Seven Centuries of Lace 3
XCIII. Lace as XCII., actual size
XCIV. Flounce of Bobbin-made Lace
XCV. Part of a Flounce for an Alb, of Bobbin-made Lace à Réseau
XCVI. Flounce for an Alb of Bobbin-made Lace à Réseau
XCVII. Two Borders of Bobbin-made Lace
XCVIII. Three Borders of Bobbin-made Edging
XCIX. Bobbin-made Lace à Réseau
C. Cap of Bobbin-made Lace, called Point de Flandre à Bride
Picotées
CI. Three Patterns of Bobbin-made Mechlin Lace
CII. Three Borders of Bobbin-made Mechlin Lace
CIII. Four Specimens of Bobbin-made Lace called Binche Lace
CIV. Three Borders of Bobbin-made Lace à Vrai Réseau de Bruxelles,
called Point D'Angleterre
CV. Lappet of Bobbin-made Lace, called Point D'Angleterre
CVI. Two Parts of a Border of Bobbin-made Lace, called Brussels
Point
CVII. (1) A Scarf
(2) A Cap
CVIII. Three Borders of Bobbin-made Lace, called Valenciennes Point
CIX. Four Borders of Bobbin-made Lace, called Valenciennes Lace,
with Square Mesh Réseau
CX. Border of Bobbin-made Lace, with a Point de Paris Réseau
CXI. Flounce for a Dress, of Bobbin-made Silk Lace
CXII. Three Borders of Bobbin-made Lace, with a réseau of Maglia di
Spagna
CXIII. Mantilla or Scarf of Bobbin-made Black Silk Lace
CXIV. Two Examples of Bobbin-made Insertions
CXV. Four Patterns of Italian Gold and Silver Bobbin-made Lace
CXVI. Two Lappets of Bobbin-made Black
CXVII. Two Borders of Bobbin-made Lace
CXVIII. Border, Cap, and Crown of Bobbin-made Lace
CXIX. Lappet of Bobbin-made Lace
CXX. Two Borders of Appliqué Lace, one with a vandyke edge and one
with a mitred or scalloped edge
INTRODUCTION
The idea of giving, by means of photography, full-sized reproductions of
my specimens of ancient needle and bobbin-made lace, originated from a
desire to avoid unfolding these delicate fabrics when my friends wished
to see them. By arranging carefully that several of the photographs
should give the exact size of each stitch of the work, seeing and
handling the originals have been rendered practically unnecessary.
Though many books on lace exist giving most valuable historic, artistic
and technical data, none with which I am acquainted give the practical
information I have found most desired, that is to say, full-sized
representations of the pieces of lace. I therefore think that such
reproductions of my specimens may have a wider interest than I had
originally imagined, and accordingly I have now prepared them for
general publication.
It is impossible to judge of lace from a mere picture of pretty and
artistic drapery, or from portraits of great personages wearing lace
collars or dress trimmings. Lace in pictures has, in the first place,
been interpreted by the painter, and no pencil or brush can show more
than the general effect. The stitches in the toilé, or ground of
needle-point lace, amount sometimes to several thousand in every square
inch; and the almost incredible fineness of the twists in the réseau of
pillow laces makes identification very difficult, unless it is founded
on observation of actual portions of the fabric. It can hardly be
contested that, apart from some generally accepted deductions as to
design and time of execution, the chief means of judging lace correctly
lies in studying the toilé or clothing, and the groundwork of meshes or
réseau. To assist in this, many of the examples of my lace in their
actual size, and in some cases greatly enlarged photographs, are given.
I have illustrated and described only fabrics which, if not in my
possession, have actually come under my observation, such as the two
ancient albs of Eastern design, which, although hitherto unnoticed by
Italian writers on lace, may, I think, claim to have formed a very
interesting link between the Coptic or Egypto-Roman design, and that of
the early Italian lace. To aid in a judgment on this point, I also
illustrate some designs from early Coptic tombs.
The pre-Reformation "Pyx Veil" of needle-point linen work or tela tirata
remains the property of the parish of Hessett in Suffolk. It is a
supremely interesting object and unique, as far as I know, in the way it
is worked. I therefore give two illustrations of it among the early
sixteenth-century linen laces.
The period to which I confine my treatment of this art prevents my
giving any account of the very successful and extensive revival of
lace-making which has taken place all over Europe during the last sixty
years. Italy, France, and Great Britain have already some hundreds of
lace centres, while, from Denmark to Madagascar, Sweden to Ceylon, I
have specimens of most excellent and praiseworthy industries. That
these, as well as the very beautiful fabrics made now by lace machines,
may prosper, must be the wish of all--and I believe that to study more
and more carefully the models of the past will be the secret of success.
I classify lace as needle-point and bobbin-point. Numerous varieties
occur in each, but I will only mention the three chief divisions I make
in each class.
The three chief kinds of needle-point, "Trine ad Ago," are:
1. Lacis (or Modano) and Buratto work. (_See_ Plates 8, 11, 17.) I
include also under Lacis those varieties which are called in
Italy Sfilature, as the ancient specimens are, I find, usually
worked on a foundation of knotted lacis. _See_ Plate 7.
2. Linen lace, comprising reticello work and tela tirata. _See_
Plates 14, 19, 25.
3. Punto in aria--of which all later needle-point laces are
varieties. _See_ Plates 31 and 32.
The three chief ways of making bobbin-lace, "Trine a fuselli," are:
1. A tape, sometimes plain, sometimes ornamented, is made on the
pillow. This tape is placed and arranged as wished and joined up
on the pillow, but it is not cut or finished off, but continues
to form the pattern until the lace is completed. _See_ Plates 83
and 84.
2. Complete sprays or patterns are made on the pillow and finished
off; these are afterwards joined by brides or by a réseau. _See_
Plates 90 and 91.
3. The bobbins first used, continue and complete both pattern and
ground of the whole length of the lace. _See_ Plate 97.
I here give a Glossary, the result of inquiries tabulated during a stay
in Italy some years ago. I cannot find any authoritative translation of
the technical terms used to describe ancient lace, so I give my
interpretations for what they are worth.
GLOSSARY
À JOURS or MODES _See_ Fillings.
ALB The long linen robe (worn under the chasuble
by priests at the altar) which is sometimes
enriched with a border of lace, as well as
with lace on the cuffs.
APPLIQUÉ When the ornamentation made separately is
fixed and sewn by hand to a complete ground
of bobbin or machine-made net.
ARGENTELLA A name given sometimes to lace made with
either fillings or a complete background of
the réseau called rosacé. This very pretty
work occurs in both Venetian and French
needle-point of the eighteenth century. (_See_
Plate 60.) But it is a mistake to use the
word as denoting a distinct make of lace.
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