, to edge that fabric, 
 its lightness making it specially useful for the purpose. Early examples of a 
 lace made at Mechlin are found with brides lighting the closer ground near 
 the pattern. 
 
 The old Mechlin laces are sometimes called Broderie de Malines. The 
 lace is extremely costly, being made with the finest Antwerp thread. It is made 
 
 Border of Mechlin Bobbin-made Lace, 3J inches wide ; end of the 
 eighteenth century. 
 
1 82 HISTORY OF HAND-MADE LACE. 
 
 in one piece upon the pillow with bobbins, the ground being formed with the 
 pattern ; much skill is required in its manufacture. A shiny plait or cordonnet 
 usually surrounds the sprigs and dots which form the designs on the reseau 
 ground. There are two kinds of Mechlin grounds used by the lace-workers : 
 circular and hexagonal shaped mesh. (Under Flanders Lace further particulars 
 will be found.) 
 Mediaeval Guipure. 
 
 A name given to Knotted Laces and Macrame (which are described under 
 their headings). 
 
 Menin Lace. 
 
 Bobbin lace of the Valenciennes lace type, made at Menin. (It is described 
 under Valenciennes Lace.) 
 
 Mermaid's Lace. 
 
 A name sometimes given to Venetian points on account of the legend of the 
 invention of bobbin lace by a fisher girl, whose lover caught a piece of white 
 coralline in his net, the graceful stuff being imitated by the girl as she twisted the 
 ends and weights of the net as bobbins are twisted. 
 
 Mignonette Lace. 
 
 A pattern of light, fine bobbin lace ; also called Blonde de Fil and Point de 
 Tulle. It was one of the early forms of lace, and was much used before the middle 
 of the sixteenth century, when Colbert established the Points de France. The 
 thread was bleached and spun at Antwerp, and was similar to that used for Lille 
 lace. Mignonette was a narrow lace, never exceeding two or three inches. It was 
 made in Paris, Lorraine, Auvergne, Normandy, Arras, and Switzerland. Much of 
 it was exported. It was the favourite trimming for head-dresses, on account of its 
 lightness and delicacy. Mignonette pattern is still largely made. 
 
 Milan Point. 
 
 This point lace was justly celebrated in the seventeenth century. Lace was, 
 however, known and made in Milan at a much earlier date. The earliest record of 
 Italian lace known belongs to Milan, being the document setting forth the division 
 of personal property between the sisters Angela and Heppolita Sforza Visconli in 
 
 1493- 
 
 Henry VIII. of England is mentioned as wearing an edging of lace of purple 
 silk and gold worked at Milan. In a wardrobe account of the wife of James I. 
 (1606) is noted " One suit, with cannons there unto, of silver lace, shadowed with 
 silk Milan lace." Lace now made at Milan is of the Torchon variety, but repro- 
 ductions of the fine old Points de Milan are produced in Venice at the present day. 
 
 Mirecourt Lace. 
 
 This bobbin-made lace resembles that of Lille, but during the last thirty years 
 has far surpassed the latter in make. Lace has been made in the neighbourhood 
 of Mirecourt since the seventeenth century, and the town has formed the head- 
 quarters of the district. About seventy years ago flowers and sprigs imitating 
 the Brussels patterns were attempted with great success at Mirecourt ; these 
 
A DICTIONARY OF LACE. 
 
 183 
 
 sprigs are mounted upon a machine-made ground, as in the modern Honiton 
 applique. 
 
 Mixed Lace. 
 
 The name sometimes applied to lace partly made with the needle and partly 
 with bobbins, such as the Honiton sprays, or to needle-point or bobbin sprigs 
 mounted on machine-made net. 
 
 Modern Point Lace. 
 
 In the middle of the nineteenth century a desire to imitate the Renaissance 
 laces of Spain, Venice, and Genoa, began to show itself, and the designs were 
 faithfully copied and worked 
 with the needle in the old 
 stitches. This revival of the 
 old work has been carried to 
 the highest perfection amongst 
 the upper-middle classes in 
 France, and is known there 
 as Dentelle Renaissance and 
 Dentelle Irlandaise, but being 
 made by the leisured classes 
 for their own use, has never 
 been known as an article of 
 commerce. Modern needle- 
 point lace has been made with 
 great commercial and artistic 
 success at the royal lace 
 factory in the Island of 
 Burano, near Venice, since 1872. All the finest needle-point laces are now 
 made there, such as Alencon, Burano Point, Brussels Point, Rose Point de Venise, 
 and Point d'Angleterre. 
 
 Moorish Lace. 
 
 A lace work made in Morocco, and used as an edging to household linen and 
 women's dresses in the harems. It is of little artistic or commercial value. 
 
 A coarse-patterned lace was made by the Moors in the sixteenth century. 
 They had evidently learned the art of lace-making in a perfunctory manner from 
 the Spaniards or the Maltese, as the patterns show : these are of the geometrical 
 type. This lace is no longer manufactured, but may sometimes be acquired in 
 the native towns. It is one of the laces mentioned in the " Revolte des Passamus," 
 a poem written in 1661. 
 
 Needle-point. 
 
 A name given to all kinds of lace worked with a needle, as distinct from 
 bobbin-worked lace or "point lace," which last term refers to the fine quality, 
 and may indicate either Needle-point or bobbin-made. 
 
 Normandy Laces. 
 
 The bobbin lace of Normandy forms an essential part in the costume of the 
 
 Reproduction of Gros Point de Venise, made with. needle- 
 point bars and fillings, with machine-made tape and 
 cordonnet over-sewn ; nineteenth century. 
 
184 
 
 HISTORY OF HAND-MADE LACE. 
 
 peasants, whose caps, having rich lappets of lace, are handed down from 
 generation to generation; those of the present day vary little from the kind 
 worn in the fifteenth and sixteenth centuries. Lace-making has always been the 
 principal occupation of the wives and daughters of the Normandy fishermen. The 
 lace trade made rapid strides in the eighteenth century. From Arras to St. Malo 
 there were no fewer than thirty centres of industry ; these chiefly imitated the 
 pillow laces of Mechlin. Black thread laces were also made, besides the gold and 
 silver guipures used for ecclesiastical purposes. Petit Poussin, Ave Maria, Point 
 du Dieppe, Point du Havre, and Dentelle a la Vierge are the best-known patterns. 
 The laces made at Caen and Bayeux are quite distinctive, being like the silk 
 blondes, in black, white, and ecru, made at Chantilly and in Spain. 
 
 Northamptonshire Laces. 
 
 The bobbin laces made in Northamptonshire are all reproductions of the kinds 
 made abroad and known as Brussels, Lille, and Valenciennes. The earliest 
 English lace of any artistic value, made in the county, was from old Flemish 
 
 designs in the seventeenth century ; later 
 the fine Brussels ground was worked, and 
 specimens are found which have the design 
 run or sewn in with the needle on to the 
 bobbin-made ground. It was in 1778 that 
 the " point " ground, as it is locally called, 
 was introduced. The term is misleading, as 
 it was not point ground in the literal sense 
 of the term (namely, made with the needle- 
 point), but refers to its superior effect. It 
 is as fine and clear as the celebrated Lille 
 ground, and was much used for the baby 
 laces, when the tiny lace-trimmed infants' 
 caps were in fashion. The patterns were 
 taken from those of Lille and Mechlin, hence 
 the laces of Buckinghamshire and Bedford- 
 shire are often called " English Lille." The 
 outbreak of the war with France gave a 
 great impulse to the lace trade of North- 
 ampton, as it closed our ports to the French 
 laces. From that time a sort of fausse Valen- 
 ciennes, called locally "French ground," has 
 been made. Valenciennes as fine as any made in Hainault was also made until 
 the cessation of the war. The lace is still manufactured at Tiffield and in 
 other lace- making districts in the county. 
 
 Nuns' Work. 
 
 In mediaeval times much needlework of every kind was made by the inmates 
 of convents, who imparted the knowledge to their high-born lay-pupils, these ladies 
 again teaching the art to their maids and attendants. Crochet, knitting, netting, 
 
 Northamptonshire Lace, made about 
 1800. The clearness of the ground 
 could not be surpassed by the Lille 
 workers. Much of this ground was 
 made on the pillow with bobbins, by 
 men. 
 
A DICTIONARY OF LACE. 185 
 
 cut-work, drawn-work, bobbin and hand-made laces, were all at one time known 
 as Nuns' work. 
 
 Old Lace. 
 
 A term indifferently used, either for needle-point or bobbin laces, before the 
 introduction of machine-made net grounds in 1768. 
 
 Open Lace. 
 
 A name sometimes applied to Darned Netting. 
 
 Opus Anglicanum. 
 
 Needlework and embroidery executed by the English nuns, the beauty of 
 whose work was already of European fame in 1246. The twisted gold and silver 
 threads, cut-work, and lacis, were included under this general term. (Descriptions 
 are given under the various headings.) 
 
 Opus Araneum. 
 
 Spider Work. The ancient name for Cluny Guipure Lace and Darned Netting 
 (under which headings it is described.) 
 
 Opus Consutum. 
 
 The ancient name for Applique. 
 
 Opus Filatorium. 
 
 The ancient name for Netting and Darned Netting. 
 
 Opus Scissum. 
 
 The ancient name for Cut-work. 
 
 Opus Tiratum. 
 
 The ancient name for Drawn-work. 
 
 Orsa Lace. 
 
 A bobbin lace made of unbleached thread by the peasants in Sweden. It 
 is described under Dalecarlian Lace. 
 
 Ouvrages Masches. 
 
 A mediaeval name for Darned Netting. 
 
 Oyah Lace. 
 
 This lace, sometimes called Point de Turque, is a fancy work executed by 
 the ladies of the Turkish harems, in coloured silks, which are formed into coarse 
 lace with a crochet hook. 
 
 Pelestrina Lace. 
 
 The lace made on the island of Pelestrina, which is about five miles from 
 Venice, is executed with bobbins. The vine leaf and other effective patterns are 
 chiefly worked, the lace being used for trimming furniture and blinds, and in large 
 pieces for curtains and counterpanes. The revival in the lace industry on this 
 island took place under the direction of Fambri and Jesurum, in 1872, at the same 
 time as the revival of the needle-point laces of Burano. 
 
 Peniche Lace. 
 
 This bobbin lace is described under Portuguese Laces. 
 
1 86 HISTORY OF HAND-MADE LACE. 
 
 Persian Drawn -work. 
 
 Borders on both linen and muslin are extensively made of drawn-work in 
 Persia. Complicated designs are executed such as are never attempted in the 
 European variety. Coloured silks are used for buttonholing the raw edges of the 
 material. 
 
 Petit Motif. 
 
 A bobbin lace of extremely graceful pattern. It was introduced by a French 
 lace-maker of the nineteenth century, and is now made, not only in France, but 
 also in Italy and Belgium. It is always the same in quality and design, though 
 varying in width, and belongs to the tape lace type. 
 
 Petit Poussin. 
 
 A design mentioned under the heading of Normandy Laces. 
 
 Pillow Lace. 
 
 A term which is frequently inaccurately used to describe bobbin lace. Needle- 
 point and knotted laces are also made on a pillow, so that the term Pillow Lace 
 gives no correct description of the lace made on a stuffed cushion by twisting 
 and plaiting threads wound on bobbins. This should always be called bobbin lace. 
 One of the first steps towards clearing away the mists which surround the art of 
 lace-making will have been taken, when it is clearly understood that lace of all 
 kinds is supported in the hands of the worker on a pillow, whether a needle, 
 bobbins, or simple knotting with the fingers, unaided by any instrument, be the 
 mode of construction. 
 
 Plaited Lace. 
 
 The laces made of gold, silver, or silk threads in mediaeval times, which were 
 superseded by the knotted laces and reticellas in the sixteenth century, were 
 plaited. A special kind was called Point d'Espagne, on account of large quantities 
 being worked in Spain. England, Germany, and France also made plaited laces, 
 but those of Genoa and Spain were never rivalled by other countries. They were 
 at first simple in design, like the reticellas, but afterwards became most elaborate ; 
 they were made upon the pillow with bobbins, and were used to trim the ruffs and 
 falling collars in the seventeenth century. The plaited laces of the present day are 
 those of Malta, Auvergne, Bedfordshire, and Buckinghamshire. Yak and Cluny 
 laces are also plaited ; they are made in both black and white. 
 
 Point a Carreaux. 
 
 One of the French names for bobbin lace. 
 
 Point a 1' Aiguille. 
 
 A term at one time used for Brussels Lace. 
 
 Point Conte. 
 
 The French name for Darned Netting. A kind of lace work made by darning 
 counted stitches upon a net-work ground. 
 
 Point Coupe. ' 
 
 The French name for Cut-work. 
 
A DICTIONARY OF LACE. 187 
 
 Point d'Angleterre. 
 
 This is described under English Point. 
 
 Point de Champ. 
 
 A term applied to any lace made with a net ground. 
 
 Point de France. 
 
 The name bestowed by Louis XIV. on the fabric which was first made in his 
 reign at the Chateau de L'Onray, near Alen9on, when Colbert, his minister, 
 determined to improve the lace-making of France so as to raise the revenues 
 of the kingdom. For this purpose Italian lace-workers were brought over to teach 
 the Frenchwomen, so that the early Points de France strongly resemble the 
 Venetian Points of the period. Louis XIV. desired that no other lace should be 
 worn at Court, and lace factories were started in many parts of the kingdom to 
 supply the enormous demand. Colbert's plan that " Fashion was to be to France 
 what the mines of Peru were to Spain," was crowned with success. The Point de 
 France supplanted that of Flanders and Venice, but its price made it of use only 
 to the affluent, so that when the wearing of lace became general, those who could 
 not afford the costly needle-point, replaced it by the more reasonable bobbin lace. 
 This explains the enormous increase in the production of bobbin lace at that time. 
 Ruffles, cravats, dresses, valances for the bed and the bath, coverlets and curtains 
 were all of the beautiful fabric ; and other capitals of the world soon followed the 
 example in luxury set by Paris. At an audience given by the Dauphin to the 
 Siamese ambassadors at the leve (literally in those days " the getting-up"), the bed 
 was entirely covered with the richest Point de France. When the ambassadors 
 visited Louis at Versailles, they were each presented with cravats and ruffles of the 
 finest point. Gradually fresh characteristics crept into the Point de France 
 designs, which had been at first wholly Venetian, and the old name died out, 
 being replaced by distinctive appellations, such as Alencon, Argentan, etc. 
 Alen9on lace was called Point de France until Madame Gilbert, the manager, 
 practically invented a new lace, an account of which will be found under Alenon 
 Lace. 
 
 Point de Medicis. 
 
 The name given in France to the Italian Raised Points when they were first 
 made popular by Catherine de' Medicis on her arrival. 
 
 Point de Paris. 
 
 A narrow bobbin lace, much worn in the seventeenth century. It was made in 
 Normandy and near Paris. It was sometimes known as Point Double. 
 
 Point de Tulle. 
 
 The name by which Mignonette Lace is sometimes called. 
 
 Point de Turque. 
 
 A French name for Oyah Lace. 
 
 Point Double. 
 
 A narrow bobbin lace, described under Point de Paris. 
 
1 88 HISTORY OF HAND-MADE LACE. 
 
 Point du Havre. 
 
 A description of this will be found under Dieppe Lace. 
 
 Point Gaze. 
 
 A variety of Brussels Lace. 
 
 Point Qotico. 
 
 This is described under Punto Gotico. 
 
 Point Lace. 
 
 This term indicates the fine quality of the lace. Needle-point lace has the 
 
 Cuff of Needle-point Lace of very minute design and execution, usually known as Point Neige ; 
 
 eighteenth century. 
 
A DICTIONARY OP" LACE. 
 
 189 
 
 technical peculiarity that a single needle and thread are alone used in its manufac- 
 ture, but the word "point" is used by connoisseurs and experts for both needle and 
 bobbin kinds to designate laces of superior design and workmanship ; thus it is 
 that Point de Valenciennes, Point de Malines, and other bobbin laces are so 
 described when they are specially good and fine. 
 
 In needle-point lace, the pattern is first traced upon a piece of parchment ; the 
 parchment is then stitched to a bit of stout linen ; a skeleton pattern is made by 
 \vorking the leading lines of the design on to the foundation by means of threads, 
 and these threads are fastened here and there to the parchment by stitching. The 
 skeleton pattern is worked over with a compact covering in button-hole stitch, and 
 between these outlines are inserted "ties," or "links," or complete "fillings" of 
 elaborate stitches. When this is finished, a sharp instrument is passed between 
 the parchment and the linen, and the lace released from its two foundations. 
 Spain, tradition says, learned the art 
 of point lace-making from Italy, and 
 communicated it to Flanders, who, in 
 return for the art of needle-point lace, 
 taught the Spaniards how to make 
 bobbin lace. 
 
 The richest and most compli- 
 cated of all point lace is the Rose, 
 or Raised Venice point (" Gros Point 
 de Venise"), which differs from the 
 ordinary needle-point lace in that its 
 outlines are in relief by means of 
 threads of padding placed inside 
 and worked over, the work being sup- 
 ported on a cushion in the hands of 
 the lace-maker. Sometimes there is 
 double and triple relief, and infinite 
 varieties of stitches are introduced 
 into the flowers, or geometrical 
 designs, each outline being surrounded by a "pearl" or "loop," occasionally 
 made more beautiful and complicated by half-a-dozen other loops or scallops, 
 as in Point Neige. Silk was frequently used for such laces, sometimes in the 
 natural cream colour, sometimes in more brilliant hues. 
 
 Then came the point laces with grounds formed by the ties or brides being 
 arranged in a honeycomb fashion. The six-sided mesh soon followed. These 
 meshes became thinner until the buttonholing was discontinued, which gave the 
 lightness and delicacy so much admired. Thus Venetian Point a Reseau was 
 evolved, and the French lace-makers of Alen9on and Argentan soon copied and 
 improved upon the new method so much so, in fact, that it was long thought that 
 the French laces only had the light grounds of hexagonally arranged brides, until 
 Venetian point of an earlier date was found to be similarly arranged. The art of 
 making point lace has always been best carried out in Italy. Its beauty was 
 
 Point Lace Flower in relief, ornamented with 
 fleurs volants ; nineteenth century. 
 
igo HISTORY OF HAND-MADE LACE. 
 
 greatest in the sixteenth and seventeenth centuries, both in workmanship and in 
 artistic design. 
 
 In the eighteenth century fashion demanded lighter and finer laces than could be 
 made with the needle, so that bobbin laces were preferred. Lately, however, point 
 lace has again been made for trade purposes. Thirty years ago the work was done 
 by ladies for their own amusement, and it is still executed to a very small extent 
 by them, but the modern wholesome desire for out-door life and exercise is not 
 compatible with such fireside occupations needing much application. The old 
 designs and stitches are now revived in all their loveliness at Venice, but the 
 exquisitely-fine Antwerp threads once used cannot now be procured. 
 
 Point Pecheur. 
 
 Point Pecheur, or Fisherman's Lace, is a bobbin lace resembling Maltese lace, 
 but less monotonous in design and less regular. It is now made chiefly in Italy, in 
 Genoa, Savona, at Como, and in other lace-making districts. It is made in both 
 black and cream thread. 
 
 Point Tire. 
 
 The French name for Drawn-work. 
 
 Point Tresse. 
 
 In the expenses of Queen Elizabeth, lace made of human hair, or Point Tresse, 
 is frequently mentioned. In the inventory of Marie Stuart " Une quaree fait a 
 Point Tresse " is mentioned. The Dalecarlian peasant girls were expert workers 
 in human hair. This work fetched a high price on account of its rarity, and 
 was generally done by old people in their own silvery white hair. Louis XVI. wore 
 a cravat of silvery white human hair at his coronation. It is probable that the 
 manufacture of lace made of human hair dates back to the time when the hair of 
 the vanquished was made into ornamental plaits and fringes to adorn the mantles 
 of the conquering barbarians. In the time of Charles I. it was the custom to form 
 pictures or rough portraits with the real hair of the person represented. In some 
 parts of India hair obtained from the tails of elephants is plaited or woven into 
 rough net-work border. 
 
 The only kind of work done in England with human hair is the now almost 
 extinct art of elaborate plaited or knotted locks let into brooches and pendants. 
 The true Point Tresse is no longer made. 
 
 Polychrome. 
 
 This is the only original kind of lace invented during the nineteenth century, 
 Petit Motif, Devonia, Margherita, and such nineteenth century laces, being merely 
 fresh patterns of old types. The Polychromo lace is made with bobbins, the finest 
 silk threads being used instead ot flax. The silks are of different colours, as many 
 as thirty varying shades of one colour sometimes being used, and perhaps 400 
 bobbins on a border a few inches in width. The effect is very beautiful, and the 
 lace, which is used both for costly furniture trimming and for personal adornment, 
 is made from old Venetian and Raphaelesque designs. 
 
A DICTIONARY OF LACE. 
 
 191 
 
 Pope's Point. 
 
 A name sometimes given to Venetian Point Lace (which is described under 
 Venetian Laces). 
 
 Portuguese Laces. 
 
 The old Portuguese Point lace resembles flat Venetian Point. There was 
 little commercial lace-making in Portugal before the eighteenth century ; it formed 
 
 II 
 
 B o 
 
 . 
 
 s- 
 
 5' 
 g.* 
 
 
 91 
 
i 9 2 HISTORY OF HAND-MADE LACE. 
 
 the work and amusement of a few women who executed orders in their own 
 houses. Stringent Sumptuary laws were enacted in 1749, which discouraged the 
 wearing of lace. After the earthquake at Lisbon, in 1755, the Marquis de Pombal 
 founded a lace manufactory. Early in the present century a coarse white bobbin 
 lace was made in Lisbon and its environs. Bobbin lace of the Torchon variety 
 was also made at Madeira, but the industry died out until about twenty years ago, 
 when a school was set up and lace-making re-commenced. Much of the lace of 
 Madeira is made entirely by men. The patterns are mostly Maltese or Greek in 
 character, the women being employed on the well-known Madeira embroidery. 
 
 Lace is now extensively made at Peniche, a little peninsula north of Lisbon, 
 where the wives of the fishermen are expert in the art. The fabric made is in 
 very broad widths without joins, and these necessitate wide pillows which are 
 cylindrical in form. The women sit with the pillows across their knees, supported 
 at each side by low stools. Both black and white laces are made. Some of the 
 designs are like the Maltese, geometrical ; others have large flower patterns with 
 mesh grounds, like the Spanish lace patterns. The designs are usually greatly 
 wanting in artistic feeling. 
 
 Rotten Kant. 
 
 This is described under Antwerp Lace. 
 
 Punto a Qroppo. 
 
 The Italian name for Knotted Lace. 
 
 Punto a Piombini. 
 
 The Italian term for lace made on the pillow by means of bobbins weighted 
 with iron. 
 
 Punto a Rilievo. 
 
 The Italian name tor Venice Raised Point Lace. 
 
 Punto di Burano. 
 
 The Italian name for Burano Point (which is described under that heading). 
 
 Punto Qotico. 
 
 A pattern of needle-point lace made in Rome during the sixteenth century. 
 It is one of the earliest designs of lace made at the time when all designs were 
 geometrical. Those of Punto Gotico follow the lines of the simplest forms of 
 Gothic architecture. 
 
 Punto in Aria. 
 
 The name given to a variety of delicate laces produced in the seventeenth 
 century, literally " sketches in the air," to distinguish them from the cut-work 
 embroidery and darned netting which had hitherto been the well-known forms 
 of lace. Constant diversity of pattern gave rise to many special names. 
 Venetian Point, Rose Point, Point Neige, Gros Point de Venise, Point Plat de 
 Venise, are all Puntos in Aria, whose characteristic is the exuberant richness of 
 the Italian design. Such lace is the most splendid product of the great Venetian 
 Lace School. 
 
A DICTIONARY OF LACE. 
 
 Punto Serrato. 
 
 The Italian name for close stitch, buttonhole stitch, or Point Non6. 
 
 Punto Tagliato. 
 
 The Italian name for Cut-work. 
 
 Punto Tirato. 
 
 The Italian name for Drawn-work. 
 
 Purls or Purling. 
 
 A primitive kind of lace formed of loops and twisted threads sewn upon the 
 edge of thick material such as linen, silk or satin. 
 
 Puy Laces. 
 
 These are described under Le Puy Laces. 
 
 Ragusa Lace. 
 
 Needle-point lace was made at Ragusa as early as, or earlier than, at Venice 
 itself. It resembled Venice Point in every particular, and was frequently sold as 
 Point de Venise, being extremely costly " Faite pour ruiner les fortunes." The manu- 
 facture of reticella practically ceased when the fashion set in for light net-ground 
 laces, and for cheaper pillow laces. Gimp lace is still made at Ragusa in either 
 gold, silver, or silk threads. These threads are sewn together until they form a 
 braid, the outer threads being twisted into loops to make an ornamental edging. 
 The braid thus made is then sewn down in designs and these are connected 
 with corded bars. Some of the patterns used now date back as far as the sixteenth 
 century, when the gimp laces of Ragusa were already well known. 
 
 Rattwik Lace. 
 
 Bobbin lace made by the Swedish peasants, the design being usually of the old 
 lozenge pattern. (It is described under Dalecarlian Lace.) 
 
 Regency Point Lace. 
 
 This lace, made in 
 Bedfordshire, was in 
 great demand during 
 the Regency early 
 in the nineteenth 
 century. The edge is 
 thick ; the ground, a 
 complicated reseau, or 
 hand-made mesh. 
 The Regency Point is 
 seldom made now, the 
 more quickly-executed 
 plaited ground bobbin 
 laces having entirely 
 superseded it. 
 (Further details will 
 
 be found under Bed- Regency Point Lace, made in Bedfordshire ; early nineteenth 
 
 fordshire Lace.) century. 
 
1 94 HISTORY OF HAND-MADE LACE. 
 
 Reticella. 
 
 This needle-point lace is considered the earliest of all laces, for cut-work and 
 drawn- work, which preceded it, are not veritable laces, but rather lace-like work. 
 Reticellas, or Greek Point laces, were made chiefly from 1480 to 1620, the 
 designs being always of the stiff geometrical type. Large quantities were used 
 for the decoration of ecclesiastical vestments and cere cloths ; shrouds also were 
 made of, or decorated with, it. The earliest Reticellas were formed by stiff lines 
 buttonholed over, picots or pearls being set at intervals along them. The simplest 
 geometrical outlines were used for these early specimens. Greater variety was 
 
 shown later : the patterns were more 
 solid, and the bars more ornate. The 
 designs, though always formal, were 
 often arranged with excellent artistic 
 effect. Circles and triangles in needle- 
 point work were added, and wheels 
 introduced as seen in the illustration. 
 
 Needle-point Guipure (Point Gotico) ; Towards the middle of the seventeenth 
 
 seventeenth century. . . . 
 
 century Reticella lost its geometrical 
 
 character, and adapted itself, as far as the limitations of the work would allow, 
 to the style of design in vogue during the Renaissance period. The Ionian 
 Islands were recognised as the home of Reticella Lace. In Germany, France, 
 Spain, Flanders, and England it was made only to a very limited extent, 
 although it was largely worn in these countries, and the portraits of this period 
 afford excellent opportunities for studying the various makes of fine Reticella. 
 
 The Greek Lace, or Reticella, of the present day is generally considered a 
 furniture lace, on account of the coarse but effective workmanship of the modern 
 patterns. (They are described under Greek Point.) 
 
 Rezel, Rezeuil. 
 
 A plain net ground, referred to under Darned Netting. 
 
 Rhodes Lace. 
 
 The islands in the Grecian Sea Crete, Cyprus, and Rhodes have produced 
 lace work of whatever kind was made at successive periods in other countries : 
 Cut-work, reticella, guipure, gold network in mediaeval times, and silk laces and 
 gimps at later times. At present two specialities are made at Rhodes, a white 
 silk guipure, worked with a tambour needle, and a coloured silk lace sometimes 
 called Ribbon lace. Floral or geometrical designs are used, and embroidery in 
 silver thread is added to enrich the pattern in outline. 
 
 Ricamo a Reticella. 
 
 The Italian term for embroidery or darning on fine net- work. 
 Ripon Lace. 
 
 A coarse bobbin lace was made at Ripon, in Yorkshire, at the end of the 
 eighteenth and beginning of the nineteenth century. The manufacture is now 
 extinct. 
 
 Roman Lace. 
 
 Another name for Greek Point. 
 
A DICTIONARY OF LACE. 195 
 
 Rond Point. 
 
 A term sometimes applied to laces which are made with a needle net- 
 ground. 
 
 Russian Lace. 
 
 Cut-work, darned netting, and drawn-work were all produced in Russia to a 
 small extent ; these were the only needle-point lace varieties made until the 
 present century, when a school was founded in Moscow under the patronage 
 of the Czarina. Old Venice point has there been reproduced, and it is sold 
 under the name of Point de Moscow; every stitch is faithfully copied, and fine 
 thread of English make is used. 
 
 Peter the Great founded a silk lace manufacture at Novgorod. In the reign of 
 Catherine II. there were twelve makers of gold lace at St. Petersburg; the designs 
 of the old Russian laces show the Oriental character of the nation, and the quaint- 
 ness of execution betrays inspiration from the East rather than the West. 
 
 Eussian Needle-point Lace, "a Brides Picotees," 3 inches wide ; nineteenth century. Given by Her 
 Royal Highness the Duchess of Coburg to the South Kensington Museum. 
 
 The threads in the old drawn and cut works are covered over with coloured silks 
 of deep red, orange, and bright yellows, dull blues and greens, like the Persian, 
 Turkish, and Algerian embroideries. A strange characteristic of some of the lace 
 work is that coloured strips of brocade are let into the open spaces, and 
 embroidery of animals with parti-coloured limbs is to be found. In the darned 
 netting the mesh is sometimes of silk, sometimes of linen thread, occasionally of 
 fine gold or silver wire darned with silk. 
 
 Much attention has been drawn to modern Russian lace since 1874, when the 
 Duchess of Edinburgh, now the Duchess of Coburg, presented to the South 
 Kensington Museum a collection of Russian laces. Amongst these are many 
 braid and tape laces, mostly from Torjok ; frequently a single thread of coloured 
 silk runs in the centre of the loose pillow-made braid, following all the turns. 
 
 o 2 
 
196 HISTORY OF HAND-MADE LACE. 
 
 Belev, Vologda, Riazan, and Mzensk are also lace-making districts in Russia. 
 Their productions, like all Russian laces, are rather coarse, but there is an element 
 of originality in their work and design, which makes one regret that the lace 
 industry has never been taken up very seriously in Russia, for the production 
 being so unlike that of other countries, it is likely that if it were developed some 
 fabric of striking originality would enrich the lace stores of the world. 
 
 Saxony Lace. 
 
 This is described under German Laces. 
 
 Scotch Lace. 
 
 Lace-making was set on foot in Scotland by one of the lovely Misses 
 Gunning who, in the eighteenth century, astonished London with their beauty. 
 Anne, Duchess of Hamilton, having seen lace-makers at work on the Continent, 
 introduced the art on her husband's estate. Women were brought over from 
 France and taught the Scotch peasants " Bunt Lace," as it was called. In 
 1752 the Edinburgh Amusement says "The Duchess of Hamilton 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." Two years later we read : " 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 exceed- 
 ingly fine lace ruffles of their own manufacture, which their Graces did them the 
 honour to wear on the Duke's birthday, July i4th, and which vied with anything 
 worn on the occasion, though there was a splendid company present." Lace- 
 making was introduced into the schools for the upper-middle classes, and adver- 
 tisements appeared frequently, informing the public of the advantages to be 
 gained by the useful arts imparted to their offspring in these establishments. 
 One of these recounts how thirty-one accomplishments are to be acquired, such 
 as " waxwork, boning fowls without cutting the back, true point or tape lace, 
 as well as washing Flanders lace and point." Foreign laces were prohibited ; 
 English laces being, of course, not included in this prohibition. 
 
 With the records of 1778, all mention of lace-making in Scotland ceased. No 
 lace is made at Hamilton now, net-work for veils and scarfs having taken its place. 
 Perhaps this is not to be regretted, for the Hamilton lace never had any artistic 
 value ; it was made of coarse thread, a weary iteration of the old lozenge pattern 
 of pre-historic origin being the Scotch idea of beauty and suitability for design in 
 lace. It was never used for dress purposes, and was spoken of in disparagement 
 by connoisseurs as " only Hamilton." 
 
 Seaming Lace or Spacing Lace. 
 
 This is not a special make of lace. The term is applied to any kind used for 
 the purpose of insertion where there is a seam in the linen or silk with which it 
 is used. The term frequently appears in wardrobe accounts of the sixteenth 
 and seventeenth centuries. 
 
 Sherborne Lace. 
 
 In 1780, when blonde lace was fashionable, blondes of both black and white 
 were made in large quantities for export at Sherborne, in Dorset ; but since the 
 
A DICTIONARY OF LACE. 
 
 197 
 
 eighteenth century the lace trade of Sherborne has died out, giving place to the 
 button trade. 
 
 Shetland Lace. 
 
 This lace is known as Trina di Lana in Italy, where it is much more used 
 than in England. It is a bobbin lace made of the finest Shetland wool 
 instead of the flax or silken thread with which most lace is made. Babies' 
 shawls, coverlets, scarves, etc., are made in black or white wool ; the designs are 
 
 Shetland Point Lace, called in Italy, where it is much used, Trina di Lana. It 
 is made of fine black or white Shetland wool instead of the flax thread 
 generally used for lace-making. Nineteenth century. 
 
 selected from simple flax point designs, and the same stitches are used as in flax 
 thread lace. A cordonnet or cord of chain stitch is filled in with a thick point 
 lace stitch ; sometimes detached sprigs are cleverly made, and are afterwards 
 joined with bars in the true point method. 
 
 Silk Blonde Laces. 
 
 These are made in Spain. Barcelona produces fine black or white blondes, 
 the characteristic of such lace being the thick heavy designs upon the light net 
 grounds. In the middle of the present century the trade in this lace gave 
 employment to about thirty thousand women and children, who carried out the 
 orders in their own homes. 
 
 These silk laces do not equal those made at Bayeux and Chantilly : the 
 ground is not so firm, nor is the pattern so regular probably because there is no 
 central factory to give out the designs and supervise the work of the peasantry. 
 Early in the century Barcelona made white thread laces with floral designs which 
 show their Flemish origin. 
 
 Silk blonde lace is now also made in Venice, and by machinery in Lyons. 
 
198 
 
 HISTORY OF HAND-MADE LACE. 
 
 Spacing Lace. 
 
 Another name for Seaming Lace. 
 
 Spanish Guipure. 
 
 A name given indifferently to Spanish lace, Honiton, Irish, or Crochet Point. 
 
 Spanish Laces. 
 
 From the earliest ages laces have been made in Spain, the first types, such 
 as cut-work, lacis or darned netting, and drawn-work, being all extensively 
 
 made by the 
 religious com- 
 munities in medi- 
 aeval times ; gold 
 and silver laces 
 were also made. 
 The famous Point 
 d'Espagne was at 
 the zenith of its 
 popularity to- 
 wards the end of 
 the seventeenth 
 century. Some 
 authorities con- 
 tend that its name 
 arose more from 
 the large quanti- 
 ties used by the 
 Spanish grandees 
 and supplied by 
 France and Italy, 
 than from the 
 manufacture 
 being of Spanish 
 origin. Certain it 
 is that the making 
 of gold and silver 
 Point d'Espagne 
 was much in the 
 hands of the Jews, 
 and after their ex- 
 pulsion from 
 Spain the con- 
 sumption of this 
 special kind 
 decreased con- 
 siderably, and the 
 home manufac- 
 ture in Spain 
 
A DICTIONARY OF LACE. 
 
 199 
 
 deteriorated, so much so that the Spanish Government found it necessary to 
 pass a law prohibiting the importation of gold laces from Lucca and Florence, 
 except such as were necessary for ecclesiastical purposes. 
 
 It is strange that nearly all the fine thread lace points of Spain were made for 
 the use of the Church alone, and it was not until the dissolution of the Spanish 
 religious houses in 1830 that its beauty and artistic value could be judged. 
 Then it was seen that the magnificent needle-point laces rivalled even the 
 Italian and Venetian Points. Not only were there heavy laces generally known 
 as Spanish Point, but pieces of the very finest description ; " so exquisite," says 
 Mrs. Bury Palliser, " that they were unmistakably the work of those whose time 
 was not money, and whose devotion to the Church and the images of their favourite 
 saints rendered this work a labour of love, when in plying their needles they called 
 to mind its destination." 
 
 Silk blonde lace made in Spain is described under its own heading. 
 
 Another variety of Spanish lace is black, gaily embroidered in coloured silk 
 and gold threads. This is now seldom seen. 
 
 Spider Work. 
 
 Embroidery or darning upon net. 
 
 So called in the Middle Ages. 
 
 Stephani Lace. 
 
 A kind of modern point 
 Princess Stephani of Austria. 
 
 lace imitating Venetian Point, and named after 
 It was shown at the Exhibition in Brussels in 1880. 
 
 Straw-plaited Lace. 
 
 The two varieties of straw-plaiting executed in Italy excel any that is made 
 elsewhere ; that of Leghorn and the various districts in Tuscany perhaps hold the 
 first place for the 
 manufacture of 
 hat sand bonnets. 
 A large amount 
 of skill is needed 
 in manipulating 
 the fibres, as the 
 hats and bonnets 
 at Leghorn are 
 made in one 
 piece, which 
 accounts for 
 
 .1 j. Twisted Border of Coloured Straws, held together by white silk threads, 
 
 2| inches wide ; eighteenth century. 
 
 ary durability. 
 
 There is in the Tuscan fabric no twist forming a ridge which makes the unequal 
 surface of English straw work, but it is sewn together in successive rows as in 
 the English method. 
 
 The straw used is a specially fine kind of wheat straw, and the light buff colour 
 is an important characteristic. 
 
 The origin of straw-plaiting in England is of comparatively recent date, it 
 
20O 
 
 HISTORY OF HAND-MADE LACE. 
 
 having been introduced only about a century-and-a-half ago. It has reached a 
 high state of perfection in Bedfordshire, the chief seat of the manufacture. Women 
 and children are employed, and the work is chiefly carried on in the homes of the 
 workers. The straw " braids," as they are called, are made into long lengths, and 
 afterwards laid successively over the edges of the first plait and coiled round, the 
 whole being kept firm by stitching. Specially fine needles, called " straws," are 
 used for uniting the plaits or lace, in order to avoid splitting the fabric. Two 
 kinds of straws are used, called respectively Red Lanwas and White Chittein ; 
 these varieties are grown in the Midland and Southern counties. 
 
 Much straw-plaiting is done at Luton ; rye straw is imported from the 
 Orkney Islands, and from this excellent imitations of the Tuscan fabric are made. 
 
 Other countries noted for artistic straw-plaiting and delicate varieties which 
 form a rude kind of lace are Switzerland, 
 Japan, and the South of France. 
 
 In the cantons of Fribourg and 
 Appenzell, straw lace-making has been 
 brought to great perfection. Brazil also 
 produces a very delicate species of grass 
 utilised for the purpose of hat and bonnet 
 making, the article made being formed 
 of one piece, like those of Leghorn. 
 
 Suffolk Lace. 
 
 Bobbin-made lace of little artistic 
 pretension. The designs are of the 
 peasant Torchon variety, and are carried 
 out in threads of varying thickness, 
 coarser threads being frequently used 
 to outline the pattern. 
 
 Swedish Laces. 
 
 The art of lace-making was, accord- 
 ing to tradition, introduced into Sweden 
 by St. Bridget, who died in 1335. His- 
 tory tells that, in the Middle Ages, the 
 nuns at Wadstena " Knit their lace of 
 gold and silk." From knitting to lace 
 is an easy transition. At the suppres- 
 sion of the monasteries in the reign of 
 Charles IX., a few nuns too old and 
 infirm to sail with their sisters to Poland 
 remained in Sweden and continued their 
 occupation of lace-making, then a secret 
 art. The patterns of Swedish laces are 
 simple; narrow plaited kinds are the 
 most usual. Knotted thread lace was 
 made, also darned net and cut-work, Suffolk Bobbin century* 06 ' nineteenth 
 
 
A DICTIONARY OF LACE. 201 
 
 which were called Holesom. This last is still much used by the Swedish 
 housewives for adorning their household linen. A common kind of twisted 
 thread lace resembling Torchon is now made in many parts of Sweden, chiefly 
 by the peasants for home consumption. 
 
 Swiss Lace. 
 
 In 1572, a merchant of Lyons, escaped from the Massacre of St. Bartholomew, 
 concealed himself in a bale of goods and reached Geneva in safety. One of his 
 descendants took the opportunity, when the revocation of the Edict of Nantes 
 flooded the city with refugee lace-makers, to gather two thousand of them into his 
 service and set up a factory ; the produce of this industry was smuggled back 
 into France, to the great profit of the lace-makers, and much to the annoyance of 
 Louis XIV. 
 
 Neufchatel has always been the centre of the trade for the coarse thread 
 lace made by the Swiss peasants ; a manufacture for fine qualities resembling 
 those of Flanders was also set up, and some fine work done. Pattern books for 
 narrow plaited laces of gold and silver thread and knotted laces, were published in 
 Switzerland. The Sumptuary laws were most severe in the country, and 
 considerably handicapped the lace industry, so that it gradually died out at 
 the end of the last century; though in 1840 a factory was established at 
 Geneva for making a kind of Brussels bobbin lace, which was considered good 
 when new, but it was found that the thread washed thick, and there is little 
 demand for it. 
 
 Tambour Lace. 
 
 This differs from Tambour work only in the material upon which it is done, net 
 being used as a ground for the chain-stitch outline of the design, instead of a solid 
 material. Before the invention of sewing machines, hand-made Tambour lace 
 was made in Ireland, where it is called Limerick lace. At Coggeshall and 
 Nottingham the making of Tambour lace has declined considerably since the 
 imitations appeared upon the market, for the modern sewing machine can trace 
 a design in chain-stitch upon net or muslin with great facility, so that Tambour 
 lace is now little esteemed. 
 
 Tape Lace. 
 
 This is a very early form of lace-making. The oldest examples of Italy, Spain 
 and Flanders show the hand-made tape formed into designs, and held in place 
 by means of brides or bars. Gradually very elaborate designs were made, and 
 lace stitches employed to enrich the tape pattern. In working nearly all the 
 seventeenth and eighteenth century coarse laces, tape was more or less 
 employed. 
 
 Tatting Lace. 
 
 This knotted lace, made by means of a small shuttle round which the cord or 
 thread is wound, and by means of which knots and loops are worked, has been 
 known and practised for over a century. 
 
2O2 
 
 HISTORY OF HAND-MADE LACE. 
 
 The French name for this work, Frivolite, refers to the fragile nature of the 
 work, which is lighter and more lace-like in effect than any other kind of knotted 
 lace. Picots and pearls are used as in point 
 and bobbin laces, and Ragusa points are 
 much imitated in Ireland, where the lace 
 is more popular than in other countries. 
 The name is derived from tattie, an Indian 
 matting of native manufacture which it 
 slightly resembles. 
 
 Tender Lace. 
 
 This is described under Danish Lace. 
 
 Torchon Lace. 
 
 A bobbin lace known in the sixteenth 
 and seventeenth centuries as Beggars' lace. 
 It resembles Saxony lace in design and style 
 of working. A loose thread is used, and 
 the ground is a coarse reseau. It is largely 
 used for common purposes, and is much in 
 demand both in England and on the Con- 
 tinent. It is made by the peasants in 
 almost every country in Europe. 
 
 Trina di Lana. 
 
 The Italian name for Shetland Lace, 
 under which heading it is fully described. 
 
 Trolle Kant. 
 
 An old bobbin lace, no longer made. It 
 was manufactured in Flanders in the 
 
 sixteenth, seventeenth, and eighteenth centuries. The name of this lace has been 
 corrupted into Trolly, and given to coarse English bobbin laces which have a 
 thick cordonnet. 
 
 Trolly Lace. 
 
 A bobbin lace made in Normandy, Flanders, and England. The Trolly lace 
 industry has declined considerably since the introduction of the machine-made 
 lace. Its distinguishing features are the ground, which imitates the old Trolle 
 Kant ground of Flanders, and the thick thread cordonnet. 
 
 Valenciennes Lace. 
 
 The lace manufacture of the Department du Nord dates from the fifteenth 
 century, when it is said one Pierre Chauvin commenced the bobbin lace-making of 
 Valenciennes. This town was part of the ancient Flemish Hainault, and was 
 secured to France by conquest and treaty in 1668-1678. 
 
 When first the lace was in favour it had such serious rivals as the popular 
 Brussels Lille and Arras laces, but Louis XIV. encouraged the industry, and 
 gradually the utility and excellent wearing qualities of the lace became known. 
 
 Tatting Lace, 8$ inches wide, made in 
 Ireland ; late nineteenth century. 
 
 
A DICTIONARY OF LACE. 
 
 203 
 
 Madame du Barry constantly mentions Vrai Valenciennes in her accounts ; 
 the Vrai Valenciennes being that lace made in the town itself. It was said that 
 connoisseurs could detect the city-made lace, which was remarkable for beauty of 
 
 Early Valenciennes Bobbin Lace, Renaissance design. Louis XIV. encouraged the 
 growth of the industry, which was at its best between 1720 and 1740. 
 
 ground, richness of design, and evenness of tissue; this evenness was caused 
 by the city lace-makers working in damp and underground cellars, which greatly 
 facilitated the even working of the bobbins. All lace not made in Valenciennes 
 itself was called Fausse Valenciennes; this name included the work done in 
 surrounding villages as well as that of other countries it is but an exaggeration 
 to suggest that lace commenced in the town and finished by the same worker 
 outside the walls was inferior. 
 
 % 
 
 After the French Revolution, when so many lace-workers fled, Valenciennes 
 lace was much made in Belgium, the centres of the trade being Alost, Yrpes, 
 Bruges, Ghent, Menin, and Courtrai, and the work produced in each town has 
 a distinctive feature in the ground. That made in Ghent is square-meshed, the 
 bobbins being only twisted two and a half times. At Ypres the ground is also 
 square-meshed, but the bobbins are twisted four times. In Courtrai and Menin 
 the grounds are twisted three and a half times; this is the cheapest kind. In 
 Bruges the ground has a circular mesh, and the bobbins are twisted three times ; 
 this is the variety chiefly known in England. 
 
 The pillow-made Valenciennes lace of the present day is not nearly so elaborate 
 as the old production ; the dotted or seme style of design is usually worked. The 
 labour of the Vrai Valenciennes was so great that while Lille lace- makers could 
 produce six yards per day, not more than an inch and a half could be made by a 
 Valenciennes worker in a day of fourteen hours. The cost of this lace was in 
 consequence enormous ; a pair of man's ruffles would take a year to complete. A 
 piece of lace made throughout by the same person always commanded a higher 
 
204 
 
 HISTORY OF HAND-MADE LACE. 
 
 price if the fact could be certified. The number of bobbins required sometimes 
 reached four figures ; lace two inches wide required at least three hundred. 
 
 The earliest 
 Valenciennes 
 designs are very 
 beautiful, usually 
 conventionalised 
 flowers and scrolls 
 made in thick close 
 stitch with grounds 
 in minute circles, 
 sometimes sur- 
 rounded by other 
 circles. The late 
 
 Border of French Bobbin-made Lace a Reseau (Fauase 
 
 Valenciennes), 2i inches wide ; eighteenth century. eighteenth century 
 
 pattern s betray 
 
 their Flemish origin ; tulips, carnations, and anemones true to nature are seen. 
 There is no cordonnet or raised outline in Valenciennes lace. 
 
 Venetian Guipure. 
 
 A name sometimes given to Greek Point, under which heading it is described. 
 
 Venetian Laces. 
 
 There is little doubt that to Venice belongs the honour of introducing the 
 invention of needle-made laces into Europe, and it is likely that the Italians 
 learned the rudiments of the art from the Saracens who had settled in Sicily. 
 At the coronation of Richard III., in England, "fringe of Venice and mantle 
 laces of white silk and Venice gold " appear; and later Elizabeth of York pays 
 sundry sums of money for " gold of Venice, and other necessaries." From 
 that time onwards there are occasionally mentioned " partlets knit caul-fashion of 
 Venice gold." It was not till the reign of Queen Elizabeth that Italian cut-work 
 and Venice lace came into general use in England. In the fifteenth century both 
 point and bobbin laces were first made in Venice ; they were at their best during, 
 the sixteenth and seventeenth centuries, and were worn at every court in Europe, 
 but their popularity declined from the middle of the seventeenth century, for, in 
 1654, Colbert prohibited their importation into France, in order that the lace 
 manufactures he had founded in Alen9on and other parts of France might be 
 protected. The French laces, though at first only imitations of the Venice points, 
 gradually developed into something lighter and finer, and usurped the place in the 
 taste of the public formerly held by the costly and heavy Italian points. 
 
 At this time, when Alengon and Argentan laces were the favourites, Argentella 
 point was made in Venice ; this lace resembles Alenson, except that the cordonnet 
 is flat instead of being padded and raised. 
 
 The fine needle-points made at Brussels also helped to oust the Italian laces, 
 till the making of the old Venetian points became almost extinct, and it is only 
 recently that the taste for this especial kind of lace has revived. 
 
Linen Collar, with border and broad ends of Needle-point Venetian Lace (Qros 
 Point de Venise, Punto Tagliato a Foliami), the exquisite quality resembling 
 ivory carved in relief. 
 
A DICTIONARY OF LACE. 205 
 
 It must be remembered that in mediaeval times it was Venice that set the 
 fashions for all the courts in Europe ; silks, satins, brocade laces, and all other 
 articles of luxury, were made in Italy, and it was not till a considerably later date 
 that Paris became the leader of the modes. Catherine de' Medicis took with her to 
 France the fashion of wearing costly points, and for many years needle-made laces 
 were called Points de Medicis in Paris. 
 
 In the sixteenth century, when Venice lace was at its best, it was the 
 decoration for dress on all occasions throughout Europe ; it was used for eccle- 
 siastical purposes to an enormous extent, both for the decoration of the altars, 
 the saints and Madonnas, and also on the priests' vestments. The following 
 were the kinds of laces made at that period : 
 
 1. Punto a Reticello, or Greek lace. 
 
 2. Punto Tagliato. Cut-work. 
 
 3. Punto in Aria. Open lace or guipure, worked on a parchment pattern 
 without mesh net-work ground, the sections of the design connected by bridges 
 or bars. 
 
 4. Punto Tagliato a Fogliami. Executed like Punto in Aria, but enriched by 
 the outlines being in relief by means of padding threads. Sometimes this most 
 complicated of all point laces is worked in double and triple relief, and exquisite 
 stitches in infinite variety are introduced into the flowers : this is the Rose 
 or Raised Venice Point, the Gros Point de Venise, the Punto a Rilievo so much 
 sought after, so highly prized. This lace is sometimes made in silk, such as 
 purple, yellow, or cream ; the designs are conventionalised scrolls and flowers. 
 
 5. Punto a Groppo. Knotted lace, like the Genoese Macrame. 
 
 6. Punio a Maglia. Lacis, or darned netting, much used for curtains and 
 bed furniture. 
 
 Though the Punto Tagliato a Fogliami is more celebrated than any other 
 lace made in Venice, it did not appear until all the arts of Venice were on the 
 decline, at the end of the seventeenth century. This lace is seen in perfection 
 in the portraits of the period ; the engravings of the Doge Francesco Morosini 
 show magnificent specimens, as also does the picture of the Dogaressa Quirini 
 Valier in the Civic Museum at Venice. This lace was amongst the principal 
 adornments on all full-dress occasions in Western Europe during the last half of 
 the seventeenth and the early part of the eighteenth centuries. It is now made 
 at the needle-point factory at Burano in all its old beauty, for from the finest 
 seventeenth century examples are sought inspiration in the designing, and the 
 method of achieving even the complicated double and triple relief has been 
 re-discovered. We give a longer description of this lace than of others as it 
 is considered by connoisseurs to be the chef d'auvre of the lace industry, and by 
 artists and cognoscenti to be one of the most beautiful productions of human skill. 
 
 Bobbin lace is made in Venice at the present day, as well as fine needle- 
 points of every kind, such bobbin varieties as Pelestrina and Chioggia, besides the 
 beautiful Polychromo lace, being made in large quantities. It is interesting to see 
 in the large and well-organised lace schools of Venice the busy workers in this most 
 artistic industry, for are they not the descendants of those who, two centuries 
 
20 6 HISTORY OF HAND-MADE LACE. 
 
 ago, gave to the world the masterpieces in lace which still remain to show us the 
 beauty and delicacy of seventeenth century needlework ? 
 
 Venezuelan Lace. 
 
 The lace work made at Venezuela with drawn-thread work is very beautiful. 
 It is executed upon cambric or linen, the threads being drawn away and divided ; 
 but instead of being overcast, it is buttonholed with plain linen thread. Fine 
 purse silks of many colours are used, as in the Oriental embroideries. 
 
 Wiltshire Laces. 
 
 Quantities of bobbin-lace similar in design and workmanship to the Devon- 
 shire lace of the period were at one time made in Wiltshire, the end of the seven- 
 teenth century being the best period. The industry lingered on in Wiltshire in a 
 depressed condition till the beginning of the nineteenth century, some of the last 
 workers having lived, we believe, in the village of Charmouth. 
 
 Yak Lace. 
 
 A coarse bobbin lace, made in Buckinghamshire and Northamptonshire, of wool 
 obtained from the yak. The designs are copied from silk Maltese guipure and 
 Greek laces, and are geometrical. The guipure bars are ornamented with purls ; 
 the thick parts of the pattern are worked in cloth stitch. 
 
 Youghal Lace. 
 
 This lace is also called Irish Point. The lace-making industry is carried on 
 in the convent schools of New Ross, Kenmore, Waterford, Kinsale, Killarney, 
 and Clonakilty, but that produced at Youghal is the best. Old Italian laces are 
 carefully copied, and some new stitches have been invented. 
 
 Ypres Laces. 
 
 These are mentioned under the headings Belgian, Mechlin, and Valenciennes 
 Laces. 
 
 Zante Lace. 
 
 This lace is identical with Greek Point. Its manufacture has long been 
 discontinued, though it is still possible to purchase the lace in the Ionian Isles. 
 
A GLOSSARY RELATING TO HAND-MADE LACE. 
 
 AFICOT. The French name of an instrument used in polishing the raised 
 portions of lace. Lobster claws were sometimes employed for this purpose. 
 
 BARBE. A lace tie worn by men and women in Italy and France during the 
 early part of the nineteenth century. 
 
 BARS. The connecting threads thrown across spaces in needle-point and 
 bobbin laces. They are also called Brides, Brides Claires, Coxcombs, Pearls or 
 Purls, Legs, and Ties. 
 
 BAUTA. A hood of black lace, worn 
 by both men and women in Italy in the 
 eighteenth century, specially in Venice. 
 The lace covered the chin up to the 
 mouth. 
 
 BEAD EDGE. A simple heading for Bead Edge or Beading, 
 
 pillow lace, also known as Beading. 
 
 BOBBINS. The small elongated wooden or bone reels on which the thread is 
 wound for the purpose of lace-making. Occasionally bobbins in England are to be 
 found made of bone instead of wood. If of the latter material they are frequently 
 ornamented with tracery by means of pricking the surface of the wood, rubbing 
 coloured powder into the holes, and then polishing the whole surface with beeswax. 
 We have seen examples in use with posies and the name of a loving giver; 
 decorated sticks or bobbins being usually the gift of a love-sick swain. 
 
 BRANCHING FIBRES. In Honiton and other 
 bobbin laces, where sprigs are formed separately 
 from the ground, the chief stems in the leaves are 
 marked with branching fibres. 
 
 BRIDES AND BRIDES CLAIRES. The same as 
 Bars. The connecting threads thrown across spaces 
 in needle-point and bobbin laces. 
 
 BRIDES ORNEES. Bars ornamented with picots, 
 loops, or pearls. 
 
 BUTTONHOLE STITCH. One of the chief stitches 
 in needle-made lace ; also known as Close Stitch, 
 Point None, and Punto a Feston. 
 
 CARTISANE. A strip of parchment or vellum 
 covered with silk, or gold or silver thread, used to 
 form a pattern. 
 
 Branching Fibres. 
 
208 
 
 HISTORY OF HAND-MADE LACE. 
 
 CASCADE. A term applied to a trimming of lace, folded in zig-zag form. 
 
 CENTRE FIBRE. A 
 name given to the raised 
 appearance in the centre 
 of bobbin-made leaves. 
 
 CHAMP. A ground- 
 work, described under Fond. 
 
 CHANSONS A TOILE. 
 
 Ballads composed expressly Brides 
 
 for, and sung by, the 
 
 maidens in a household while working at their lace or embroidery, or by the 
 peasants as they work in their cottage homes or factories. 
 
 CLOSE LEAF. In Honiton lace, close 
 leaf sprigs are worked in cloth stitch. 
 
 CLOSE STITCH. A name sometimes 
 given to Buttonhole Stitch, one of the chief 
 stitches in needle-point lace. 
 
 CLOSE TREFOIL. A variety of Honiton 
 sprig. The leaf is worked in lace stitch, 
 the petals in cloth stitch. 
 
 CONTINUOUS INNER PEARL. Used in 
 Honiton and other braid laces as an 
 ornament to the inner side of any leaf that is 
 not filled with stitches. 
 
 CORDONNET. The outline to ornamental 
 forms or patterns in lace. 
 
 COURONNES. Ornaments to the cordon- 
 net, or outlining cord used in needle-point 
 lace. These are frequently worked as 
 
 decoration to the cordonnet, which forms the edge of the lace, or round any 
 raised cordonnet in the body of the pattern. When in the latter position they 
 are known as Fleurs Volantes, and take the place of Spines and Thorns. 
 
 COXCOMBS. A name sometimes given to Bars ; the 
 connecting threads thrown across spaces in needle-point 
 and bobbin laces. 
 
 CROSS BAR OPEN. A stitch used in bobbin laces, 
 chiefly for ornamenting brides. 
 
 CROWNS. The English word for Couronnes, the 
 ornaments to the cordonnet. Crowns are more fully dealt 
 with under Couronnes. 
 
 CUT-WORK. A stitch made in Honiton guipure to 
 unite the pillow- made sprigs. 
 
 DENTELE. The French term for a scalloped border. 
 
 DESIGN. The pattern in lace work, as distinguished from the ground or footing. 
 
 D'OYLEY. A small mat for table use or decoration. 
 
 Couronnes, or Flenra Volantes. 
 
 Centre Fibre. 
 
GLOSSARY. 
 
 209 
 
 Close Leaf. 
 
 Continuous Inner Pearl. 
 
 DRESSED PILLOW. A term used by bobbin-lace 
 makers to intimate that all the accessories necessary are 
 in their proper positions. 
 
 ECRU. A French term for the colour of raw silk or 
 unbleached linen. 
 
 EDGE. There are two edges to lace : the outer, 
 which in trimmings and flounces is either scalloped or 
 ornamented with picots ; and the engrelure or footing, 
 used to sew the lace on to the material it is to 
 decorate. 
 
 EDGINGS. Narrow laces used to trim muslin or 
 cambric frills. 
 
 ELL. An English ell measures 45 inches, having been fixed at that length 
 in 1101. A French ell is 54 inches; a Flemish ell, 
 27 inches; a Scotch ell, 37-2 inches. 
 
 EN COQUILLE. A French term to denote a 
 shell-shaped lace trimming, which is laid on to a 
 garment after the manner of a succession of 
 scalloped shells. 
 
 EN EVENTAIL. A French term denoting fan- 
 shaped lace trimming, which is pleated at the top 
 and hangs so that it flares or fans at the bottom 
 edge. 
 
 ENGRELURE. The French name for Footing ; it is also called Heading. 
 
 EN TOIL AGE. The 
 French term for a plain 
 mesh ground or galloon. 
 
 ENTREDEUX. The 
 French term for insertion, 
 whether of embroidery or 
 lace. 
 
 FIL DE CREN. A 
 thick and heavy outline 
 or cordonnet. 
 
 FIL DE TRACE. The 
 name by which the out- 
 lines of needle-made laces 
 are distinguished. 
 
 FILLINGS. A word 
 occasionally used for 
 Modes or Jours. Fancy 
 stitches employed to fill in 
 
 enclosed spaces in needle- Dressed Pillow, 
 
 point and bobbin laces. 
 
 FINGER. A measure of length used by needlewomen ; it is 4! inches. 
 
 p 
 
2IO 
 
 HISTORY OF HAND-MADE LACE. 
 
 Fil de Trace. 
 
 is composed of the filaments of the 
 fibrous portion of Linum usitatissimum, an annual, 
 native of Europe, and from it linen thread is spun. 
 That of Flanders is the best for lace-making. 
 
 FLEURS VOLANTES. Ornaments worked round 
 a raised cordonnet in the design of needle-point 
 lace. 
 
 FLOTS. A French term used to signify suc- 
 cessive loops of lace overlapping one another in 
 rows. 
 
 FLOUNCE. A term used to signify a strip 
 more or less wide to be gathered or pleated on one 
 side and left loose on the other. In the fourteenth 
 century it was called a Founce ; in the reign of 
 William and Mary, a Furbelow, a corruption of Falbala, the Spanish for Flounce. 
 
 FOND. Identical with Champ, Entoilage, and Treille. The ground-work of 
 needle-point or bobbin lace as distinct from the toile or pattern which it surrounds 
 and supports. Grounds are divided into Fonds Claires, Brides Claires, and 
 Brides Ornees. The Fonds Claires include the Reseau or net-patterned grounds. 
 Fond de Neige is also called CEil de Perdrix ; it is occasionally used in old 
 Mechlin lace. 
 
 FOND SIMPLE, sometimes called Point de Lille, is the finest, lightest, and most 
 transparent of all grounds. The sides of the meshes are not partly plaited as in 
 Brussels and Mechlin, nor wholly plaited as in Valenciennes and Chioggia ; but 
 four of the sides are formed by twisting two threads round each other, and the 
 remaining two sides by the simple crossing of the threads over each other. The 
 paragraph on Grounds affords further information. 
 
 FOOTING OR ENGRELURE. A narrow lace sewn to the upper edge of a flounce 
 or border of lace, in order to attach it without injury to the garment upon 
 which it is to be worn. It is sometimes called Heading. 
 
 FRAISE OR RUFF. An outstanding neck ornament, first used by Henri II. of 
 France, to conceal a scar on his neck. 
 
 GARNITURE. A French term signifying any description 
 of decorative trimming, such as a garniture of lace. 
 
 GIMP. (i) The pattern, resting upon the ground, or 
 held together by brides or bars. (2) An ornamental 
 trimming of twisted threads, which was formerly called 
 Guipure. (3) In Honiton the word denotes the coarse 
 glazed thread used to raise certain edges of the design. . 
 
 GINGLES. A name given in Buckinghamshire to the 
 bunches of coloured beads hung on to the bobbins by means 
 of brass wire, in order to give extra weight and so increase 
 the tension of the threads. 
 
 GODERONNE, GouDRONNE. A fluted edge, derived from 
 
 the fluted edge of the silversmiths and not from goudron Gimp (No, 3). 
 
 (pitch or starch), the stiffening of lace. 
 
GLOSSARY. 
 
 211 
 
 Fond, showing mode of Working Needle-point Ground and 
 Outline Threads of Pattern. 
 
 GODET. A flounce whose upper edge is shorter than the lower, this effect 
 being achieved by the shaping of the flounce itself, not by the frilling-up of the 
 material to make it. 
 
 GRAS POINT. The French term for Cross-stitch. 
 
 GROPPO. An Italian term for a knot or tie. 
 
 GROUNDS. The grounds of laces are divided into two classes, one being called 
 
 P 2 
 
212 
 
 HISTORY OF HAND-MADE LACE, 
 
 Bobbin-made Ground 
 (much enlarged). 
 
 Hexagonal Reseau Net Ground 
 Bobbin-made. 
 
 the Bride, the other 
 the Reseau. The 
 Bride ground is 
 formed with plain 
 or ornamental bars 
 worked across the 
 open spaces left in 
 the design, in order 
 to connect the orna- 
 ments forming the 
 pattern. A Bride 
 ground may be 
 worked by the 
 needle or with the 
 bobbins. The Re- 
 seau ground is a 
 net made with the 
 needle or with the 
 bobbins, and con- 
 nects the ornaments 
 of the design in the 
 same way as does 
 the Bride ground. 
 There are many 
 varieties of the 
 same, such as Dame 
 Joan, Hexagonal or 
 Honeycomb, and 
 Star Grounds. 
 
 Several illustrations GROUNDS. 
 
 of grounds are given on page 88. 
 
 GRUPPO. An Italian term for a knot or tie. 
 
 GUIPURE. A lace-like trimming of twisted threads. The word is now used to 
 loosely describe many laces of coarse pattern. Guipure d'Art is the name given to 
 modern. Darned Netting. 
 
 HALF-WHEELS. Ornamental bars used to connect the heavier portions of lace. 
 
 HEADING. A term sometimes used instead of Footing or Engrelure. 
 
 HONEYCOMB. A variety of Ground. 
 
 INCREASE WIDTHS. A term used in bobbin lace- making, when it is necessary 
 to enlarge the pattern. 
 
 INNER PEARL. Ornamental loops in Honiton lace, worked round an opening 
 in the centres of the lace patterns. 
 
 INSERTION. Strips of lace or embroidered muslin or cambric, having the 
 edge.s on each side alike. 
 
 JABOT. A French term originally signifying frilling or ruffles on a shirt ; 
 now used for any decorative neck frill on ladies' dresses. 
 
 Hexagonal Ground in course of 
 Making on the Pillow with 
 Bobbins (enlarged). 
 
 Mechlin Circular Ground, in course of 
 Making on the Pillow with Bobbins 
 (enlarged). 
 
GLOSSARY. 
 
 213 
 
 JOURS. A term used indifferently with Modes and Fillings for the fancy 
 stitches used to fill in enclosed spaces in needle-point and bobbin laces. 
 
 JUPE. The skirt of a dress. 
 JUPON. The skirt of a petticoat. 
 
 KERCHIEF. A handkerchief. A 
 square of linen or cambric, sometimes 
 employed by women to cover the head. 
 Lace trimmings to handkerchiefs came 
 first into fashion in England in the 
 reign of Queen Elizabeth. 
 
 KNOT. (i) In bobbin lace, a twist Half- Wheels, 
 
 or knot in the thread. (2) A complication 
 
 of threads in lace secured by interlacing the ends together. Knots are employed 
 in fringe-making and in coarse lace, such as macrame. 
 
 LACE TOKENS. These were given to lacemakers in payment for their work, 
 and at the end of the last century were regarded as legitimate currency. 
 
 LACET POINT. A stitch made in Honiton Guipure to unite the pillow-made 
 sprigs. 
 
 LAPEL. A term signifying the lapped or turned-over corner of the breast of 
 a coat or bodice. 
 
 LAPPET, OR TAB. The lace pendants of a woman's head-dress, worn in the 
 eighteenth century, and still a part of the Court dress of the day in England 
 and other European countries. 
 
 LAWN. A delicately-woven linen, originally of French manufacture, intro- 
 duced into England in the reign of Queen 
 Elizabeth. 
 
 LEAD WORKS OR LERD WORKS. Terms 
 used to indicate Modes or Fillings. Fancy 
 stitches employed to fill in enclosed spaces in 
 needle-point and bobbin laces. 
 
 LEAVES DIVIDED. This term denotes 
 leaves worked with different stitches in 
 Honiton Lace. 
 
 LEGS. The same as Bars. The con- 
 necting threads thrown across spaces in 
 needle-point and bobbin laces. 
 
 LINE. The flax prepared for spinning 
 before it has been sorted, according to the 
 various degrees of fineness. 
 
 LINGERIE. A French term for cambric 
 and linen under-garments. 
 
 MANCHETTE. A diminutive of the French word manche a sleeve. 
 
 MANTEAU. The French word for a cloak or loose external covering. 
 
 MANTLE. An outer cloak slightly fitting to the figure. 
 
 MATH OR MAT. The closely-plaited portions of flowers, or leaves, in bobbin- 
 made lace ; also the closely-worked portion of any lace. 
 
 Modes or Fillings. 
 
2I 4 
 
 HISTORY OF HAND-MADE LACE. 
 
 Picots, (No. 2) on Bars. 
 
 MECHLIN GROUND. Of this there are two kinds, the circular and hexagonal. 
 Both are used in Brussels bobbin lace as well as in Mechlin laces. 
 
 MESHES. (i) In netting, this word denotes 
 a completed loop. (2) In bobbin and needle-point 
 lace it signifies the threads that form a net- 
 pattern ground. 
 
 MITTENS. Gloves without fingers, having 
 an opening for the thumb. 
 
 MODE. A French term signifying the fashion 
 in dress. 
 
 MODES OR JOURS. Fillings: fancy stitches 
 employed to fill in enclosed spaces in the designs 
 of both bobbin and needle-point laces. They are 
 also called Lead Works and Lerd Works. 
 
 MULL MUSLIN. A thin and soft variety of 
 muslin, not dressed with any kind of stiffening. 
 
 NAPERY. House linen ; especially applied to 
 table linen. 
 
 NEEDLE. A pointed instrument, sharp at one end, and perforated at the other 
 to receive the thread which it is designed to draw through any textile. 
 
 CEiL DE PERDRIX. A variety of ground sometimes found in old Flemish 
 Point and Mechlin laces. 
 
 OPEN BRAID. One of the stitches used in bobbin lace-making. 
 
 OPEN CROSS BAR. W T hen the bars 
 which connect the different parts of modern 
 needle-point lace cross each other they are 
 so-called. 
 
 OPEN DOTS. Holes made in bobbin 
 lace in order to lighten any part of the 
 design. 
 
 OPEN FIBRE. A kind of bar used in 
 Honiton lace-making to form open centres 
 to various parts of the pattern, such as the 
 open work in the centres of leaves. 
 
 OPEN WORK. A word applied in- 
 differently to embroidery, lace-making, 
 knitting, netting, cut-work, and crochet, and 
 signifying the interstices between the 
 several portions of close work. 
 
 OPUS. The ancient name for a work 
 of any kind. 
 
 ORPHREY. The broad band or clavi 
 that adorns the priest's alb; it was used 
 also to border the robes of knights. 
 
 ORRIS. A corruption of Arras. The term is used now to denote galloon for 
 
 Picots used to enrich Needle-point Lace. 
 
GLOSSARY. 
 
 215 
 
 upholstering purposes. In the eighteenth century it was applied to laces woven 
 in gold and silver. 
 
 OUVRAGE. French term for work. 
 
 PALL. The covering of a coffin. 
 
 PARAMENT OR PAREMENT. A cuff sewn upon the outside of a sleeve. 
 
 PARFILAGE OR RAVELLINGS. Woik fashionable in the eighteenth century, 
 especially at the Court of Marie Antoinette. The object of the work was to 
 obtain from old and tarnished gold laces, braids, and sword knots the valuable 
 metal threads woven into them, to sell to the gold-beaters. 
 
 PARURE. A French term denoting a set of collar and cuffs. 
 
 PASSEMENT. Until the seventeenth century, laces, braids and gimps were 
 called Passements a 1'Aiguille ; bobbin laces, Passements au Fuseaux ; and laces 
 with indented edges, Passements a Dentelle. 
 At present the word denotes the pricked 
 pattern on parchment upon which both 
 needle-point and bobbin laces are worked. 
 
 PASSEMENTERIE. The old name for 
 lace-workers ; the word is now used for all 
 kinds of fringes, ribbons, and gimp for dress 
 trimmings. 
 
 PEARLS OR PURLS. The same as Bars. 
 The connecting threads thrown across 
 spaces in needle-point and bobbin laces. 
 
 PEARL EDGE OR PURL EDGE. A narrow 
 thread edge of projecting loops, used to sew 
 upon lace as a finish to the edge. 
 
 PEARLIN OR PEARLING. The name 
 used in Scotland in the seventeenth century 
 to denote lace. 
 
 PICOT. (i) The French term for a prick, 
 as with a needle, used in lace-making. (2) A minute loop or ornament used in 
 needle-made or bobbin lace to add enrichment to an outline leaf, flower, or bar. 
 
 PIN. An instrument used for the temporary attachment of one piece of 
 material to another. Sharpened bones were used in bobbin lace-making before 
 the sixteenth century, when the modern pin was invented ; hence the term Bone 
 Lace. 
 
 PIN WORK. Also known as Couronnes, Crowns, Spines, Thorns, and Fleurs 
 Volantes. In needle-point lace, it is used to lighten the effect of straight edges. 
 
 Pizzo. The Italian term for lace, especially used in Genoa. 
 
 PLAIN EDGE. An edge in bobbin lace undecorated with loops or pearls. 
 
 PLIS. The French term for folds. 
 
 PLY. A term signifying a single untwisted thread. 
 
 POINT. The French term for stitches of every description. When the 
 word is prefixed to lace, it means lace of fine quality, whether bobbin-made or 
 needle-point. 
 
 Pin Work in Needle-point Lace. 
 
2l6 
 
 HISTORY OF HAND-MADE LACE. 
 
 POINT DE CHANT. A bobbin lace ground, also known as Point de Paris 
 ground. It has a hexagon and triangular mesh alternately. It is still used in 
 making black lace. 
 
 POINT DE LILLE. This is described under Fond Simple. 
 
 POINT DE PARIS. Another name for Point de Chant. 
 
 POINT DE RACCROC. The French name for Raccroc Stitch, which is used by 
 lace-makers to join together reseau grounds. 
 
 POINT NONE. Another name for But- 
 tonhole Stitch, one of the chief stitches in 
 needle-made lace. 
 
 POINT PLAT. The French term for 
 Flat Point, the name given to lace executed 
 without a raised cordonnet or outline cord. 
 
 POKING STICK. An iron tool which 
 was heated in the fire and helped to 
 arrange with accuracy the folds in a ruff. 
 Queen Elizabeth paid her blacksmith, 
 Thomas Labric, the sum of five shillings in 
 1592 for poking sticks. 
 
 PRICKED. The term used in pillow 
 lace-making to denote the special marking 
 out of the pattern upon parchment. 
 
 PRICKER. A short instrument used in 
 pattern to receive the pins. 
 
 PUNTO A FESTON. The Italian term for Buttonhole Stitch, one of the chief 
 stitches in needle-made lace. 
 
 PURLS. Another name for Bars. The connecting threads thrown across 
 spaces in needle-point and bobbin laces. 
 
 PURLINGS. A stitch used in Honiton Guipure to unite the bobbin-made 
 sprigs. 
 
 QUILLINGS. Plaits of lace, tulle, or 
 ribbon, sewn down so that the edge opens 
 in flute- like folds. 
 
 QUINTAIN. A fine lawn used as a back- 
 ground in cut-work, so called from the 
 French town in which the finest quality was 
 made. 
 
 RACCROC STITCH. Also known as Point 
 
 de Raccroc and Rucroc. A stitch used by lace-makers to join together reseau 
 grounds. 
 
 RAISED FLOWER. In bobbin lace this flower is worked upon the cushion, 
 commencing with the centre petals. By the tension of some of the stitches 
 the raised effect, characteristic of Devonia lace, is gained. 
 
 RAISED WORK. In bobbin lace this term denotes the raised edge worked 
 down one side of leaves and flowers. Honiton and Duchess each have occasionally 
 raised work, which heightens the effect of the lace considerably. 
 
 Plain Edge. 
 
 bobbin lace to prick 
 
 holes in the 
 
 Pricked Pattern. 
 
GLOSSARY. 
 
 217 
 
 RAVELLINGS. Another name for Parfilage. 
 
 RESEAU. (i) Identical with Rezel and Rezeuil. A net-pattern mesh or 
 honeycomb ground, made either with the needle or with bobbins. (2) A stitch 
 made in Honiton Guipure to unite the bobbin-made sprigs. 
 
 RESEAU ROSACE. The name given to the reseau ground in Argentan lace. 
 
 REZEL, REZEUIL. Terms used indifferently with Reseau for the groundwork 
 of lace, whether worked with the needle or with bobbins. 
 
 ROBING. A flounce-like trimming attached to 
 the front of a skirt. 
 
 ROUISSAGE. The process of steeping the flax 
 preparatory to its being spun for lace-making. 
 
 ROUND PILLOW. The kind generally used in 
 Devonshire for bobbin lace. 
 
 RUCHE. A French term for a quilled or a goffered 
 strip of lace. 
 
 RUCROC. A special variety of stitch used to join 
 together reseau grounds. 
 
 RUFF. The same as Fraise (the fold or outstanding frill of longish hair 
 round the neck of a calf), from which the idea of the neck ruff was taken. 
 
 RUFFLES. Frills worn round the wrist. In the time of the Tudors, they 
 were called Hand Ruffs. 
 
 RUNNERS. The name by which the bobbins which work across a pattern 
 in bobbin lace are known. 
 
 SAM CLOTH. An old term denoting a Sampler. 
 
 SAMPLERS. These were in use during the sixteenth century, when, on 
 account of the scarcity and high price of pattern books, the earliest patterns 
 
 Raised Flower. 
 
 Round Pillow dressed with Pattern, Bobbins, Pin-cushion, and the Lace 
 in process of Making. 
 
2l8 
 
 HISTORY OF HAND-MADE LACE. 
 
 of drawn-work, cut-work and Reticellas were copied upon Sam cloths by those 
 who could have access to, but were not rich enough to buy, books of lace 
 patterns. Later they were used not only as a means of perpetuating a pattern, 
 
 An Eighteenth Century Sampler. 
 
 but also to show the skill of the worker. Representations in coloured silks of 
 elaborate borders, lettering, animals, figures, insects and buildings are frequently 
 to be met with in a good state of preservation. 
 
 SCARF. A long straight length of lace to wear round the throat, waist, or 
 shoulders, finished all round with a border. 
 
 SEME. A French term for sewn or powdered designs of dots, tears or sprigs. 
 
 SETTING STICKS. Tools of wood or bone, formerly used in starching and 
 fluting ruffs. 
 
 SMOCK (i) A linen shirt worn by men or women, frequently ornamented 
 with embroidery or cut-work. (2) The old English term for shift, shirt, or 
 chemise. 
 
 SPINES. Long straight points used to enrich raised cordonnets. 
 
 SPRIG. A term used to denote a detached piece of lace which is afterwards 
 applique on to a net foundation, or joined with bars so as to form, with other 
 sprigs, a compact material. 
 
 STAR GROUND. A variety of Ground, mentioned under that heading. 
 
 STARCH. A fluid used for stiffening lace or cambric. It was first known in 
 England at the end of the fifteenth century, when the wife of a Dutchman brought 
 
GLOSSARY. 
 
 219 
 
 the secret of its use from Holland and was patronised by Queen Elizabeth. Starch 
 was at first looked upon as having an uncanny power and was called " devil's 
 broth," but its utility in stiffening the enormous ruffs of the period was admitted. 
 
 STEM STITCH. A stitch used in Honiton lace. There are three kinds of Stem 
 Stitch : Beginner's Stem, Buckle Stem, and Stem Stitch proper. 
 
 STRAND GROUND. Used to connect Honiton sprays ; it is formed of irregular 
 bars. 
 
 STREAK STITCH. In hand-made lace the veins of leaves are sometimes 
 indicated with an open line called Streak Stitch. 
 
 TAB. Another name for Lappet, under which heading it is described. 
 
 THORNS. Identical with Spines and 
 Pin-work. Long straight points used to 
 enrich cordonnets. 
 
 TIES. The same as Bars. The con- 
 necting threads thrown across spaces in 
 needle-point and bobbin laces. 
 
 TOILE. The name for the substance 
 of the patterns of lace as distinct from the 
 ground. 
 
 TREILLE. (i) The name by which the reseau grounds of needle-point and 
 bobbin laces are distinguished from the pattern they surround. (2) The general 
 term for the ground or reseau of lace throughout Belgium. 
 
 WIRE GROUND. Sometimes used in Brussels lace. It is made of silk, with its 
 net-patterned meshes partly raised and arched, and is worked separately from the 
 design, which is sewn on to it when completed. 
 
 Specimens of Needle-point Toile 
 (much enlarged). 
 
INDEX. 
 
 Adapting lace, 82. 
 
 Adda, Marquis G. d', on old lace, 98. 
 Adelaide, Queen, Honiton lace for, 52, 170. 
 Advantages of the lace industry for England, 
 
 55- 
 
 Aficot, 207. 
 
 Age of lace, judging, 89. 
 Aix-la-Chapelle, Treaty of, 114. 
 Alagoas, Brazil, 125, 126. 
 Alb, the, 57, 214. 
 
 Argentan, portrait of Pontiff in, 59. 
 
 Point d'Angleterre, 61. 
 
 Point de Flandre, 41. 
 
 Trimmed with needle-point lace, 60. 
 
 Valenciennes, 59. 
 Albs at Notre Dame, Paris, 57. 
 Albissola, 157. 
 
 Aloe lace made at, 22, no. 
 Alenches, 116. 
 Alenpon lace, 90, 107. 
 
 Bayeux lace, 116. 
 
 Book on, 103. 
 
 Border of, 107. 
 
 Chain pattern, 156. 
 
 Corsage drapery, 37. 
 
 Cravat, 37. 
 
 Designs corresponded with style of the 
 period, no. 
 
 Extravagant prices for, 108, 109. 
 
 Factory founded by Colbert, 28, 108. 
 
 Imperial layette of, 109. 
 
 Judging, 109. 
 
 Modern, no. 
 
 Most costly dress ever made, 58. 
 
 Napoleon I.'s efforts, 46. 
 
 Napoleonic cypher on, 46, 49. 
 
 Paten-cover, 58. 
 
 Venetian instructors in, 107. 
 
 Winter lace, 43, 107. 
 
 Alice, Princess, wedding dress of, 170. 
 
 Aloe lace, lio. 
 
 Alost, 155. 
 
 Altar hangings, 58, 60. 
 
 Alva, persecutions of Duke of, 146, 159. 
 
 Alvin, L., on old lace, 98. 
 
 M., publications of, 97. 
 American market for German laces, 51. 
 Ampthill, 117. 
 Amsterdam, 145. 
 Anglo-Saxon embroidery, 6. 
 
 Gold thread, 161. 
 
 Nuns' work, 6. 
 Angouleme, Duchess of, 108. 
 Annaberg factory, 15, 159. 
 Anne, Duchess of Hamilton, 196. 
 Anne, Queen of England, 40, 132, 181. 
 Anne, Queen, wife of James I., 32. 
 Anne of Austria, 27, 28 151. 
 Annunciation, Antwerp lace design represent- 
 ing, in. 
 Anspach, 160. 
 Anti-Gallican Society, 44. 
 Antique laces, 2, 3. 
 Antwerp lace, no. 
 
 Brussels, in. 
 
 Lille, in. 
 
 P.^t pattern, in. 
 
 Thread, 181, 182. 
 Appenzell peasant laces, 71. 
 
 Straw-plaiting, 200. 
 Appliqu6 laces, in. 
 
 Limerick lace, 178. 
 
 Sleeve-trimming, nineteenth century, 53. 
 Apron, disappearance of lace, 44. 
 Aprons worn by Roman Catholic bishops, 58. 
 Arab network, 5. 
 Arabia's commerce with Italy, 5. 
 Arabic inscription in drawn linen work, 5. 
 
 Needlework, 4. 
 
222 
 
 INDEX. 
 
 Argentan lace, 112, 113. 
 
 Alb at Notre Dame, Paris, 56. 
 
 Bride picotee a speciality of, 113. 
 
 Factory refused to Mme. Boislannay, 44. 
 
 Point de France, 113. 
 
 Pontiff in alb, 59. 
 
 Venetian influence on, 113. 
 
 Winter lace, 43. 
 Argentella point, 114. 
 Ariege peasant laces, 73. 
 Armenian women's dress, 5. 
 Armstrong, Mrs. Rachel, prize awarded to, 171. 
 Arranging collection, 90, 91. 
 Arras laces, 28, 51, 114, 156. 
 
 at George I.'s coronation, 115. 
 
 Mignonette, 182. 
 Asbestos lace, 115. 
 Asia Minor, origin of lace in, 4. 
 Atterbury, Bishop, lace smuggled in coffin 
 
 of, 79. 
 
 Aubrey, Felix, on old lace, 98. 
 Augusta, Princess, marriage of, 79. 
 Aurillac, 28, 115, 162. 
 Auriphrygium, 60. 
 Austrian bobbin lace, 115. 
 
 Laces, 51. 
 
 Austro-Hungarian lace, 115. 
 Auvergne laces, 115, 175, 180. 
 
 Mignonette, 182. 
 
 Plaited, 186. 
 Auxerre, 178. 
 Ave Maria design, 149, 184. 
 
 Lace, 72, 116. 
 Axminster, 147. 
 
 B 
 Baby lace, Bedfordshire, 117. 
 
 Buckinghamshire, 132. 
 
 Shetland, 197, 
 Baden peasant laces, 69. 
 Bag, ancient Egyptian, 6. 
 Bain, equipage de, in the eighteenth century, 
 
 38, 160. 
 Ballades for lace-makers, 17, 96, 100, 208. 
 
 By Randegger, too. 
 Baptism suits, 61. 
 Barante, M. de, 17. 
 Barbara, sister of the King of Portugal, 
 
 marriage of, 58. 
 Bar be, 207. 
 
 Barcelona aloe lace, 158. 
 Barcelona blonde net, 121. 
 Barcelona silk, 180. 
 Barcelona silk blonde laces, 197. 
 Bar-joining, 89. 
 
 Barry, Mme. du, 203. 
 
 Bars, 207. 
 
 Basing, 32. 
 
 Bassano, painting by, 13. 
 
 Bath Brussels lace, 169. 
 
 Bath equipage in the eighteenth century, 38, 160. 
 
 Bauta, 207. 
 
 Bavaria, 159. 
 
 Bayeux laces, 116. 
 
 Black silk, 120. 
 
 Nineteenth century, 47. 
 
 Peasant laces, 69. 
 Bazzoli, portrait of, 61. 
 Beachampton, 132. 
 Bead edge, 207. 
 Beading, 207. 
 Beads on bobbins, 210. 
 Bed furniture, nineteenth century, 46, 47. . 
 Bedfordshire lace, 116. 
 
 Baby lace, 117. 
 
 English Lille, 154. 
 
 Maltese, 180. 
 
 Pedlars in, 76. 
 
 Plaited, 186. 
 
 Regency point, 193. 
 Bedfordshire straw-plaiting, 200. 
 Bed-trimmings in the eighteenth century, 38. 
 Beer, 148, 167. 
 Bees on Alencon lace, 49. 
 Beggar's lace, 117, 163, 202. 
 Beginner's stem stitch, 219. 
 Belev, 196. 
 
 Belgian laces, 117. These are fully indexed 
 under their respective headings. . 
 
 Antwerp, no. 
 
 Bobbin sprigs on machine-made net, 51. 
 
 Brussels, 127. 
 
 Dogs used for smuggling, 78. 
 
 Eighteenth century, 43. 
 
 Emigration of workers prevented, 118. 
 
 English thread for, 128. 
 
 Flanders point, 117. 
 
 Machine-made net, run and embroidered 
 in flax thread, 46. 
 
 Mechlin, 181. 
 
 Petit motif, 186. 
 
 Point d'Angleterre (so-called), 36, 127 
 
 Schools for, 118. 
 
 Seventeenth century, 31. 
 
 Smuggling into France, 78. 
 
 Tape, 118. 
 
 Treille, 219. 
 
 Trolle kant, 155, 202. 
 
 Valenciennes, 202. 
 
INDEX. 
 
 223 
 
 Belgium, pedlars in, 76. 
 
 Belin, Antoine, designs by, 98. 
 
 Bell-shaped sleeves in rose point, 55. 
 
 Benoit, Rene, 9. 
 
 Berlin, factories at, 160. 
 
 Bibliography of lace, 94, 98. 
 
 Bidney, Miss J., Queen Victoria's wedding veil 
 
 made by, 167. 
 Bier ton, 132. 
 Binche lace, 119. 
 Bisette lace, 75, 119. 
 Black lace, cleaning, 87. 
 
 Devonshire, 147. 
 Black silk laces, 119, 120. 
 Blandford lace, 119, 153. 
 Blandford point, cost of, 40. 
 Bleach, lime as a, 130. 
 Blessington, Lady, 48. 
 Bletchley, 132. 
 Blonde, a summer lace, 43. 
 Blonde de Caen, 120. 
 Blonde de fil, 182. 
 Blonde laces, net, 121. 
 
 Nineteenth century, 47, 
 
 Sher borne, 196. 
 
 Silk, 197. 
 
 Wheat or maize pattern, 121. 
 Bobbins, 207. 
 
 Beads on, 210. 
 
 Introduction of, 20. 
 Bobbin lace, Buckinghamshire, 125. 
 
 Change from vandyked to straight edge, 
 
 25- 
 
 Characteristics of, 124. 
 
 Cross bar open, 208. 
 
 Definition of, 121. 
 
 Dressed pillow for, 209. 
 
 Duchesse spray of, 120. 
 
 First mention of, 125. 
 
 Grounds, 212. 
 
 Italy the home of, 16. 
 
 Judging, 88. 
 
 Netherlands taught Northern Europe, 118. 
 
 Open braid, 214. 
 
 Open dots, 214. 
 
 Rare specimen of seventeenth century, 24. 
 
 Restoring, 84, 85, 86. 
 
 Trolly, 125. 
 Bobbin-made ground, 88. 
 
 Plait, 88. 
 
 Reseau, 88. 
 Bobbin net, first made in the nineteenth century, 
 
 47- 
 Trade, statistics of, 103. 
 
 Bock, Franz, catalogue by, 98. 
 Bodice trimming, seventeenth century, 65. 
 Bohemian bobbin lace, 115. 
 Boislannay, Mme. Malbiche de, 44. 
 Bone lace, 125, 215. 
 
 Importation of, 98. 
 
 Pins, 215. 
 Bone point, 125. 
 Bonnard, M. de, pictures of, 38. 
 
 Collection of costumes, 26, 27. 
 Books on lace, 94, 98. 
 Border made of fragments, 83. 
 Borlase, Sir Henry, founder of the Marlow lace 
 
 school, 130. 
 Bosse, Abraham, picture and engravings by, 
 
 35- 65. 
 
 Boucher, fans painted by, 66. 
 Boulogne fisher-girls, head -gear of, 70. 
 Bourgogne peasant laces, 74. 
 Bourgoin, 69. 
 
 Bowen, Samuel, on Honiton lace, 169. 
 Brabancon lace is indexed under Brussels lace. 
 Brabant flax for Brussels lace, 128. 
 Braid of twisted threads, ancient, 4. 
 Braids, straw, 200. 
 Branching fibres, 207. 
 Brazilian lace, 125, 126. 
 Brazilian straw-plaiting, 200. 
 Bridal dress of 1830, 51. 
 Bridal laces, 20, 126, 134. 
 
 For the Church, 58. 
 Bride boucl6e, 113. 
 Bride 6pinglee, 113. 
 Bride grounds, 212. 
 
 Bride picotee, a speciality of Argentan lace, 113. 
 Bride's trousseau (French) in the eighteenth 
 
 century, 38. 
 Brides, 207. 
 Brides claires, 207. 
 Brides orn6es, 89, 207, 208. 
 Bristol, Earl of, portrait of, 34. 
 Broderie de Malines (181) is indexed under 
 
 Mechlin lace. 
 Broderie de Nancy, 150. 
 Bruges laces, 126, 151, 155, 181, 203. 
 Brussels lace, 127. 
 
 Applique, in. 
 
 Assemblage of, 129. 
 
 Binche, 119. 
 
 Brabant flax for, 128. 
 
 Designers of, 129. 
 
 Designs followed the fashions, 129. 
 
 Discoloration of, 130. 
 
 Eighteenth century, 43. 
 
224 
 
 INDEX. 
 
 Brussels lace continued. 
 
 English thread for, 128. 
 
 Factory converted into a hospital, 48. 
 
 Flounces, 51. 
 
 Flowers, 129. 
 
 Machine-made net for, 129. 
 
 Piecemeal manufacture of, 129. 
 
 Point de raccroc, 129. 
 
 Relief in, 129. 
 
 Thread used for, 128. 
 
 Vrai reseau, 129. 
 
 Wages of thread-spinners, 128. 
 
 Wire ground, 219. 
 Bryony and poppy design, 168. 
 Buckinghamshire laces, 130. 
 
 Baby laces, 132. 
 
 Cowper, petition from, 130. 
 
 Decline of, owing to machinery, 132. 
 
 Edward (Prince) of York's layette, 132. 
 
 English Lille, 154. 
 
 French emigrants' influence on, 132. 
 
 Gingles, 210. 
 
 Guipure, 166. 
 
 Hanslope, 131. 
 
 Maltese, 180. 
 
 Marlow school, 130. 
 
 Newport Pagnell, 131. 
 
 Olney, 131. 
 
 Pedlars in, 76. 
 
 Places producing (in 1862), 132. 
 
 Plaited, 186. 
 
 Prize awarded to, for best piece of English 
 bone lace, 131. 
 
 Queen's (Victoria) trousseau, 132. 
 
 Ruffles presented to the King by Earl 
 Temple, 131. 
 
 Trolly, 125, 130, 134, 152. 
 
 Yak, 206. 
 
 Buckle stem stitch, 219. 
 Bulgarian peasant laces, 71. 
 Bullion lace, 132. See also Gold and Silver 
 
 lace. 
 
 Bunt lace, 196. 
 Burano lace, 57, 133. 
 
 Argentella point, 114. 
 
 Cathedral laces, 57. 
 
 D'Este, Mme., mistress of the school, 133. 
 
 Fans, 66. 
 
 Modern point, 183. 
 
 Point gaze, 133. 
 
 Point gotico, 133. 
 
 Point in the eighteenth century, 42. 
 
 Royal school, 134. 
 
 Scarpariola, Cencia, 133. 
 
 Burano lace continued. 
 
 Seguin, M., on, 133. 
 
 Varieties of, 134. 
 Burning of contraband lace, 79. 
 Butterflies' wings in relief, 170. 
 Buttonhole stitch, 207. 
 
 Never seen in machine-made lace, 
 
 Cabinets for collections, 91, 92. 
 Caen laces, 116. 
 
 Black silk, 120 
 
 Blonde, 120. 
 
 Blonde net, 121. 
 
 Peasant laces, 70. 
 Calabria, 174. 
 Calvados, 116. 
 
 Cambrai, Archbishop of, ruffles owned by, 40. 
 Camille, Mme., old lace brought again into 
 
 fashion by, 48. 
 Campane lace, 134. 
 Candia lace, 139. 
 Cannetille, 132. 
 Caps, 69. See Peasant laces. 
 
 Mob, pinned under the chin, 44. 
 Capuchin mummies at Monreale, 62. 
 Card-sharpers, ruffles used by, 40. 
 Care of lace, 82. 
 Carnasiere, fil de, 59. 
 Carnival laces, 20, 134. 
 Carpaccio, fans painted by, 64. 
 Carrickmacross lace, 134, 172. 
 Cartisane, 207. 
 Cartisane padding, 163. 
 Cascade, 208. 
 Casket for storing lace, 92. 
 Castlemaine, Lady, 33. 
 Catalonia black silk laces, 119. 
 
 Blonde net, 121. 
 Caterpillar lace, 135. 
 Catherine de' Medicis, 17, 24, 97, 187, 205 
 
 Portrait of, 15. 
 Catherine de Rohan, 135. 
 Catherine of Aragon, 116, 130, 152. 
 Catherine, Queen, 17. 
 Catherine II. of Russia, 194. 
 Cauchoise peasant laces, 67. 
 Caul lace, 135. 
 Centre fibre, 208. 
 
 Cevennes silk for Bayeux lace, 116. 
 Ceylon lace, 180. 
 
 Pillow lace, 135. 
 Chaise, La, 29. 
 Chaldaic needlework, 4. 
 
INDEX. 
 
 225 
 
 Chalet-sur-Moselle, hempen thread spun at, 
 
 178. 
 
 Champ, 208. 
 Chansons a toile, 96, 100, 208. 
 
 by Ranclegger, 100. 
 Chantilly lace, 135. 
 
 Bayeux lace similar to, 116. 
 Black silk, 119. 
 Blonde de Caen, 120. 
 Blonde net, 121. 
 First made with flax thread, 38. 
 Kinds of, 135. 
 Nineteenth century, 47. 
 Old, 45. 
 
 Places of manufacture, 135. 
 I Roseau, fineness of, 136. 
 Scarf of, 136. 
 Tippet, 52. 
 
 Charles I. of England, 33, 190. 
 Charles II. of England, 33, 36, 127, 149, 174. 
 Charles II. of France, sumptuary laws of, 9. 
 Charles V., Emperor, 118. 
 Charles V. of France, 114. 
 Charles VIII., sumptuary laws of, 9. 
 Charles IX. of Sweden, 200. 
 
 Sumptuary laws of, 9. 
 Charles of Savoy, portrait of, 15. 
 Charles the Bold, 17. 
 Charles the Great, Sumptuary law of, 8. 
 Charlotte, Queen, Brussels lace owned by, 128. 
 Dorset lace worn by, 178. 
 Institution founded by, 40. 
 Mechlin lace the favourite of, 181. 
 Charmouth, 206. 
 Chateau-Thierry, 28, 156. 
 Chaucer, cut-work mentioned by, 19. 
 Chauvin, Pierre, and Valenciennes lace, 202. 
 Chaux de fonds, 51. 
 Cheap laces formerly called " beggars' laces," 
 
 117. 
 
 Chenille lace, 136. 
 Chesterfield, Lord, 78. 
 Chiavari, 158. 
 Chicken skin, 67. 
 China craze and the lace trade in the eighteenth 
 
 century, 41. 
 
 China, lace-making in, 3. 
 Chinese fans, 64. 
 Chioggia lace, 42, 136. 
 
 Peasant laces of, 70. 
 Choristers' surplices at the Vatican, 61. 
 Christening suits, 61. 
 
 Christian IV. of Denmark, portrait of, 16, 
 Christian IX. of Denmark, 76, 
 
 Church lace, 56, 136. See Ecclesiastical Lace. 
 Cingalese lace, 180. 
 
 Pillow lace, 135. 
 Cinq trous, 137. 
 Circassian women's dress, 5. 
 Classification of laces, 3. 
 Clavi, 214. 
 Claydon, 132. 
 Cleaning laces, 86, 87. 
 Clement XIII., 57. 
 Clement XIV., portrait of, 60. 
 Clement's (M.) factory at Bayeux, 116. 
 Clerget, Ch. Ernest, pattern-books, etc., by, 98. 
 Clinquant, 133. 
 Clonakilty, 171, 206. 
 Close leaf, 208, 209. 
 Close stitch, 208. 
 Close trefoil, 208. 
 Clouet, Jean, portrait by, 15. 
 Cluny lace, 137. 
 
 Guipure, 137, 138. 
 
 Plaited, 186. 
 
 Coburg's (Duchess of) present of Russian 
 laces to South Kensington Museum, 
 
 195- 
 
 Cocheris, Hippolyte, on old lace, 98. 
 Code Michaud, 27. 
 Coffins, smuggling in, 79. 
 Coggeshall, 201. 
 Coif edged with purling, 21. 
 Colbert, minister of Louis XIV., founder of 
 the Alen9on factory, n, 26, 28, 36, 70, 
 no, 113, 137, 152, 155, 156, 173, 182, 
 187, 204. 
 
 Inventory of his household, 149. 
 
 Portrait of, 29. 
 
 Cole, Alan S., works on lace by, 98, 104. 
 Collar, Devonshire guipure, 53. 
 Collar, falling, 166. 
 
 Extinction of, 33, 34. 
 
 Ruff replaced by, 26. 
 
 Succeeded by cravat, 33, 34. 
 Collar, flat, 35. 
 Collar, Medicis, 25, 27, 32. 
 Collar of Cyprus lace, 142. 
 Collar of Flemish needle-point, 155. 
 Collections, arranging, 90, 91. 
 Colonial and Indian Exhibition, Cyprus lace at, 
 
 142. 
 
 Colouring laces, 87. 
 Colyford, 148. 
 Colyton, 147, 148. 
 Commode head-dress, 34. 
 Commonwealth, the, 33, 126. 
 
226 
 
 INDEX. 
 
 Como laces, 49, 137, 159, 190*. 
 
 Conclave, Holy, laces of, 58. 
 
 Continuous inner pearl, 208, 209. 
 
 Contraband lace, burning, 79. 
 
 Convents, lace made in, 58, 94, 150, 179, 198. 
 
 Mediaeval work in, 18. 
 
 Tuition in, 17. 
 
 Varieties of lace made in, 184. 
 Coptic drawn-linen work, 8. 
 Coques, Gonzales, portrait by, 25. 
 Coquille, en, 209. 
 Coralline point, 137. 
 Coralline weed and the introduction of bobbins, 
 
 20, 182. 
 
 Cord of twisted threads, ancient, 3. 
 Cordonnet, 208. 
 Corfu lace, 137, 163. 
 Cork, fan worked at, 68. 
 Corneille on Havre laces, 70. 
 Cornish laces, 153. 
 Cost of lace-making, i. 
 Cotton thread used instead of fiax, 47. 
 Couronnes, 208. 
 
 Courriers de la mode, grands, 80. 
 Courtrai fiax, 128. 
 Courtrai lace, 137, 155, 181, 203. 
 Coutances, lace-trimmed cap worn by peasants 
 
 of, 72. 
 
 Cowper, petition from, 130. 
 Coxcombs, 208. 
 
 Cravat, falling collar succeeded by, 33, 34. 
 Cravat, folded, 36. 
 
 Craven, Lady Elizabeth, portrait of, 53. 
 Crete lace, 139. 
 Creva drawn lace, 140. 
 Crochet, 139, 140. 
 
 French patterns for, 103. 
 
 Irish, 52. 
 Crochetage, 27. 
 Cromwell, 33. 
 Cross bar open, 208, 214. 
 Crossing or crochetage, 27. 
 Crowns, 208. 
 " Crusoe, Robinson," his present of Flanders 
 
 lace, 161. 
 Cuddington, 132. 
 Cuff of point neige, 188. 
 Curragh lace, 172. 
 
 Cushion, lace-trimmed, for infants, 62. 
 Customs duties, 40, 44, 53, 78, 127. 
 Cut cambric and needlework, 177. 
 Cuthbert's (St.) coffin in Durham Cathedral, 
 
 5,18. 
 Cut linen, an early form of lace work, 6. 
 
 Cut-work, 18, 140. 
 
 a secret of the Church, 7. 
 
 Cecelia de Mula's dowry, 142. 
 
 Greek lace, 140. 
 
 Honiton lace, 208. 
 
 Mending, 85. 
 
 Pagan, Matteo, on, 141. 
 
 Sleeve trimmed with, 13. 
 Cyprus lace, 142. 
 
 D 
 
 Daisy, Honiton, bobbin-made, 167. 
 Dalecarlian lace, 143. 
 
 Hair lace, 190. 
 
 Peasant laces, 75. 
 
 Point tresse, 190. 
 Dalmatian peasant lace, 74. 
 Dalmatic, the, 57. 
 Dame Joan ground, 212. 
 Dammartin, 135. 
 
 Danes, coat-trimmings of the ancient, 5. 
 Danish laces, 77, 143. 
 
 Drawn muslin, 144. 
 
 Funeral laces, 62. 
 
 Jutland, 143. 
 
 Local names for patterns of, 144. 
 
 Patterns of, 144. 
 
 Peasant laces, 72. 
 
 Schleswig, 143. 
 
 Stien beck's efforts for, 143. 
 
 Tender, 143. 
 Danish mummies, 62. 
 Dante on dress, 7. 
 D'Aosta, Due, no. 
 Darned lace, 144, 145. 
 Darned netting, 12, 19, 144, 145. 
 
 for furniture, 144. 
 
 Mending, 85. 
 
 Names of, 144. 
 
 Dartmouth, Lord, petition to, 130. 
 D'Aste, Baroness, 179. 
 Date of lace, judging, 89 
 Dauphin, layette presented to, by the Papal 
 
 Nuncio, 61. 
 
 Dead bodies replaced by smuggled lace, 79. 
 Dead, dressings for the, 62. 
 Decreuze, portrait by, 50. 
 Definition of the term lace, 3, 174. 
 Defoe on Bedfordshire lace, 34. 
 
 on Blandford lace, 40, 119. 
 De Glen, Jean, pattern-book by, 176. 
 Denny, Lady Arabella, a great patron of Irish 
 
 lace, 171. 
 Dentele, 208. 
 
INDEX. 
 
 227 
 
 Dentelle, 144. 
 Dentelle a cartisan, 163. 
 Dentelle a la reine, 145. 
 Dentelle a la vierge, 145, 147, 184 
 
 Peasant laces of, 70. 
 Dentelle au fuseau, 145. 
 Dentelle de fil, 145. 
 Dentelle de Liege, 176. 
 Dentelle Irlandaise, 183. 
 
 Book on, 103. 
 Dentelle redin, 146. 
 Dentelle Renaissance, 183. 
 Designs, 208. 
 
 Most ancient, 4. 
 
 Old lace, 98-105. 
 D'Este, Mme. Anna Bellorio, mistress of the 
 
 Burano lace school, 133. 
 De Vere, Lady, and Irish point, 172. 
 Devonia lace, 52, 146. 
 
 Bobbin-made flower, 170. 
 
 Raised flower, 216. 
 Devonshire lace, 146. 
 
 Adapting, 83. 
 
 Applique, in. 
 
 Black, 147. 
 
 Decline of the industry, 148. 
 
 Fan made at Seaton, 67. 
 
 Greek, 147. 
 
 Guipure collar, 53. 
 
 Honiton, 167. 
 
 Honiton Application, 167. 
 
 Imitation of Flemish, 147. 
 
 Introduction of, 146. 
 
 Male and female workers, 147. 
 
 Nineteenth century, 52. 
 
 Pedlars in, 76. 
 
 Round pillow for, 217. 
 
 Trolly, 147. 
 
 Truck system of payment, 78. 
 Diamond plaitings, 167. 
 Dictionary of Lace, 107. 
 Dieppe lace, 148. 
 
 Ave Maria, 116. 
 
 Dentelle & la vierge, 145, 146. 
 
 Designs, 149. 
 
 Double-ground, 146. 
 
 Modern school, 149. 
 
 Peasant lace, 72. 
 
 Point, 148. 
 
 Dieudonne, M., on vrai and fausse Valen- 
 ciennes, 139. 
 
 Digby, George, Earl of Bristol, portrait of, 34. 
 Dijon, 178. 
 Divided leaves, 213. 
 
 Doddridge, Lady, effigy of, 146. 
 
 Doges' Palace, model of, 80. 
 
 Dogs used for smuggling, 78. 
 
 Dolls, fashion, 79, 80. 
 
 Dorsetshire, bullion lace found in, 132. 
 
 Dorsetshire barrow, gold lace in, 4. 
 
 Dorsetshire lace, 149. 
 
 Blandford, 119. 
 
 Blonde, 196. 
 
 Lyme Regis, 178. 
 
 Sherborne, 196. 
 Dots, open, 214. 
 Dotted style, 91. 
 Double-ground Dieppe lace, 146. 
 Douglas, Bishop, on the dandyism of Leipsic 
 
 students, 160. 
 D'Oyleys, 208. 
 
 Crochet, 139. 
 
 Made from fragments, 83. 
 Drawers for storing, 93. 
 
 Drawn linen, Saracenic, the earliest form of 
 open-work, 5, 7. 
 
 With Arabic inscription, 5. 
 Drawn-work, 19, 149, 150. 
 
 Ancient, 7-10. 
 
 Geometrical, 150. 
 
 Names of, 150. 
 
 Persian, 186. 
 
 Dresden Museum, catalogue of lace in, 98. 
 Dresden, settlement of French refugees in, 159. 
 Dresden point, 150. 
 Dressed pillows, 209, 217. 
 Dressing-room in the eighteenth century, 38. 
 Dry-cleaning damaging to lace, 87. 
 Dubarry, Mme., 38, 135. 
 Dublin, 171. 
 
 Dublin Museum, catalogue of lace in, 98. 
 Duchesse lace, Bruges, 126. 
 
 Raised work, 216. 
 Dunkirk lace, 151, 181. 
 
 Dunstan (St.), cut-work patterns designed by, 7. 
 Dutch flax, 151. 
 Dutch lare, 150, 151. 
 
 Dentelle a la reine, 145. 
 
 Peasant laces, 72. 
 Dutch oorijzers, 72. 
 Duties, Customs, 40, 44, 53, 78, 127. 
 
 Earliest forms of lace, i, 2, 3. 
 Ear-plates, metal, 72. 
 Ecclesiastical lace, 56. 
 
 Albs, 56. 
 
 Albs at Notre Dame, 56. 
 
228 
 
 INDEX. 
 
 Ecclesiastical \a.ce continued. 
 
 Alencon lace, 108. 
 
 Altar hangings, 58, 60. 
 
 Bridal lace for the Church, 58. 
 
 Burano Cathedral, 57. 
 
 Christening suits, 61. 
 
 Conclave, Holy, 58. 
 
 Cut-work, 7. 
 
 Dalmatics, 57. 
 
 Drawn- work, 150. 
 
 Fabulous value of old, 56. 
 
 Funeral laces, 62. 
 
 Genoese macramS, 159. 
 
 Gold lace, 161. 
 
 Holy or hollie point, 60, 166. 
 
 Italian, 173. 
 
 Jewish, 60. 
 
 Knotted lace, 174. 
 
 Liege, 176. 
 
 Macrame, 179. 
 
 Norman- English Church, 60. 
 
 Notre Dame, Paris, 54. 
 
 Orphreys, 60. 
 
 Paris Oratoire, 58. 
 
 Paten-cover, 58. 
 
 Reformation, effects of, 60, 61. 
 
 Rohan family, 58. 
 
 St. Mary-at-Hill, London, 59, 
 
 Self-sacrificing work of ladies, 59. 
 
 Spanish, 199. 
 
 Statuette, border of bobbin-made lace 
 from, 57. 
 
 Surplices, 57. 
 
 Talith, the, 60. 
 
 Tippets, 103. 
 
 Venetian, 205. 
 
 Vestments, 56, 136. 
 Ecru, 209. 
 Edges, varieties of, 209. 
 
 Bead, 207. 
 
 Plain, 215, 216. 
 
 Edging as an indication of age, 89. 
 Edgings, 209. 
 
 Patterns for (1591), 95. 
 Edward (Prince) of York's layette, 132. 
 Effigies of monarchs, &c., decked with lace, 62. 
 Egyptian antique laces, &c., 2, 3, 4, 5, 6, 7, 9, 
 
 62. 
 
 Egyptian mummy wrappings, 62. 
 Egyptian sarcophagi, figures on, 4. 
 Eighteenth century, anecdotal history of lace in 
 the, 37. 
 
 Austrian laces, 51. 
 
 Bankruptcies of lacemen, 42. 
 
 Eighteenth century continued. 
 
 Belgian laces, 43. 
 
 Designs, 91. 
 
 English laces, 40, 153. 
 
 Equipage de bain, 38. 
 
 Fans, 67. 
 
 Fortunes spent on ruffles and jabots, 39. 
 
 French laces, 37. 
 
 Gambling for lace stakes, 42. 
 
 Gold and silver lace, 41. 
 
 Italian laces, 42. 
 
 Lace bills, 42. 
 
 Mantillas, 42. 
 
 Mourning wear, 43. 
 
 Picture of the times, 37. 
 
 Point lace, 190. 
 
 Reveille, the, 38. 
 
 Servants' livery, 40. 
 
 Smuggling, 44, 78. 
 
 South Sea Bubble, 41. 
 
 Spanish laces, 41, 42. 
 
 Summer laces, 43. 
 
 Toilet table, 38. 
 
 Valenciennes laces, 204. 
 
 Venetian laces, 205. 
 
 Winter laces, 43. 
 Elberfeld, 160. 
 
 Elephant's-tail hair lace, 190. 
 Elizabeth (Queen), 35, 44, 60, 77, 126, 152, 167, 
 190, 198, 204, 213, 216, 219. 
 
 Fans presented to, 64, 66. 
 
 Portrait of, 64. 
 
 Wardrobe accounts of, 157. 
 Elizabeth of Bourbon, portrait of, 17. 
 Elizabeth of York, 204. 
 Ell of various nationalities, length of, 209. 
 Embroidered muslin, 47. 
 Embroidered net in the nineteenth century, 
 
 49. 
 
 Embroidery, ancient, confused with lace, 4, 5. 
 En coquille, 209. 
 En eventail, 209. 
 English application of to-day, 54. 
 English Church vestments, 57. 
 English ell, 209. 
 English fans, 65. 
 
 English laces, 152. These are fully indexed 
 under their respective headings. 
 
 Acts of Parliament protecting, 153. 
 
 Bobbin-made tape lace, 151. 
 
 Eighteenth century, 40. 
 
 Flemish influence, 152. 
 
 Greek, 163. 
 
 Nineteenth century, 47, 52. 
 
INDEX. 
 
 229 
 
 English laces continued. 
 
 Plaited, 186. 
 
 Plea for, 54. 
 
 Purlings, 152. 
 
 Reticella, 194. 
 
 Seventeenth century, 32. 
 
 Trolly, 202. 
 
 Varieties of, 153. 
 
 Venetian influence, 152. 
 English Lille, 154, 184. 
 English point, 54, 154. 
 
 Eighteenth century, 40. 
 
 Origin of, 35. 
 
 English straw-plaiting, 199. 
 English sumptuary laws, effects of, 32. 
 English thread for Belgian laces, 128. 
 Engrelures, 87, 209. 
 
 Judging lace by, 89. 
 Entoilages, 116, 209. 
 Entredeux, 209. 
 Epaulettes, officers', 133. 
 Equipage de bain in the eighteenth century, 
 
 38, 1 60. 
 
 Erzegebirge district, 160. 
 Etats Generaux, costumes prescribed by, 46. 
 Eternelle, 161. 
 Eu, 149. 
 Eugenie, Empress, 38. 
 
 Dress presented to the Pope by, 59. 
 Eventail, en, 209. 
 Evolution of lace, i. 
 Exeter, 148. 
 Exeter Cathedral inventory, 19. 
 
 Tombs in, 146. 
 Exmouth, 147 
 Eyck, Jacob van, praises of lace sung by, 17. 
 
 Fairs, lace bartered at, 77. 
 Falbala, 210. 
 Falling collar, 166. 
 
 Extinction of, 33. 
 
 Replaces the ruff, 26. 
 
 Succeeded by cravat, 33, 34. 
 Fambri and Pelestrina lace, 185. 
 Fambri, Signer Paulo, revival of Burano and 
 Chioggia lace industries, by, 134, 136. 
 Fans, 63. 
 
 Antique sticks used with modern leaves, 
 67. 
 
 Applique", 67. 
 
 Burano, 66, 67. 
 
 Chicken-skin, 67. 
 
 Chinese, 64. 
 
 Fans continued. 
 
 Designs in, 66. 
 
 Earliest, 63. 
 
 English, 65. 
 
 English point, 66. 
 
 Gentlemen's, 65. 
 
 Irish needle-point, 66. 
 
 Irish, worked at Cork, 68. 
 
 Italian, 64. 
 
 Invention of, 63. 
 
 Japanese, 68. 
 
 Lace and painting combined, 67. 
 
 Long-handled, 65. 
 
 Married women's, 64. 
 
 Mirror in centre of, 64. 
 
 Painted, 64. 
 
 Parchment lace on, 65. 
 
 Presented to Queen Louise of Lorraine, 64. 
 
 Presented to the English sovereign, 
 64, 66. 
 
 Rosaline point, 66. 
 
 Royal attributes, 63. 
 
 Screen-shaped, 62. 
 
 Sticks studded with precious stones, 65. 
 
 Useful v. ornamental, 68. 
 Fashion puppets, 79, 80. 
 Fausse Valenciennes, 59, 203, 204. 
 Fecamp, 149. 
 
 Felkin, William, on lace manufactures, 98. 
 Feregnola, poet, 155. 
 Ferrara Cathedral, 13. 
 Fertiault, Francois de, on old lace, 98. 
 Fiammingo, Cavaliera, portrait of, 19. 
 Fibres, branching, 207. 
 
 Centre, 208. 
 
 Open, 214. 
 Fifteenth century, 12. 
 
 English laces, 152. 
 
 Picture of the times, 12. 
 
 Sumptuary laws, 7. 
 
 Valenciennes lace, 202. 
 
 Venetian laces, 204. 
 Fil de carnasiere, 59. 
 Fil de cren, 209. 
 Fil de trace, 209, 210. 
 Fil tir6, 150. 
 Filet brode, 166. 
 Filet brod6 & reprises, 144. 
 Filet guipure, 166. 
 Fillings, 209, 213. 
 Fimboice, meaning of, 5. 
 Finger, a measurement, 209. 
 Fino d'erbe Spada, 155. 
 Fire-proof lace, 115. 
 
2 30 
 
 INDEX. 
 
 Fischer, Hugo, on old lace, 98. 
 
 Fish bones used instead of pins, 125. 
 
 Fisher girl, legend of, 182. 
 
 Fisherman's lace, 190. 
 
 Flanders' claim to the introduction of lace, 16, 
 
 117. 
 
 Flanders in mediaeval times, 12. 
 Flanders, Northern Europe taught lace-making 
 
 by, 18. 
 Flanders lace, 155. 
 
 Act preventing emigration of workers, 155. 
 
 Antwerp lace known as, no. 
 
 Bobbin-made, 155. 
 
 Guipure, 166. 
 
 Mechlin, 181. 
 
 Needle-point, 155. 
 
 CEil de perdrix, 214. 
 
 Point, alb of, 41. 
 
 Reticella, 194. 
 
 " Robinson Crusoe's " present, 161. 
 
 Tape lace, 201. 
 
 Trolle kant, 202. 
 
 Trolly, 202. 
 
 Varieties of, 155. 
 Flanders point, 41, 117. 
 Flat point (point plat), 127, 155, 216. 
 Flax, 210. 
 
 Flax, cotton thread used instead of, 47. 
 Flax thread, transition from gold and silver 
 
 lace to, 7. 
 Flemish ell, 209. 
 
 Flemish lace, &c., is indexed under Flanders. 
 Fleurs volantes, 208, 210. 
 Flockton's marionettes, 80. 
 Florentine lace, 155. 
 
 Greek lace, 163. 
 Florentine paintings, the earliest showing lace, 
 
 13- 
 
 Flots, 210. 
 Flounce, 210. 
 Flounces on the skirt in the eighteenth century, 
 
 42 
 
 Flowers, raised, 170, 189, 216, 217. 
 Flower pot and Lily of the Annunciation 
 
 pattern, 167. 
 
 Flowers in point lace, book on, 104. 
 Fond, 210, 211. 
 Fond de neige, 210. 
 Fond simple, 176, 210. 
 Fonds claires, 210. 
 Fontange head-dress, 28, 32, 33. 
 " Foolish Virgins," the, by Abraham Bosse, 35. 
 Footings, 87, 210. 
 
 Judging lace by, 89. 
 
 Founce, 210 
 
 Fourteenth century, picture of the times, 12. 
 
 Sumptuary laws, 7. 
 Fowler, Mrs , of Honiton, 54, 148. 
 Fragments, joining, 82. 
 Fragonard, paintings by, 32. 
 Praise, or ruff, 210. 
 
 Replaced by falling collar, 26. 
 France, He de, 178. 
 
 France, laces of, are indexed under French. 
 France, smuggling of lace into, 78. 
 Francis I., 15. 
 
 Sumptuary laws of, 9. 
 Franco, Giacomo, patterns by, 125. 
 Franco, Girolamo, designs by, 98. 
 Francois, Prince of Savoy-Carignan, portrait of, 
 
 24. 
 
 Francois Regis, patron saint of lace-makers, 21. 
 Frederick, Prince of Wales, marriage of, 43. 
 Frederick William, Elector of Brandenburg, 
 
 1 60. 
 
 French ell, 209. 
 French fashion dolls, 79, 80. 
 French, Gilbert}., on ecclesiastical tippets, 103. 
 French ground Northamptonshire laces, 184. 
 French laces, 156. These are fully indexed 
 under their respective headings. 
 
 Bobbin-made, 157. 
 
 Eighteenth century, 37. 
 
 Florentine influence, 156. 
 
 Gimp or guipure, 164. 
 
 Greek, 163. 
 
 Medicis points, 205. 
 
 Modern point, 183. 
 
 Net ground laces, 113. 
 
 Nineteenth century, 46, 49. 
 
 Origin of, 156. 
 
 Peasant laces, 69, 71, 72. 
 
 Petit motif, 185. 
 
 Plaited, 186. 
 
 Point de France, 187. 
 
 Reticella, 194, 
 
 Seventeenth century, 23. 
 
 Varieties of, 156. 
 
 Venetian influence, 204. 
 French Revolution, fatal to fine lace, n, 44. 
 French straw-plaiting, 200. 
 French sumptuary laws, effects of, 8, 11,21, 24, 
 
 28, 98, 107, 117, 175. 
 
 Freytag on German life in the sixteenth cen- 
 tury, 1 60. 
 
 Fribourg straw-plaiting, 200. 
 Frisure, 133. 
 Frivolit6, 202. 
 
INDEX. 
 
 231 
 
 Funeral clothing, 62. 
 Funerals, lace used at, 33. 
 Furbelow, 210. 
 
 Q 
 
 Galloon, ancient Egyptian band of, 7. 
 on harlequin's dress, 43. 
 Tulle, 116. 
 Gambling for lace stakes in the eighteenth 
 
 century, 42. 
 Garniture, 210. 
 Gawcott, 132. 
 Geneva, 201. 
 Genoa laces, 157. 
 
 Cushions used in making, 158. 
 Early, 157. 
 Export of, 159. 
 Fisherman's lace, 190. 
 Gold, 161. 
 
 Macram6, 157, 158, 179. 
 Plaited, 158. 
 Point pecheur, 190. 
 Seats of the Industry, 157, 158. 
 Varieties of, 157. 
 Genoese sumptuary laws, 157. 
 Gentlemen's fans, 65. 
 Geometrical patterns, 90. 
 George I., 41, 115, 134. 
 George II., 43. 
 George III., 44, 78. 
 German drawn-linen work, fourteenth century, 
 
 10. 
 German laces, 159. 
 
 American market for, 51. 
 
 Bobbin-made, 159, 160. 
 
 Early, 16. 
 
 Equipage de bain, 160. 
 
 " Eternelle," 161. 
 
 French influence, 159. 
 
 Greek, 163. 
 
 Introduction of, 159. 
 
 Nineteenth century, 51. 
 
 Northern, 159. 
 
 Pattern-books, 160. 
 
 Peasant laces, 71, 75. 
 
 Peasants' household linen adorned with 
 
 lace, 75. 
 Plaited,. 186. 
 Reticella, 194. 
 Southern, 160. 
 Uttmann, Barbara, 159. 
 Venetian influence, 160. 
 
 Germany, introduction of bobbin lace to, 15. 
 Lace postmen in, 77. 
 
 Ghent lace, 161, 203. 
 Gilbert, Mme., 187. 
 
 Gimp, definitions of, 210. See also Guipure. 
 Gold and silver, 132. 
 Ragusa, 193. 
 Gingles, 210. 
 
 Giovanelli, Princesse, 134. 
 Glen, Jean de, pattern-book by, 176. 
 Gloucester, Duchess of, 48. 
 Goderonn6, 210. 
 Godet, 211. 
 
 Gold and silver, transition from, to flax, 7. 
 Gold and silver thread lace, early specimen, 22. 
 Gold laces, 4-7, 132, 161. See also Silver 
 
 laces. 
 
 Ancient, 161. 
 a reseau, 161. 
 Cyprus, 142. 
 Eighteenth century, 41. 
 Geometric designs, 161. 
 Harlequin's dress, 43. 
 in Scandinavian barrow, 4. 
 Modern, 162. 
 Plaited, 186. 
 Point d'Espagne, 162. 
 Spanish Jews' influence on French, 162. 
 Gold nets mentioned by Homer, 4. 
 Goubaud, Mme., works by, 103. 
 Goudronne, 210. 
 
 Graeco-Roman tombs, netting in, 4. 
 Grammont lace, 118, 155, 162. 
 Gras point, 211. 
 Grave-clothes, 62. 
 Great Hampden, 132. 
 Great Marlow, petition from, 130. 
 Great Sandford, 132. 
 Greek Devonshire lace, 147. 
 Greek lace, ancient and modern, 163. 
 Cut-work, 140. 
 Designs, 163. 
 Imitations of, 163. 
 Peasant laces, 75. 
 Seats of the industry, 163. 
 Greek point, 162, 194. 
 Groppo, 2 IT. 
 Groslait, 178. 
 Gros point de Venise, 189. 
 Reproduction of, 183. 
 Grounds, 88, 211, 212. 
 
 Forerunner of the modern, 2. 
 Mechlin, 214. 
 Star, 218. 
 Strand, 219. 
 Wire, 219. 
 
232 
 
 INDEX. 
 
 Grounded Venetian point, 163. 
 
 Gruppo, 212. 
 
 Guesney, 28. 
 
 Gueuse lace, 163. 
 
 Guipure, 163, 212. See also Gimp. 
 
 Ancient, 163. 
 
 Border of French, 164. 
 
 Costliness of, 163. 
 
 d'Art, 103, 104, 144, 163, 212. 
 
 de Binche, 119. 
 
 de Bruges, 126. 
 
 Definition of, 163. 
 
 de Flandre, 166. 
 
 Falling collar, 166. 
 
 French, 26. 
 
 Modern, 166. 
 
 Needle-point, 15. 
 
 Padding of, 163. 
 
 Tape, 163, 165, 166. 
 
 Thread, 163, 165. 
 Gunning, Misses, 196. 
 Guyard, Sieur, and Argentan lace, 113. 
 
 H 
 
 Haddenham, 132. 
 
 Hailstone, S. H. Lilla, catalogue of her 
 
 collection, 103. 
 Designs by, 103. 
 
 Sainte-Croix' book on her collection, 104. 
 Hainault, 119, 175, 202. 
 Hair (human) lace, 190. 
 Hair, single or married state indicated by 
 
 arrangement of, 71 . 
 Half- wheels, 212, 213. 
 Halifax, Marquis of, portrait of, 36. 
 Hamburg lace purchased for Lady Nelson, 
 
 160. 
 
 Hamburg point, 150. 
 Hamilton, Anne, Duchess of, 196. 
 Hamilton lace, 196. 
 Hampden, Great, 132. 
 Handkerchief, lace-trimmed, early picture 
 
 showing, 35. 
 Hand ruffs (ruffles), 217. 
 Hanover, 160. 
 Hanslope, 131. 
 Harems, work in, 185. 
 Harlequin's dress of the eighteenth century, 
 
 43- 
 
 Hartz Mountains, benefactress of, 15, 159. 
 Havre laces, 149, 184. 
 Peasant laces, 70. 
 
 Hawkins, Daisy W., on old point lace, 103. 
 Headgear, 69. See Peasant laces. 
 
 Heading, 212. 
 
 Health Exhibition (1884), Buckinghamshire 
 
 lace at, 132. 
 Heathcoat's invention of the net-making 
 
 machine, 170. 
 Hebrew needlework, 4. 
 Helene, Princess, of France, marriage of, 
 
 no. 
 
 Henri I., sumptuary laws of, 9. 
 Henri II., 156, 210. 
 
 Portrait of, 13. 
 Henri III., 163. 
 
 Sumptuary laws of, 9. 
 Henri IV., sumptuary laws of, 9, 25. 
 Henrietta Mari i, wife of Charles I., 33. 
 
 Portrait of, 27. 
 Henry VIII., 76, 156, 182. 
 
 Fans, 65. 
 
 Henry, son of James I., portrait of, 31. 
 Herbert, Miss, of Exeter, 54. 
 Hereno, Val d', peasant laces of, 70. 
 Hexagonal grounds, 212. 
 History of lace, difficulty of tracing, 3. 
 Holesom, 75, 201. 
 Holl, portrait by, 52. 
 Holland, flax thread of, 151. 
 Holland, Queen of, 72. 
 Hollar, portrait by, 65. 
 Hollie or holy point, 60, 166. 
 
 Christening clothes, 167. 
 
 Origin of word, 166. 
 
 Patterns, 167. 
 Holy Dove pattern, 167 
 Holy point, 60, 166. 
 Homer, nets of gold mentioned by, 4. 
 Honeycomb grounds, 189, 212. 
 Honfleur, 149. 
 Honiton application, 167. 
 Honiton crochet, 140, 172. 
 Honiton guipure, 166. 
 
 Cut-work, 208. 
 
 Lacet point, 213. 
 
 Purlings, 216. 
 
 Reseau, 217. 
 Honiton lace, 147, 148, 167. 
 
 Applique, in. 
 
 Bath Brussels, 169. 
 
 Bobbin-made, poppy and bryony design, 
 168. 
 
 Bobbin-made sprig, 148. 
 
 Book on, 105. 
 
 Branching fibres, 207. 
 
 Brussels, imitation, 167 
 
 Close leaf, 208, 209. 
 
INDEX. 
 
 233 
 
 Honiton lace continued. 
 
 Close trefoil, 208. 
 
 Continuous inner pearl, 208, 209 
 
 Cost of, 170. 
 
 Cost of Antwerp thread for (1790), 170. 
 
 Decay of the industry and efforts towards 
 its restoration, 170. 
 
 Devonia, 170. 
 
 Fire, distress caused by, 169. 
 
 Flemish influence, 167. 
 
 Gimp, 210. 
 
 Guipure, 170. 
 
 Inner pearl, 212. 
 
 Leaves divided, 213. 
 
 Machine-made net, effects of, on, 52. 
 
 Nineteenth century, 53. 
 
 Open fibre, 214. 
 
 Open fibre used in bobbin lace to form 
 leaves, 169. 
 
 Origin of, 167. 
 
 Primitive method of payment, 170. 
 
 Raised work, 170, 216. 
 
 Royal family's orders, 170. 
 
 Schools, 54. 
 
 Sprigs, making of, 169, 170. 
 
 Stem stitch, 219. 
 
 Strand ground, 219. 
 Hospital at a Brussels lace factory, 48. 
 Huguenot lace, 171. 
 Huguenots, the, 29. 
 Human hair lace, 190. 
 Humphrey of Honiton, 34. 
 Hungarian lace, 115. 
 Hurde, Mary, of Marlborough, memoirs of, 
 
 149. 
 
 I 
 
 Identifying lace, 87. 
 He de France, 178. 
 
 Peasant laces of, 70. 
 Illering, 51. 
 Increase widths, 212. 
 Incroyable period, 47. 
 Indian elephants'-tail hair lace, 190. 
 Indian lace, 4, 171. 
 
 Madras, 180. 
 
 Point lace, 171. 
 Indian shawls, 119. 
 Indian work (punto tirato), 150. 
 " Industria " (L') ( by Paul Veronese, i. 
 Inner pearl, 212. 
 
 Continuous, 208, 209. 
 Innocent IV., vestments ordered by, 17. 
 Insertion, 212. 
 
 Ionian Islands, 162, 163, 194, 206. 
 
 Grave-clothes found in, 62. 
 Irish laces, 171. 
 
 Carrickmacross, 134. 
 
 Crochet, 140, 172. 
 
 Curragh, 172. 
 
 Fans, 65, 67. 
 
 Guipure, 172. 
 
 Honiton crochet, 140. 
 
 Limerick, 177. 
 
 Maltese, 180. 
 
 Nineteenth century, 52. 
 
 Point, 140, 172, 206. 
 
 Point de tricot, 140. 
 
 Raised rose tricot, 140. 
 
 Schools for, 172. 
 
 Seats of the industry, 171, 172. 
 
 Tambour, 201. 
 
 Tatting, 202. 
 
 Varieties of, 172. 
 
 Youghal, 206. 
 Irish point, 140, 172, 206. 
 
 Crochet, 172. 
 
 Isaakoz, Peeter, portrait by, 16. 
 Isabeau, lace, 87. 
 
 Isaiah, reference to " networks " in, 4. 
 Isidore, St., and the dalmatic, 57. 
 Isle of Man lace, 172. 
 Isle of Wight lace, 172. 
 Italian fans, 64. 
 
 Italian laces, 173. These are fully indexed 
 under their respective headings. 
 
 Bobbin-made border, 173. 
 
 Carnasiere, fil de, 59. 
 
 Collection of, 77. 
 
 Early, 173. 
 
 Eighteenth century, 42. 
 
 Knotted, 59, 174. 
 
 Margherita, 181. 
 
 Nineteenth century, 49. 
 
 Peasant laces, 73. 
 
 Petit motif, 186. 
 
 Poi.-t, 189. 
 
 Prison-made, 49, 119. 
 
 Songs sung by the workers, 96, 100. 
 
 Tape lace, 201. 
 Italy in mediaeval times, 12. 
 Italy's commerce with Arabia, 5. 
 Italy the home of needle-point and bobbin 
 laces, 14, 16. 
 
 J 
 
 Jabots, 212. 
 
 Eighteenth century, 39. 
 Jacobites, 42. 
 
234 
 
 INDEX. 
 
 James I., 32, 182. 
 
 Japanese fans, 68. 
 
 Japanese lace, 4. 
 
 Japanese straw-plaiting, 200. 
 
 Jesuit lace, 172, 173. 
 
 Jesurum (Michel Angelo), book by, 103 
 
 Revival of Pelestrina lace by, 185. 
 Jewellery worn by peasants, 73, 74. 
 Jewish ceremonials, lace used in, 60. 
 Joan (Dame) grounds, 212. 
 Joining fragments, 82. 
 Jonson, Ben, 32. 
 Josephine, Empress, 129. 
 Jours, 213, 214. 
 Judging lace, 87. 
 Jupe, 213. 
 Jupon, 213. 
 Jutland, 143. 
 
 Lace postmen in, 77. 
 
 Peasant laces, 72. 
 
 Kenmare, 172. 
 
 Kenmore, 206. 
 
 Kerchief, 213. 
 
 Killarney, 171, 172, 206. 
 
 Kinsale, 171, 172, 206. 
 
 Kneller, portrait by, 28. 
 
 Knight, Miss, autobiography of, 159. 
 
 Knights' robes, 214. 
 
 Knots, 213. 
 
 Knotted lace, 20, 173. 
 
 Knotted white thread, Genoese, 179. 
 
 Kufic inscription in drawn work, 8. 
 
 Labelling laces in collections, 93. 
 
 Labric, T., Queen Elizabeth's blacksmith, 216. 
 
 Lace, definition of, 13, 74. 
 
 Lace bark tree, 174, 175. 
 
 Lace postmen, 77. 
 
 Lace tokens, 213. 
 
 Lacet point, 213. 
 
 La Chaise Dieu, 116. 
 
 Lacis, 12, 19, 144. 
 
 Lacquey's livery in the eighteenth century, 40. 
 
 Lady's Album of Fancy Work, 103. 
 
 Lagetta, 174, 175. 
 
 Lamballe, Princess de, 135. 
 
 Lapel, 213. 
 
 Lappet, 213. 
 
 Lavendon, 132. 
 
 Lavoro a groppi, 20, 175. 
 
 Lavoro a maglia, 175. 
 
 Lawn, 213. 
 
 Layard, Lady, on cut-work, 142. 
 
 Laybach, 51, 115. 
 
 Layette presented by the Papal Nuncio to the 
 
 Dauphin of France, 61. 
 Lead works, 213. 
 Leaves divided, 213. 
 Leghorn straw-plaiting, 199. 
 Legs, 213. 
 Leipsic, 160. 
 
 Leonardo da Vinci, portrait by, 114. 
 Le Puy laces, 49, 156, 175. 
 
 an ancient factory, 21 . 
 
 Jesuit Father's efforts on behalf of, 175. 
 
 Oldest in France, 175. 
 Lerd works, 213. 
 Le Sage's play for puppets, 80. 
 Leve, the, 187. 
 Liege lace, 175. 
 Lierre, 155. 
 
 Ligneres-la-Doucelle, 113. 
 Lille fond claire, 88. 
 Lille lace, 176. 
 
 Antwerp, in. 
 
 Black, 176. 
 
 Bobbin-made, 176. 
 
 English, 184. 
 
 Patterns of, 176. 
 
 Summer laces, 43. 
 Lime as a bleach, 130. 
 Limerick lace, 52, 177. 
 
 Applique, 178. 
 
 Origin of, 177. 
 
 Run, 178. 
 
 Tambour, 178. 
 Limoges lace, 178. 
 Lind, Jenny, portrait of, 52. 
 Line, definition of, 213. 
 Linen garment ornamented with drawn work, 
 
 with Kufic inscription, 8. 
 Lingerie, 213. 
 Linum usitatissimum, 210. 
 Lisbon lace, 192. 
 Literature of Lace, 94, 98. 
 Livery in the eighteenth century, 40. 
 Lobster claws for polishing, 207. 
 Locle Connet, 51 . 
 Loire, the, 156. 
 Loire, Haute, 156, 175. 
 London Exhibition Reports, 98, 103. 
 L'Onray, 28, 156, 187. 
 Lorraine lace, 178. 
 
 Mignonette, 182. 
 
INDEX. 
 
 2 35 
 
 Loudun, 28, 156. 
 Lough ton, 132. 
 
 Louis VIII., sumptuary laws of, 8. 
 Louis XL, sumptuary laws of, 9. 
 Louis XIII., 27, 138, 156. 
 Louis XIV., ii, 28, 29, 80, 107, 112, 113, 117, 
 119, 159, 165, 173, 187, 120, 202. 
 
 and the Dauphin, portraits of, 61. 
 
 Sumptuary laws of, n. 
 Louis XV., 26, 108, 113, 119, 153. 
 
 Fans, 67. 
 Louis XVI., 45, no, 190. 
 
 Bust of, 37. 
 
 Ruffles owned by, 40. t 
 Louis le D6bonnaire, sumptuary laws of, 8. 
 Louise Adelaide of Orleans, portrait of, at 
 
 Versailles, 50. 
 
 Louise of Lorraine, fan presented to, 66. 
 Louvain, 119. 
 
 Picture by Quentin Matsys at, 118. 
 
 Portrait at, 155. 
 
 Lozenge pattern the most ancient, 4. 
 Lucca gold lace, 116. 
 Lucerne peasant laces, 73. 
 "Lucretia," by Bassano, 13. 
 Luignes, Mme. de, 38. 
 Luneville lace, 178. 
 Luton, straw-plaiting at, 200. 
 Luzarches, 135. 
 Lyme Regis lace, 178. 
 
 Decline of the industry, 178. 
 Lyons, 162, 178, 197. 
 Lys, River, rouissage in, 128. 
 
 M 
 
 Maceio lace, 125, 126. 
 
 Machine-made ground laces, mending, 85. 
 
 Lace, judging, 88. 
 
 Net, effect of, on Honiton laces, 52. 
 
 Net, run and embroidered with flax 
 thread, 46. 
 
 Thread net, introduction of, 47. 
 Macrame lace, 179. 
 
 Book on, 103. 
 
 Genoese, 157, 158. 
 
 Origin of name, 179. 
 
 Revival of, 179. 
 Madagascar lace, 179. 
 Madeira laces, 51, 179. 
 Madras lace, 180. 
 Madrid, 162. 
 
 Maintenon, Madame de, 29 
 Maize pattern blonde, 121. 
 Malines, 151. 
 
 Malines lace (181) is indexed under Mechlin 
 
 lace. 
 
 Malmesbury, Countess of, portrait of, 53 
 Maltese lace, 180. 
 Black silk, 119. 
 Imitations of, 180. 
 Plaited, 186. 
 Manchette, 213. 
 Manillese lace, 180. 
 
 Aloe, no. 
 Manteau, 213. 
 Mantilla lace, 180. 
 
 Mantilla, portrait of Spanish lady in, 38. 
 Mantillas in the eighteenth century, 42. 
 
 Sacredness of, 181. 
 Mantle, 213. 
 Manuscripts, ancient, their bearing on 
 
 lace, 4. 
 
 Manx lace, 172. 
 Marcello, Comtesse, 134 
 Margherita, Queen of Italy, 57, 133. 
 Margherita lace, 181. 
 Margherite, ' ' lace " a la Reine, 49. 
 Marie Antoinette, 135, 214. 
 Bust of, 37. 
 Fall of, 45. 
 Lace worn by, n. 
 Marie de' Medicis, 25, 156, 157. 
 Marie Louise, 108. 
 
 Lace made for, 46, 49. 
 Marie Stuart, inventory of, 190. 
 Marie Therese, 119. 
 Marionettes, 80. 
 
 Market days, lace bartered on, 77. 
 Marlborough, Wilts, 149. 
 Marlow, Great, petition from, 130. 
 Married or single state indicated by arrange- 
 
 ment of hair, 71. 
 Married women's fans, 64. 
 Marriott, Wm., prize awarded to, 131. 
 Marsh Gibbon, 132. 
 Mary, Queen of Scots, 17. 
 
 Portrait of, 21. 
 Mary Ii., 34. 
 
 Lace bill of, 40. 
 Mat, 213. 
 Math, 213. 
 
 Matsys, Quentin, picture by, 118. 
 May, Princess, Bucks lace ordered by, 132. 
 Mazarin, laces purchased by, 28. 
 Mechlin lace, 181. 
 
 Circular ground, 212. 
 Cost of. 181. 
 Decline of, 118. 
 
236 
 
 INDEX. 
 
 Mechlin lace continued. 
 
 Early examples of, 181. 
 
 Meshes of, 182. 
 
 Napoleon's opinion of, 182. 
 
 CEil de Perdrix, 214. 
 
 "Queen of laces," 124. 
 
 Summer lace, 43. 
 Mediaeval guipure, 182. 
 Mediaeval lace, 12, 18. 
 
 Anecdotal history of, 12. 
 
 Designs, 90. 
 
 Picture of the times, 12. 
 
 Venice set the fashions, 205. 
 Medicis collar, 15, 25, 27, 32. 
 
 Favourite lace of the, 20. 
 
 Influence on French laces, 156. 
 
 Points, 187, 205. 
 Medicis, Catherine de', 17, 24, 97. 
 
 Portrait of, 15. 
 Medicis, Marie de', 25. 
 Mending lace, 84. 
 Menin lace, 182, 203. 
 Meric, 135. 
 
 Merletti a piombini, examples of, 125. 
 Merli (Antonio), patterns by, 103. 
 Mermaid's lace, 182. 
 Meshes, 214. 
 Michaud, Code, 27. 
 
 Middle Ages, fashions set by Venice in the, 
 204. 
 
 Kinds of lace made in, 18. 
 
 Picture of the times, 12. 
 Middlesex, 153. 
 Midland Counties Loan Exhibition, catalogue 
 
 of, 104. 
 
 Mignerak's book on lace, 35. 
 Mignonette lace, 182. 
 Milanese lace, 158. 
 
 Greek, 163. 
 
 Point, 182. 
 
 Milan, Sforza, Viconti of, 13. 
 Milton Keynes, 132. 
 Minerva, Zierlich-webende, 103. 
 Minifie, Mrs., of Honiton, 34. 
 Mirecourt lace, 156, 182. 
 Mittens, 214. 
 Mixed lace, 183. 
 
 Mob cap pinned under the chin, 44. 
 Modelbiicher, 104. 
 " Modern " and ." old " lace, definition of the 
 
 terms, 47. 
 
 Modern point lace, 183. 
 Modes, 213, 214. 
 Monaghan, 134, 140, 171. 
 
 Monasteries, work in, 94. 
 
 Suppression of English, 12. 
 Monmouth's Rebellion and Devonshire lace, 
 
 146. 
 
 Monreale, Capucini Convent at, 62. 
 Montmorency, 178. 
 Montulay, French draughtsman, 114. 
 Moorish lace, 183. 
 
 Morangis, M. de, Prefect of Alencon, 35. 
 Morocco lace, 183. 
 Morosini, Doge Francesco, 205. 
 Mosaic lace, 127. 
 
 Modern, 43. 
 Moscow, 195. 
 Mould attacking lace, 82. 
 Moulsoe, 132. 
 
 Mourning Avear in the eighteenth century, 43. 
 Mula's (Cecelia de) dowry, 142. 
 Mull muslin, 214. 
 Mummies, Capuchin, 62. 
 Mummy wrappings, 62. 
 
 Adorned with drawn-work, etc., 4. 
 Munich caterpillar lace, 135. 
 Murat, 116. 
 Music, lace-makers' (chansons a toile), 100, 
 
 208. 
 
 Muslin, embroidered, 47. 
 Muslin, Mull, 214. 
 Mzensk, 196. 
 
 N 
 
 Nancy, broderie de, 150. 
 Nankin silk for Bayeux lace, 116. 
 
 for Caen lace, 120. 
 
 Nantes, revocation of the Edict of, and its 
 effects, 23, 29, 108, 145, 152, 159, 201. 
 Napery, 214. 
 Naples, 163. 
 Napoleon I., 11, 108, 129, 158, 181. 
 
 Efforts of, on behalf of the lace industry, 
 46. 
 
 Portrait of, 48. 
 Napoleon III., 38. 
 
 Costly Alen9on purchased by, 109. 
 Napoleonic cypher, 46, 49. 
 Neapolitan Greek lace, 163. 
 Needle, 214. 
 Needle-point, definition of, 183, 189. 
 
 Ground, 88. 
 
 Guipure, 15. 
 
 Italy the home of, 14, 16. 
 
 Judging, 88. 
 
 Open cross bar, 214. 
 
 Point none, 216. 
 
INDEX. 
 
 2 37 
 
 Needle-point continued. 
 
 Punto a feston, 216. 
 
 Restoring, 84, 85, 86. 
 
 Toile, 88. 
 
 Needles for straw-plaiting, 200. 
 Neh und Strickbuch, Neu, 104. 
 Nelson, Lady, Hamburg lace purchased for, 
 
 1 60. 
 
 " Nenia," chanson a toile, by Randegger, 100. 
 Nero's head-covering of gold threads, 161. 
 Net, bobbin-made, first appearance of, 47. 
 Net ground, judging, 88. 
 Net, machine-made, introduction of, 47. 
 Net-making machine, Heathcoat's, 170. 
 Netting book, 104. 
 Network, ancient, the forerunner of the modern 
 
 lace ground, 2. 
 Neufchatel, 201. 
 Newport Pagnell, 131. 
 New Ross, 171, 172, 206. 
 Newton Blossomville, 132. 
 Nimeguen, treaty of, 23, 114. 
 Nineteenth century, anecdotal history of lace 
 in the, 46. 
 
 Bed furniture, 46, 47. 
 
 Devonia lace, 52. 
 
 Devonshire lace, 52. 
 
 English laces, 47, 52. 
 
 French laces, 47, 49. 
 
 German laces, 15. 
 
 Honiton laces, 52. 
 
 Irish laces, 52. 
 
 Italian laces, 49. 
 
 Low prices for lace in, 47. 
 
 Madeira laces, 51. 
 
 Only kind of lace invented during, 190. 
 
 Petit motif, 52. 
 
 Picture of the times, 46. 
 
 Point lace, 190. 
 
 Polychrome lace, 190. 
 
 Portuguese laces, 51. 
 
 Reaction in favour of old lace, 47. 
 
 Russian laces, 51. 
 
 Smuggling, 78. 
 
 Spanish laces, 51. 
 
 Swedish laces, 51. 
 
 Swiss laces, 51. 
 
 Venetian laces, 205. 
 Nord, Department du, 202. 
 Normandy laces, 149, 83. 
 
 Bobbin, 183. 
 
 Mignonette, 182. 
 
 Peasant, 69, 184, 
 
 Trolly, 202, 
 
 Northamptonshire laces, 184. 
 
 English Lille, 154. 
 
 Flemish influence, 184. 
 
 French ground, 184. 
 
 Point ground, introduction of, 184. 
 
 Valenciennes, 184. 
 
 Yak, 206. 
 
 Notre, Andre le, portrait of, 30. 
 Notre Dame (Paris) laces, 56. 
 Nottingham lace, patterns for, 104. 
 
 Tambour, 201. 
 Novgorod, 195. 
 
 Nuns' work, 58, 59, 94, 140, 150, 179, 184, 198, 
 200. 
 
 Anglo-Saxon, 6. 
 
 Ordered by Innocent IV., 17. 
 
 Varieties of, 184. 
 Nuremberg, 159, 160. 
 Nuremberg Museum, catalogue of, 104. 
 
 O 
 
 CEil de perdrix, 113, 210, 214. 
 Officers' epaulettes, 133. 
 - Old lace, definition of, 47, 185. 
 
 Reaction in favour of, 48. 
 Olney, 131, 132. 
 Ongania, F., reproductions and translations 
 
 by, 97, 98, 104, 105. 
 Oorijzers, 72. 
 Open braid, 214. 
 Open cross bar, 208, 214. 
 Open dots, 214. 
 Open fibre, 214. 
 Open lace, 185. 
 Open work, 214. 
 Opus, 214. 
 Opus anglicanum, 185. 
 
 Ordered by Innocent IV., 17. 
 Opus araneum, 137, 144, 185. 
 Opus filatorium, 137. 
 Opus tiratum, 150. 
 Oriental origin of lace, supposed, 3. 
 Origin ^ lace, 3. 
 
 Judging, 89. 
 
 Orkney Islands straw for plaiting, 200. 
 Ornamento delle belle et Virtuose Donne, &c., 
 
 104 
 
 Orne, the, 156. 
 Orphreys, 60, 214. 
 Orris, 214. 
 Orsa lace, 185. 
 
 Ostaus, Giovanni, works by, 104, 
 Ouvrage, 215. 
 
238 
 
 INDEX. 
 
 Ouvrages masches, 144. 
 Oving, 132. 
 Oyah lace, 185. 
 
 Packmen, lace sold by, 76. 
 Pagani, Matio, designs by, 104. 
 
 on cut-work, 141. 
 
 Paganino, Alessandro, work by, 104. 
 Pall, 215. 
 
 Palliser, Mrs. Bury, quoted, 18, 79, 131, 153, 
 199. 
 
 Works by, 104. 
 
 Pandore, la grande and la petite, 80. 
 Paraguayan aloe lace, no. 
 Parament, 214. 
 Parchment lace, 163. 
 
 Used as fan-trimming, 65. 
 Parement, 215. 
 Parfilage, 214. 
 Paris, 162, 163, 178, 181, 182. 
 
 Exhibition (1851), 109. 
 
 Exhibition reports, 98, 104. 
 
 Fashion puppets from, 79, 80. 
 
 Oratoire inventory, 58. 
 
 Peasant laces in the neighbourhood of, 75. 
 
 Point, 187. 
 
 Parrasoli, patterns by, 125. 
 Parure, 215. 
 
 Passemens, Revote de, 97. 
 Passementerie, 215. 
 Passements, 19, 144, 178, 215. 
 
 a dentelle, 215. 
 
 a 1'aiguille, 215. 
 
 au fuseaux, 215. 
 Paten, covering for, 58. 
 Patterns, judging by, 90. 
 
 Most ancient, 4. 
 Pattern books, 94, 98, 105. 
 
 Early, 13, 16, 22, 26, 94. 
 
 German, 160. 
 
 Scarcity of, 97. 
 
 Swiss, 201. 
 
 Paul Veronese, painting by, i . 
 Pays de Caux, 149. 
 Pearl, continuous inner, 208, 209. 
 Pearl edge, 215. 
 Pearl, inner, 212. 
 Pearl tatting, 172. 
 Pearlin or pearling, 215. 
 Pearls, 215. 
 Peasant laces, 69. 
 
 Ariege, 73. 
 
 Baden, 69. 
 
 Peasant laces continued. 
 
 Bayeux, 69. 
 
 Bourgogne, 74. 
 
 Bourgoin, the, 69. 
 
 Bulgarian, 71. 
 
 Caen cap, 70. 
 
 Cauchoise, 69. 
 
 Chioggia, 70. 
 
 Dalecarlian, 75. 
 
 Dalmatian, 74. 
 
 Danish, 72. 
 
 Dieppe, 72. 
 
 Dutch, 72. 
 
 French, 69, 71, 72. 
 
 German, 71, 75. 
 
 Greek, 75. 
 
 Havre, 70. 
 
 He de France, 70. 
 
 Italian, 73. 
 
 Jutland, 72. 
 
 Lucerne, 73. 
 
 Normandy, 69, 184. 
 
 Paris and its environs, 75. 
 
 Portuguese, 72. 
 
 Roman district, 174. 
 
 Rouen caps, 74. 
 
 Russian, 74. 
 
 Silesian, 75. 
 
 Southern French, 71. 
 
 Spanish, 72. 
 
 Stiffened lace as a sunshade, 75. 
 
 Swedish, 72, 75. 
 
 Swiss, 70, 71, 201. 
 
 Utrecht, 69. 
 
 Women prided themselves on the fineness 
 of their lappets, 69. 
 
 Yvetot, 69. 
 
 Peasant jewellery, 73, 74. 
 Pedlars, lace sold by, 76. 
 Pelestrina lace, 42, 185. 
 
 Revival of, 185. 
 Peniche lace, 191, 192. 
 Pepys' Diary quoted, 33. 
 Period when lace was made, judging, 89. 
 Persian drawn-work, 186. 
 Peter the Great, 195. 
 Petit motif, 52, 186. 
 Petit poussin, 184. 
 
 Philip Augustus, sumptuary laws of, 8. 
 Philippine Islands lace, 180. 
 
 Aloe lace, no. 
 
 Picchetti, Marie, a macram worker, 179. 
 Picklemann, Jungfrau, 160. 
 Picots, 214, 215. 
 
INDEX. 
 
 239 
 
 Pictures as an aid in tracing the history of 
 
 lace, 3. 
 
 Pies, smuggling in, 79. 
 Pillows, dressed, 209, 217. 
 Pillow lace, definition of, 3, 186. 
 Pillow, round, 217. 
 Pins, 215. 
 
 Pins, substitutes for, 125. 
 Pin work, 215. 
 Pius VII., portrait of, 61. 
 Pizzo, 215. 
 Plain edge, 215, 216. 
 Plaited lace, 186. 
 Cluny, 186. 
 Point d'Espagne, 186. 
 Yak, 186. 
 
 Plastron made of floral scraps, 82. 
 Plis, 295. 
 Ply, 215. 
 
 Point, definition of, 215. 
 Point a carreaux, 186. 
 Point a 1'aiguille, 127, 186. 
 
 Earliest, 129. 
 Point conte', 119, 44. 
 Point coup6, 19, 141. 
 
 Point d'AIencon, Point d'Argentan, &c., are 
 indexed under Alen9on, Argentan, &c. 
 Point d'Angleterre, 54, 127, 147, 153, 154. 
 a brides, 154. 
 Description of, 154. 
 First appearance of, 35. 
 Lappet of, 153. 
 Smuggling of, 154. 
 Point de champ, 187. 
 Point de chant, 216. 
 Point de France, 26, 113, 187. See French 
 
 laces. 
 
 Cost of, 187. 
 Evolution of, 187. 
 Falling collar of, 29. 
 Ruffles and cravat of, 30. 
 Venetian influence, 28. 
 Point de gaze, 43, 115, 127. 
 Austrian, 115. 
 Eighteenth century, 43. 
 Point de Genes, 157. 
 Point de genes frise, 22. 
 Point de Lille, 216. 
 Point de Medicis, 187, 205. 
 Point de Moscow, 195. 
 Point de Paris, 187, 216. 
 Point de raccroc, 129, 216. 
 Point d'Espagne, 198. 
 Early, 22. 
 
 Point de tricot, 140. 
 Point de Tulle, 182. 
 Point de Turque, 185. 
 Point de Venise, 26. 
 
 Gros, reproduction of, 183. 
 Point double, 187. 
 Point Duchesse, 43. 
 Point du Dieppe, 184. 
 Point du Havre, 149, 184. 
 Point gaze, 43. 115, 127. 
 Austrian, 115. 
 Eighteenth century, 43. 
 Point Gotico, 15. 
 Collar of, 19. 
 Point, gras, 211. 
 Point Jesuit, 172. 
 Point lace, definition of, 188. 
 Flower in relief, 189. 
 Honeycomb grounds, 189. 
 Italian, 189. 
 Modern, 183. 
 Patterns of, 189. 
 Relief in, 189. 
 Silk for, 189. 
 Six-sided mesh, 189. 
 Point, lacet, 213. 
 Point neige, 189. 
 Cuff of, 188. 
 Point none, 2i6. 
 Point pecheur, 190. 
 Point plat, 127, 216. 
 
 Applique, 127. 
 Point tresse, 190. 
 Decline of, 190. 
 Elephant's-tail hair, 190. 
 Poking stick, 216. 
 Polychrome, 52, 190. 
 Pombal, Marquis de, Portuguese factory 
 
 founded by, 192. 
 Pont 1'Eveque, 149. 
 Pope, appeal to, in 1437, 10. 
 
 in Argentan alb, portrait of, 59. 
 Pope's point, 191. 
 Poppy and bryony design, 168. 
 Portraits, earliest, showing lace, 13. 
 Portuguese laces, 191. 
 
 Nineteenth century, 51. 
 Peasant laces, 72. 
 Peniche, 192. 
 Varieties of, 192. 
 Portuguese sumptuary laws, 192. 
 Postmen, lace, 77. 
 Pot pattern, in. 
 Potsdam, 160. 
 
240 
 
 INDEX. 
 
 Potten kant, in. 
 
 Potter, Amy, and burial clothes, 62. 
 Pottery, lozenge pattern on, 5. 
 Poupa di Franza, la, 81. 
 Poupees, 79, 80. 
 
 Pourbus, Francesco, portrait by, 19. 
 Poussin design, 149. 
 Pricked, 216. 
 Pricked lace, 134. 
 Pricker, 216. 
 
 Princess Royal, wedding dress of, 170. 
 Prison-made laces, 49, 119. 
 Profit on lace-making, i. 
 Protector, the, 33. 
 Publications on lace, 94, 98. 
 Punti del dodisi fusi, 14. 
 Punti di Burano, 133, 192. 
 Punto a feston, 216. 
 Punto a groppo, 173, 174, 179. 
 Punto applicato, 18. 
 Punto Gotico, 192. 
 Punto in aria, 31, 192. 
 Punto ricamato a maglia, 144. 
 Punto tagliato, 140. 
 a fogliami, 205. 
 Punto tirato, 150. 
 Puppets, fashion, 79, 80. 
 Puritans' rule, effects of, 33, 61, 126, 167. 
 Purl edge, 215. 
 Purlings, 152, 193, 216. 
 Purls, 193, 215, 216. 
 Puy de Dome, 156. 
 Puy laces (175) are indexed under Le Puy. 
 
 Queen (the) Lace Book, 103. 
 Quillings, 216. 
 Quintain, 140, 216. 
 
 Rabuna, 5. 
 
 Raccroc stitch, 129, 216. 
 
 Ragged lace, treatment of, 82. 
 
 Ragusa lace, 193. 
 
 Raised flowers, 216, 217. 
 
 Honiton, 170. 
 
 Raised point de Venise, 189. 
 Raised rose crochet, 140. 
 Raised work, 216. 
 Randegger, Signor G. A., ballade a toile by, 
 
 100. 
 
 Rapolla, Genoa, 157. 
 Rattwik lace, 193. 
 Ravellings, 215, 217, 
 
 Rechami, De, embroidery patterns by, 104. 
 Reformation, effects of, 60, 6r, 167. 
 Regency point lace, 152, 193. 
 "Reglement pour les superfluites des habits" 
 
 (1613), 25. 
 Relief, flowers, &c., in, 140, 170, 189, 216, 
 
 217. 
 
 Rembrandt, portraits by, 32, 65. 
 Renaissance lace, finest period of, n. 
 Renaissance patterns, 91. 
 Ressau, 144. 
 
 Definition of, 217. 
 Grounds, 212. 
 
 Net ground, hexagonal, 212. 
 Rosace, 113, 217. 
 Restoration, the, 33. 
 Restoring lace, 84. 
 Reticella, 13, 20, 162, 194. 
 
 Designs for, 94, 96, 194. 
 
 Reveille, the, in the eighteenth century, 38. 
 Revolution, French (1792-3), effects of, 44, 
 108, 114, 116, 129, 135, 149, 156, 203. 
 " Revote des Passemens," 97. 
 Rezel, 144, 217. 
 Rezeuil, 144, 218. 
 
 Rezzonico, Pope (Clement XIII ), 57. 
 Rheims, 28, 156, 178. 
 Rhodes lace, 194. 
 Riazan, 196. 
 Ricamo, 5. 
 
 a reticella, 194. 
 
 Richard III., laces worn at coronation of, 203. 
 Richelieu, 114, 156. 
 Riego de la Brancharcliere, Mile., Netting 
 
 Book by, 104. 
 Ringkjobing "topper," 72. 
 Ripon lace, 194. 
 Riviera, 179. 
 Robing, 217. 
 Rococo designs, 91. 
 
 Rodge, James, of Honiton, 34, 146, 154. 
 Rohan, Catherine de, 135. 
 Rohan family, Archbishops of Strasburg, 59. 
 Roman cemetery in Egypt, lace from, 2. 
 Roman Church, vestments of, 56. See 
 
 Ecclesiastical lace. 
 Roman gold-thread work, 161. 
 Roman-Greek lace, 163. 
 Roman-Greek tombs, netting in, 4. 
 Roman lace, 162. 
 
 Peasants', 174. 
 
 Romana, Lucretia, designs by, 104. 
 Rond point, 195. 
 Rosaline point for fans, 66. 
 
INDEX. 
 
 241 
 
 Rose point, 23, 189. 
 
 Bell-shaped sleeves, 55. 
 Roslin, portrait by, 41. 
 Ross, New, 171, 172, 206. 
 Rouen children's lace-trimmed caps, 71. 
 Rouen peasants' lace-trimmed caps, 74. 
 Rouissage, 217. 
 Round pillow, 217. 
 Royal family, English, Honiton lace ordered 
 
 for, 170. 
 
 Royal robes, networks on ancient, 4. 
 Rubens, portraits by, 32. 
 Ruche, 217. 
 Rucroc, 129, 217. 
 Ruff, 217. 
 
 Invention of, 156. 
 
 Mediaeval, 15. 
 
 Poldng-stick for, 216. 
 
 Replaced by the falling collar, 26. 
 
 Seventeenth century, 23, 24. 
 
 Trimmed with guipure, 21. 
 
 Yellow, prohibited in church, 32. 
 Ruffenberg, Baron, memoirs of, 155. 
 Ruffles, 217. 
 
 Eighteenth century, 39. 
 
 Servants', 40. 
 
 Weeping, 41. 
 Ruffs, mediaeval, 17. 
 Run Limerick lace, 178. 
 Runners, 217. 
 Russian lace, 195. 
 
 a brides picotces, 195. 
 
 Book on, 105. 
 
 Braid laces, 195. 
 
 Coarseness of, 196. 
 
 Coloured strips in, 195. 
 
 Duchess of Coburg's present of, to 
 South Kensington Museum, 195. 
 
 Gold, 62. 
 
 Needle-point, 195. 
 
 Nineteenth century, 51. 
 
 Old, 195. 
 
 Originality of, 196. 
 
 Peasant dress, 74. 
 
 Seats of the industry, 195, 196. 
 
 Tape laces, 195. 
 
 St. Andre, M. de, 30. 
 St. Annaberg, 16. 
 
 St. Bartholomew, massacre of, 201. 
 St. Bridget, introduction of Swedish laces 
 attributed to, 200. 
 
 St. Cuthbert's coffin in Durham Cathedral, 5, 
 
 18. 
 
 St. Denis, 178. 
 
 St. Dunstan, patterns designed by, 7, 94. 
 St. Etienne, 178. 
 
 St. Francois Regis, the patron saint of lace- 
 makers, 21. 
 
 St. Gallen peasant laces, 71. 
 St. Maximien, 135. 
 St. Michel laces, 178. 
 St. Nicholas flax, 128. 
 St. Peter's, Louvain, portrait at, 155. 
 Sainte Croix, Dr. Le Roy de, on Mrs. Hail- 
 stone's lace, 104. 
 Sam cloths, 97, 217. 
 Samplers, 97, 217, 218. 
 Sandford, Great, 132. 
 Santa Margherita, Genoa, 157. 
 Saracenic drawn and embroidered linen, 9. 
 
 Drawn linen, the earliest open-work, 7. 
 
 Drawn linen work, 5. 
 
 Drawn-work with Kufic inscription, 8. 
 
 Introduction of Venetian lace, 203. 
 Sarcophagi, figures on, 4. 
 Satire mentioning every known lace in the 
 
 seventeenth century, 97. 
 Savary on Valenciennes lace, 161. 
 Savile, George, Marquis of Halifax, portrait 
 
 of, 36. 
 Savona, 190. 
 
 Saxony bobbin lace, modern, 159. 
 Scalloped borders, first produced at Genoa, 
 
 22. 
 Scallops replaced by straight border, 25, 27. 
 
 Shape of, at various periods, 89. 
 
 Transition between pointed and straight, 
 
 81. 
 
 Scandinavia, gold lace handicraft taken by 
 Vikings to, 5. 
 
 Lace postmen in, 77. 
 Scandinavian barrow, gold lace in, 4. 
 Scarf, 218. 
 
 Chan'illy lace, 136. 
 Scarpariola, Cencia, 133. 
 Schleswig, 143. 
 
 Schwartzenberg, John, pattern-book by, 160. 
 Scotch crochet, 140. 
 Scotch ell, 209. 
 Scotch lace, 196. 
 
 Bunt Lace, 196. 
 
 Coarseness of, 196. 
 
 Duchess of Hamilton's efforts on behalf 
 of, 196. 
 
 Shetland, 197. 
 
242 
 
 INDEX. 
 
 Scott, E., on flowers in point lace, 104. 
 
 Scraps, joining, 82. 
 
 Scriptural references, 4. 
 
 Sculpture as an aid in tracing the history of 
 
 lace, 3. 
 
 Seaming lace, 196. 
 Seaton, 148. 
 
 Fan made at, 67. 
 Sedan, 28, 156, 178. 
 Seguin, Joseph, on old laces, 104. 
 
 on Burano laces, 133. 
 
 on point d'Angleterre. 
 
 on point de Venise, 26. 
 Seme, 218. 
 Servants' livery in the eighteenth century, 
 
 40. 
 
 Setting sticks, 218. 
 
 Seventeenth century , anecdotal history of lace 
 in the, 23. 
 
 Designs, 90, 91. 
 
 English laces, 32, 152. 
 
 Fans, 64. 
 
 Finest lace made in, n. 
 
 Picture of the times, 23. 
 
 Point lace, 190. 
 
 Profuse use of lace in, 27. 
 
 Satire mentioning every known lace, 97. 
 
 Venetian laces, 204. 
 Sewing on lace, without injuring, 87. 
 Sforza, Beatrix d'Este, portrait of, 14. 
 Sforza family records, 13, 15, 182. 
 Sharpers, ruffles used by, 40. 
 Shawls, Indian, 119. 
 Sheahan's History of Bucks, 132. 
 Shelves in cabinets, 19, 93. 
 Sherborne lace, 196. 
 Shetland lace, 197. 
 " Shirtes," fifteenth century, Philip Stubbs 
 
 on, 6. 
 
 Shute, 148. . - 
 Sibmacher or Siebmacher (Hans & Johann), 
 
 works by, 104. 
 Sidmouth, 147, 148. 
 Siena point, 144. 
 Silesian peasant laces, 75. 
 Silk blonde laces, 197. 
 Silk laces, black, 119, 120. 
 
 Polychromo, 190. 
 Silver laces, 132, 161. See also Gold laces. 
 
 Cyprus, 142. 
 
 Eighteenth century, 41. 
 
 Transition from, to flax, 7. 
 Silver and gold thread lace, early specimen 
 of, 22. 
 
 " Simon the Canaanite," by Paul Veronese, 
 
 59, 179 
 
 Single or married state indicated by arrange- 
 ment of hair, 71. 
 
 Six-sided mesh in point lace, 189. 
 Sixteenth century, anecdotal history of lace 
 in the, 13. 
 
 Cut linen, 6. 
 
 Designs, 90. 
 
 English laces, 152. 
 
 Fans, 64. 
 
 Pattern books, 94, 96. 
 
 Picture of the times, 12. 
 
 Point lace, 190. 
 
 Venetian laces in, 205. 
 Skull-caps, metal, 72. 
 Sleeves, rose point bell-shaped, 55. 
 Sleeve-trimming of applique, nineteenth cen- 
 tury, 53. 
 Smock, 218. 
 Smuggling, 78, 127, 154, 172, 176, 201. 
 
 Dogs used for, 78. 
 
 Eighteenth century, 44. 
 Soap for cleaning, 86. 
 Songs sung by lace-makers, 17, 96, 100, 208. 
 
 " Nenia," composed by Randegger, 100. 
 Sophia, Princess, 32. 
 
 South Kensington Museum, Duchess of Co- 
 burg's present of Russian laces to, 195. 
 South Sea Bubble, period of, 41. 
 Spacing lace, 196. 
 Spain and point lace-making, 189. 
 Spanish guipure, 198. 
 
 Spanish laces, 198. These are fully indexed 
 under their respective headings. . 
 
 Barcelona, 197. 
 
 Blonde, 197. 
 
 Duty on, 199. 
 
 Early, 198. 
 
 Ecclesiastical, 199. 
 
 Eighteenth century, 41, 42. 
 
 Exquisite quality of, 199. 
 
 Flemish influence, 197. 
 
 Funeral laces, 62. 
 
 Gold and silver, 162. 
 
 Greek, 163. 
 
 Jewish manufacturers, 198. 
 
 Mantilla laces, 38, 180. 
 
 Nineteenth century, 51. 
 
 Peasant laces, 72. 
 
 Point, eighteenth century, 41. 
 
 Point d'Kspagne, 198, 
 
 Reticella, 194. 
 
 Rose point, 198, 
 
INDEX. 
 
 2*3 
 
 Spanish laces continued. 
 
 Silk blonde, 197. 
 
 Tape lace, 201. 
 
 Thick cordonnet, 198. 
 
 Varieties of, 199. 
 
 Spanish mantilla, portrait showing, 38. 
 Spanish national dress in the eighteenth cen- 
 tury, 42. 
 
 Special designs, orders for, 77. 
 Spider work, 137, 144. 
 Spindle points, 14. 
 Spines, 218. 
 Sprig, 218. 
 
 Stafford, Bishop, monument of, 146. 
 Star grounds, 212, 218. 
 Starch, 218. 
 
 Stassof, W., on Russian laces, 105. 
 Steinkirk cravats, 32, 40. 
 Stem stitch, 219. 
 Stephani lace, 199. 
 Stephani, Princess, of Austria, 199. 
 Stienbeck's efforts on behalf of Danish lace, 
 
 143- 
 
 Stiffened lace as a sunshade, 75. 
 Stitch, buttonhole, 207. 
 
 Close, 208. 
 
 Raccroc or rucroc, 216. 
 
 Stem, 291. 
 
 Streak, 219. 
 Storing lace, 82, 91. 
 Straight-edged laces, early, 25, 27. 
 Strand ground, 219. 
 Strasburg, Archbishops of, 58. 
 Straw braids, 200. 
 Straw-plaited lace, 199. 
 
 Brazilian, 200. 
 
 English, 199. 
 
 French, 200. 
 
 Japanese, 200. 
 
 Leghorn, 199. 
 
 Swiss, 200. 
 
 Tuscan, 199. 
 
 "Straws" (needles), 200. 
 Streak stitch, 219. 
 Stubbs, Philip, on sixteenth century "shirtes," 
 
 6. 
 
 Suffolk lace, 200. 
 Sully, minister of Henri IV., 25. 
 Summer and winter laces, 43. 
 Sumptuary laws, effects of, 7, n, 21, 24, 28, 
 32, 98, 107, 117, 157, 161, 175, 192, 
 201. 
 
 First French, 8. 
 
 Venetian, 9, 10. 
 
 Sunshade, stiffened lace as a, 75. 
 
 Surplice, the, 57. 
 
 Surplices worn by choristers at the Vatican, 
 
 61. 
 Swedish laces, 200. 
 
 Dalecarlian lace, 143. 
 
 Gold, 162. 
 
 Holesom, 75, 201. 
 
 Household, 201. 
 
 Nineteenth century, 51. 
 
 Origin of, 200. 
 
 Patterns of, 200. 
 
 Peasant laces, 72, 75. 
 
 St. Bridget and the introduction of, 200.- 
 
 Twisted thread, 201. 
 Swift, play composed by, for the benefit of 
 
 Irish weavers, 171. 
 
 Swinburne, Henry, on French brides' trous- 
 seaux, 38. 
 Swiss laces, 201. 
 
 Mignonette, 182. 
 
 Nineteenth century, 51. 
 
 Pattern books, 201. 
 
 Peasant laces, 70, 71. 
 Swiss straw-plaiting, 200. 
 Swiss sumptuary laws, 201. 
 Syracuse, Count of, on English ladies and 
 lace, 48 
 
 Tab, 219. 
 
 Table, specimen, for lace, 90. 
 
 Table-centre made from fragments, 84. 
 
 Tagliato fogliami, 23. 
 
 Talith, the, 60. 
 
 Tambour lace, 201. 
 
 Limerick, 178. 
 
 Tape guipures, 163, 165, 166. 
 Tape lace, 201 . 
 
 a brides, border of, 165. 
 
 Belgian, 118. 
 
 Italian bobbin-made, 124. 
 Tape of twisted threads, ancient, 4. 
 Targe, 5. 
 Tatting lace, 201. 
 
 Specimen of, 202. 
 Tatting, pearl, 172. 
 Temple, Earl, ruffles presented to the king 
 
 by, 131- 
 
 Terray, Joseph Marie, portrait of, 41. 
 Theban lace, 3. 
 Thread, hand-made, 89. 
 Thirteenth century, picture .of the times, 12 
 
 Sumptuary laws in, 9 
 
INDEX. 
 
 Thorns, 219. 
 
 Ties, 219. 
 
 Tiffield, 184. 
 
 Tinnevelli, 4, 171. 
 
 Tinted lace, cleaning, 86. 
 
 Tippet of black Chantilly, 52. 
 
 Tippets, ecclesiastical, 103. 
 
 Titian's daughter-in-law, portrait of, 64. 
 
 Toile, 219. 
 
 Toile d'araigner, no. 
 
 Tokens, lace, 213. 
 
 Tombs in Exeter Cathedral, 146. 
 
 Tombs, laces, etc., from ancient, 3-7, 9, 62. 
 
 Tender lace, 143, 150. 
 
 Torbay, 147. 
 
 Torchon lace, 202. 
 
 Torjok, 195. 
 
 Totanelli, portrait by, 48. 
 
 Touche, V., book by, 105. 
 
 Toulouse, sumptuary law of, 175. 
 
 Tournay flax, 128. 
 
 Tours ribbon factories, 30. 
 
 Transport of lace, 76. 
 
 Travancore, 4, 171. 
 
 Trays in cabinets, 93. 
 
 Tray-mat made from fragments, 84. 
 
 Treadwin, Mrs., of Exeter, 148. 
 
 on antique and Honiton point, 105. 
 Tree of Knowledge pattern, 167. 
 Trefoil, close, 208. 
 Treille, 219. 
 
 Treillis d'Allemagne, 159. 
 
 Trevelyan, Miss Audrey, introduction of de- 
 signs in Devonshire lace by, 54. 
 Trevelyan's (Mrs.) encouragement of the 
 
 Devonshire industry, 148. 
 Trina di lana, 197. 
 Trine, 5. 
 
 Trolle kant, 155, 202. 
 Trolly lace, 130, 202. 
 
 Bobbin-made, 44. 
 
 Bucks, 152. 
 
 Devonshire, 147. 
 
 Trousseaux, French, in the eighteenth 
 century, 38. 
 
 Carnival lace for, 134. 
 Trovaux' Brussels lace factory converted into 
 
 a hospital, 48. 
 
 Truck system of payment, 78. 
 Tulle galloons, 116. 
 Turbans, smuggling in, 79. 
 Turnhout, 155 
 Turque, point de, 185. 
 Tuscany straw-plaiting, 199. 
 
 Twisted threads, ancient lace of, 3. 
 Tyrol, Austrian, 115. 
 
 U 
 
 Unbleached effect, renewing, 87. 
 
 Unterwalden peasant jewellery, 73. 
 
 Urbani, G. M., de Gheltof, on Venetian 
 
 laces. 105. 
 
 Utilising scraps of lace, 82. 
 Utrecht peasant laces, 69. 
 Uttmann, Barbara, invention of lace wrongly 
 
 attributed to, 15, 159. 
 
 Valenciennes, straight border first made at, 27. 
 Valenciennes lace, 202. 
 
 Alb presented to the Convent of the 
 Visitation, 59. 
 
 Ave Maria, 116. 
 
 Bobbin-made border, 157. 
 
 Bobbin-made ground, 88. 
 
 Bobbins, number of, required for, 204. 
 
 Border of French, 204. 
 
 Cordonnet absent from, 204. 
 
 Cost of, 203. 
 
 Dotted style, 203. 
 
 Dudonne, M., on, 139. 
 
 Early, 203, 204. 
 
 Fausse, 59, 139, 203, 204. 
 
 Modern, 203. 
 
 Natural patterns, 203. 
 
 Night wear, 40. 
 
 Origin of, 202. 
 
 Sayary on, 161. 
 
 Seats of the industry, 203. 
 
 Seme style, 203. 
 
 Time occupied in making, 203. 
 
 Vrai, 59, 139, 203. 
 Valier, Dogaressa Quirini, 205. 
 Van Dyck, portraits by, 24, 27. 
 Vatican, lace of the, 57. 
 
 Surplices worn at the, 61. 
 Vavassore, Gio. Andrea, designs by, 105. 
 Vecellio, Cesare, works by, 95, 96, 105. 
 Venetian fisher-maid, story of, 182. 
 Venetian guipure, 162, 204. See Greek point. 
 Venetian laces, 204. 
 
 Book on, 105. 
 
 Chef d'oeuvre of the lace industry, 205. 
 
 Cut-work, 140. 
 
 Greek, 163. 
 
 Gros point de Venise, 189. 
 
 Grounded Venetian point, 163. 
 
INDEX. 
 
 245 
 
 Venetian laces continued. 
 
 Hampered by legislation, 9. 
 
 in Western Europe, 205. 
 
 Margherita, 181. 
 
 Mermaid's lace, 182. 
 
 Mosaic lace, 127. 
 
 Origin of, 204. 
 
 Point, 23, 42, 48. 
 
 Polychromo, 52. 
 
 Punto in aria, 192. 
 
 Reproduction of gros point de Venise, 183. 
 
 Rose point, 189. 
 
 Saracen introduction, 204. 
 
 Schools for, 205. 
 
 Silk blonde, 197. 
 
 Varieties of, 205. 
 
 Venetian pattern-book, earliest, 16. 
 Venetian point, cravat of, 48. 
 
 Eighteenth century, 42. 
 
 Specimens of, 23. 
 Venezuelan lace, 206. 
 Venice, fashion dolls at, 81. 
 
 Fashions set by, in the Middle Ages and 
 in the seventeenth century, 24, 205. 
 
 Gold, 204. 
 
 Invention of lace, 204. 
 
 Model of Doges' palace at, 80. 
 
 Verbiest, Mme., portrait of, 25. 
 
 Veronese, Paul, "Simon the Canaanite " 
 
 by. 59, 179. 
 Versailles, 116. 
 Vestments, 56, 136. See Ecclesiastical lace. 
 
 St. Cuthbert's, 5. 
 Viarmes, 135. 
 Victoria, Queen, and Isle of Wight lace, 173. 
 
 Lagetta dress presented to, 174. 
 
 Wedding veil of, 167. 
 Vierge design, 149. 
 Vikings, gold lace handicraft taken by, to 
 
 Scandinavia, 5. 
 Villier-le-Bel, 178. 
 Vinciolo, Federico di, designs and patterns 
 
 by. 94, 97, J 05, 125, 137, 141, 163. 
 Vologda, 196. 
 Vrai and fausse Valenciennes, 59, 203. 
 
 W 
 
 Wadstena, nuns' work at, 18, 200. 
 
 Wales, Princess of, wedding dress worn by, 
 
 170. 
 Walker, Charles, and Limerick lace, 177. 
 
 Wallen peasant laces, 70. 
 
 Walmegnier, peasant head-gear of, 70. 
 
 Wareham, gold lace found near, 4. 
 
 War time, permission for entry of fashion 
 
 puppets during, 80. 
 Washington, George, portrait of, 39. 
 Waterford, 171, 172, 206. 
 Waterloo incident in connection with Brussels 
 
 lace, 48. 
 Watteau, fans painted by, 66. 
 
 Paintings by, 32, 61. 
 Waxworks in Westminster Abbey, 62. 
 Wedding dress of 1830, 51. 
 Wedding (bridal) lace, 38, 126. 
 Weeping ruffles, 41. 
 Welsh "topper," 72. 
 Wendover, 132. 
 
 Westminster Abbey, waxworks in, 62. 
 Wheat-pattern blonde, 121. 
 Wheels, half, 212, 213. 
 White lace, cleaning, 86. 
 Wight (Isle of) lace, 172. 
 Wilhelmina, Queen of Holland, 72. 
 William and Mary, 34. 
 William IV., 147. 
 Wiltshire laces, 206. 
 Winchester, 32. 
 Winslow, 132. 
 Winter laces, 43. 
 Alencon, 107. 
 Wire ground, 219. 
 Wolstrope, works of, 94. 
 Women, the lace industry as an employment 
 
 for, 55. 
 
 Woodbury, 147. 
 
 Woollen laces for the burial of the 'dead, 62. 
 Wulff, Mr. Jens, Knight of the Danebrog. 
 
 77- 
 
 Yak lace, 206. 
 
 Plaited, 186. 
 
 Yelverton, Miss Emily, portrait of, 55. 
 Youghal lace, 171, 172, 206. 
 
 Fan, 66. 
 
 Yorkshire lace, 194. 
 Ypres, 151, 155, 181, 203. 
 Yvetot peasant laces, 69. 
 
 Zante lace, 163, 206 
 
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