Chapter 1

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CHATS ON OLD LACE AND NEEDLEWORK

MRS. LOWES

* * * * *

BOOKS FOR COLLECTORS

_With Frontispieces and many Illustrations Large Crown 8vo, cloth._

CHATS ON ENGLISH CHINA. By Arthur Hayden.

CHATS ON OLD FURNITURE. By Arthur Hayden.

CHATS ON OLD PRINTS. (How to collect and value Old Engravings.) By Arthur Hayden.

CHATS ON COSTUME. By G. Woolliscroft Rhead.

CHATS ON OLD LACE AND NEEDLEWORK. By E. L. Lowes.

CHATS ON ORIENTAL CHINA. By J. F. Blacker.

CHATS ON OLD MINIATURES. By J. J. Foster, F.S.A.

CHATS ON ENGLISH EARTHENWARE. By Arthur Hayden.

CHATS ON AUTOGRAPHS. By A. M. Broadley.

CHATS ON PEWTER. By H. J. L. J. Masse, M.A.

CHATS ON POSTAGE STAMPS. By Fred. J. Melville.

CHATS ON OLD JEWELLERY AND TRINKETS. By MacIver Percival.

CHATS ON COTTAGE AND FARMHOUSE FURNITURE. By Arthur Hayden.

CHATS ON OLD COINS. By Fred. W. Burgess

CHATS ON OLD COPPER AND BRASS. By Fred. W. Burgess.

CHATS ON HOUSEHOLD CURIOS. By Fred. W. Burgess.

CHATS ON OLD SILVER. By Arthur Hayden.

CHATS ON JAPANESE PRINTS. By Arthur Davison Ficke.

CHATS ON MILITARY CURIOS. By Stanley C. Johnson.

CHATS ON OLD CLOCKS AND WATCHES. By Arthur Hayden.

CHATS ON ROYAL COPENHAGEN PORCELAIN. By Arthur Hayden.

LONDON: T. FISHER UNWIN, LTD. NEW YORK: F. A. STOKES COMPANY

* * * * *

MARY SIDNEY, COUNTESS OF PEMBROKE.

Born about 1555. Died 1621. Buried at Salisbury Cathedral. Painted probably by MARC GHEERAEDTS.

"Underneath this sable hearse Lies the subject of all verse. Sidney's sister, Pembroke's mother. Death! ere thou hast slain another Fair and learn'd and good as she, Time shall throw a dart at thee!"

CHATS ON OLD LACE AND NEEDLEWORK

MRS. LOWES

With 76 Illustrations

London T. Fisher Unwin, Ltd. Adelphi Terrace

First Impression 1908 Second Impression 1912 Third Impression 1919

PREFACE

This little book has been compiled to emphasise and accentuate the distinct awakening of English women and Needlecraft Artists to the beauty of the ancient laces and embroideries which we own in the magnificent historic collections in our great public Museums.

We are fortunate in possessing in the Victoria and Albert Museum monumental specimens of both lace and needlework. Among the sumptuous lace collection there are most perfect specimens of the art of lace-making, and priceless pieces of historic embroidery made when England was first and foremost in the world in the production of Ecclesiastical embroidery.

The lace collection particularly, without compare, is illustrative of all that is best in this delightful art, being specially rich in magnificent pieces that can never be again obtained. These have mostly been given, or left as legacies, to the Museum by collectors and enthusiasts who have made this fascinating hobby the quest of their lives. In addition to the collection formed by the generosity of the donors, the authorities have exercised a very catholic judgment in selecting the choicest and most illustrative examples of the lace-maker's craft.

In the section devoted to embroideries, more particularly English (as it is with our own country's needlework I propose to deal), nothing more glorious in the Nation's art records can be found than the masterpieces of embroidery worked by the great ladies, the abbesses and nuns of the Mediaeval period. In almost every other branch of art England has been equalled, if not excelled, by Continental craftsmen; but in this one instance, up to the Reformation, English work was sought after far and wide, and as _opus Anglicum_ formed part of church furnishing and priestly vestments in every great cathedral in Italy, Spain, and France.

It cannot be too soon realised that, as with old furniture, porcelain, and silver, much of the finest embroideries of England, and a vast quantity of the ancient laces of Italy, France, and Belgium are being slowly but surely carried off to the New World. American dollars are doing much to rob not only the Old Country of the fairest flowers of her garden, but the Continent of their finest and best examples of the genius of the past. The Vanderbilts and the Astors, among others, possess immense fortunes in lace, whilst that omnivorous collector Mr. J. Pierpont Morgan gives fabulous sums for any fine old relic of embroidery. Many pieces of both classes of needlecraft have found a permanent home in the Metropolitan Museum of New York, and are lost for ever to the English student.

It is, therefore, a pleasant duty to add my little quota of information to the study of these fascinating and exquisite branches of fine art which so specially appeal to all women by their dainty grace and delightful handicraft. I hope I may arouse some little enthusiasm in my countrywomen in the study of the past glories of both subjects, and in the possibility of once again becoming first and foremost in the latter branch.

I beg to acknowledge the pleasure and help I have received from the perusal of the late Mrs. Bury Palliser's exhaustive "History of Lace," and Lady Alford's "History of Needlework," and Dr. Rock's invaluable books on "Ecclesiastical Embroidery."

EMILY LEIGH LOWES.

HILLCREST, BRIXTON HILL, S.W.

BIBLIOGRAPHY

LACE.

The History of Lace. 1 vol. Mrs. Bury Palliser. Sampson, Marston & Low. 1865. L2 2s.

Dentelles and Guipures. 1 vol. E. Lefebure. Grevil. 1888.

Ancient Needlepoint and Pillow Lace. Alan Sumnerly Cole. London. 1873.

The Queen Lace Book. London. 1874.

Of Lace. Alan Sumnerly Cole. 1893.

Point and Pillow Lace. A. M. Sharp. George Newnes & Co. 7s. 6d.

Venice and Burano. Ancient and Modern Lace. M. Jesuram. Venice. 1883.

The History of Handmade Lace. Mrs. Jackson. Upcott Gill & Son. 1900. 18s.

Seven Centuries of Lace. Mrs. Hungerford-Pollen. 1st vol. issued 1908.

NEEDLEWORK.

Textile Fabrics. Dr. Daniel Rock. South Kensington Handbook Series. 1876. 1s.

Needlework as Art. Lady Marion Alford. London. 1886. L4 4s.

English Embroidery. A.F. Kendrick. George Newnes & Co. 7s. 6d.

Art in Needlework. Day & Buckle. Batsford. 7s. 6d.

CONTENTS

PAGE

PREFACE 7

BIBLIOGRAPHY 10

OLD LACE

CHAPTER

I. A BRIEF HISTORY OF LACE 21

II. THE ART OF LACE-MAKING 33

III. THE LACES OF ITALY 45

IV. THE LACES OF GENOA AND MILAN 57

V. THE LACES OF FRANCE: NEEDLEPOINT 69

VI. THE LACES OF FRANCE: PILLOW 85

VII. THE LACES OF FLANDERS 99

VIII. MODERN BRUSSELS AND MECHLIN 119

IX. OTHER CONTINENTAL LACES 131

X. A SHORT HISTORY OF LACE IN ENGLAND 139

XI. ENGLISH LACES 155

XII. SCOTCH AND IRISH LACE 169

XIII. HOW TO IDENTIFY LACE 179

XIV. SALE PRICES 199

NEEDLEWORK

CHAPTER PAGE

I. OLD ENGLISH EMBROIDERY 205

II. THE GREAT PERIOD 217

III. ECCLESIASTICAL EMBROIDERIES AND VESTMENTS 229

IV. TUDOR EMBROIDERIES 245

V. EARLY NEEDLEWORK PICTURES AND ACCESSORIES 253

VI. STUART CASKETS AND MIRROR 267

VII. EMBROIDERED BOOKS AND "BLACK WORK" 275

VIII. STUART PICTURES 289

IX. SAMPLERS 305

X. THE WILLIAM AND MARY EMBROIDERIES 317

XI. PICTORIAL NEEDLEWORK OF THE EIGHTEENTH CENTURY 331

XII. NEEDLEWORK PICTURES OF THE NINETEENTH CENTURY 347

XIII. EMBROIDERY IN COSTUME 355

XIV. SALE PRICES 365

XV. CONCLUSION 373

INDEX--OLD LACE 381

NEEDLEWORK 384

LIST OF ILLUSTRATIONS

MARY SIDNEY, COUNTESS OF PEMBROKE _Frontispiece_

OLD LACE PAGE

EGYPTIAN CUT AND DRAWN WORK 20

OLD ITALIAN "CUTWORKE" 20

EARLY ENGLISH SAMPLERS 23

ORIGINAL PATTERNS BY VINCIOLA 27

ORIGINAL DESIGNS OF RETICELLA EDGINGS BY VINCIOLA 31

CHART OF NEEDLEPOINT RESEAUX 36

CHART OF PILLOW RESEAUX 39

VENETIAN ROSE POINT 43

VENETIAN ROSE POINT COLLAR 48

EXAMPLES OF FLAT VENETIAN POINT 51

MARIE DE MEDICIS WEARING VENETIAN POINT COLLAR 52

EXAMPLE OF GROS POINT DE VENICE 55

LOUIS XIII. WEARING GENOESE COLLAR LACE 60

GENOESE COLLAR LACE 63

MILANESE LACE 67

OLD ITALIAN AND FRENCH LACES AND CUT AND DRAWN WORK 72

"POINT DE FRANCE" 75

POINT D'ALENCON 76

"POINT DE FRANCE" AND D'ARGENTELLA 79

POINT D'ARGENTAN AND POINT D'ARGENTELLA 83

VALENCIENNES 88

"LILLE" 91

EMPRESS EUGENIE WEARING BLONDE LACE 95

POINT D'ANGLETERRE 102

POINT D'ANGLETERRE LAPPET 105

BRUSSELS LACE 109

BRUSSELS LAPPET 113

COMTESSE D'ARTOIS WEARING BRUSSELS LACE 117

MARIE ANTOINETTE 122

MECHLIN LAPPET 125

MARIE ANTOINETTE WEARING MECHLIN LACE 129

"DUCHESSE" LACE 135

QUEEN ELIZABETH WEARING VENETIAN POINT RUFF AND CUFFS 141

EDMUND SPENSER: COLLAR TRIMMED WITH RETICELLA 145

RETICELLA FALLING COLLAR 149

COLLAR OF GROS POINT 153

OLD BUCKINGHAM AND EARLY DEVONSHIRE LACES 159

OLD HONITON LACE 163

MODERN HONITON LACE 167

LIMERICK "FILLINGS" 173

CARRICK-MA-CROSS LACE 177

RETICELLA WITH GENOA BORDERS 182

POINT D'ANGLETERRE 185

ITALIAN ECCLESIASTICAL LACE 189

BRUSSELS LAPPET 193

"POINT DE GAZE" 197

NEEDLEWORK

EGYPTIAN EMBROIDERY 208

BAYEUX TAPESTRY 211

KING HAROLD FROM BAYEUX TAPESTRY 215

FRAGMENT FROM THE "JESSE" COPE 221

THE "SYON" COPE 225

THE STEEPLE ASTON ALTAR FRONTAL 232

THE "NEVIL" ALTAR FRONTAL 235

DIAGRAM SHOWING USE OF VESTMENTS 239

SET OF ECCLESIASTICAL VESTMENTS 243

EARLY "PETIT POINT" PICTURE 256

EARLY "PETIT POINT" PICTURE 259

STUART GLOVE 263

STUART MIRROR FRAME 271

STUART BOOK COVER 278

QUEEN ELIZABETH'S POCKET-BOOK 281

"BLACK WORK" CAP 285

EMBROIDERY PORTRAIT OF KING CHARLES I. 293

STUMP-WORK PICTURE 297

"PETIT POINT" PICTURE WORKED ON SATIN 301

A SEVENTEENTH CENTURY "SAMPLER" 309

EARLY ENGLISH "SAMPLER" 313

JACOBEAN HANGINGS 319

ENLARGEMENT OF SPRAY FROM HANGINGS 323

QUEEN ANNE PICTURE 327

EARLY GEORGIAN PICTURE 334

"THE LAST SUPPER" 337

EIGHTEENTH CENTURY SILK EMBROIDERED PICTURE 341

BLACK SILK AND HAIR PICTURE 345

A "GAINSBOROUGH" PICTURE 361

A BRIEF HISTORY OF LACE

CHATS ON OLD LACE

A BRIEF HISTORY OF LACE

Early vestiges in Egypt--Lace found in St. Cuthbert's Tomb (685 A.D.)--Drawn Thread and Cutworks--Venetian Lace--Flanders Lace--French Laces--English Lace.

In every other art or craft we can search the history of ages and find some vestiges or beginnings among the earlier civilisations. Possibly owing to the exquisite fragility of Lace, there is a complete absence of data earlier than that of Egypt. The astonishing perfection in art handicrafts of all descriptions which we find in China many hundreds of years before the Christian era shows no vestiges of a manufacture of lace; but, in the tombs of ancient Egypt, garments have been discovered with the edges frayed and twisted into what we may call a primitive lace, and in some of the Coptic embroideries threads have been drawn out at intervals and replaced with those of coloured wools, making an uncouth but striking design. Netting must have been understood, as many of the mummies found at Thebes and elsewhere are discovered wearing a net to hold or bind the hair; and also, a fine network, interspersed with beads, is often discovered laid over the breast, sometimes having delightful little blue porcelain deities strung amongst their meshes.

These early vestiges, however, are in no way representative of the later exquisite fabrics which we now know and recognise as Lace. Far nearer to them, as an art, are the early gold and silver laces of simple design found amongst the tombs of Mycenae and Etruria, and those of a later date--_i.e._, the laces of gold used to decorate the vestments of the clergy, and the simple but sumptuous gowns of the Middle Ages. Along with the stole and maniple of St. Cuthbert, which are now at Durham Cathedral, was found a piece of detached gold lace, which must have formed a separate trimming. St. Cuthbert died in 685 A.D., and was buried at Lindisfarne, his body being afterwards transferred to Durham to save it from the desecration of the Danes who were ravaging the land. Over the body was a cloth, or sheet, which was worked in cutworks and fringes, showing that even at so early a date initial efforts at lace-making had been attempted.

As far as we can gather, the earliest endeavour at lace-making originated with the drawing of threads in linen fabrics, then dividing the existing threads into strands, and working over them, in various fanciful designs, either with a buttonhole stitch or simply a wrapping stitch. Exactly this method is used at the present day, and is known as hem-stitching and fine-drawing. A later development suggested, apparently, cutting away of some of the threads, their place being supplied with others placed angularly or in circles. Many delightful examples of the work are to be seen in our Old English samplers of the sixteenth and seventeenth centuries, and even so recently as thirty years ago specimens of this primitive and early lace-making were to be seen in the quaint "smock-frock" of the English farm labourer, a garment which, though discarded by the wearer in favour of the shoddy products of the Wakefield looms, is now deemed worthy of a place in the collector's museum.

It required little effort of fancy and skill, by the simple process of evolution and survival of the fittest, to expand this plan of cutting away threads and replacing them with others to doing away _entirely_ with existing and attached threads, and supplying the whole with a pattern of threads laid down on some geometric fashion on a backing of parchment, _working over_ and _connecting_ the patterns together, and afterwards liberating the entire work from the parchment, thereby making what was known at the time as "punto in aria," or working with the needle-point in the air, literally "_out of nothing_."

Strange as this may appear, this was the origin, in the fifteenth century, of the whole wonderful fabric which afterwards became known as "Point lace," which altered and even revolutionised dress, made life itself beautiful, and supplied the women of Europe with a livelihood gained in an easy, artistic, and delightful manner. It also, however, led to ruinous expenditure in every country, at times requiring special edicts to restrain its extravagance, and even the revival of the old Sumptuary laws to repress it.

The earliest known lace, and by far the most popular with all classes, was "Reticella," which was the first kind evolved on the "punto in aria" principle. Until the discovery of an easy and simple way of decorating the linen ruffs and cuffs of the period these had been quite plain, as many contemporary portraits show. Afterwards the fashion of trimming garments of all descriptions with the pointed wiry edges of Venice became a mania, and led to imitation in almost every country of Europe. The convents turned out an immense quantity, thereby adding enormously to the incomes of their establishments. It is assumed that it is to the nuns of Italy we owe the succeeding elaboration of Reticella, "Needlepoint," the long, placid hours spent in the quiet convent gardens, lending themselves to the refinement and delicacy which this exquisite fabric made necessary. However this may be, it is certain that in a few years the rise and development of Needlepoint lace-making was little short of phenomenal, and every convent was busy making it and teaching their poorer lay sisters the art. Some of the wonderful Old Point of this period is absolutely finer than the naked eye can see, a powerful magnifying glass being necessary to discern how the marvellous "toile" or "gimpe" is made.

A little later, but still contemporary with the introduction of Venetian lace, a Pillow lace was being made in Flanders, the origin of which is not as yet discovered. It is possible that the fine flax thread grown and manufactured there may, at the time of weaving, have suggested a looser and more ornamental material, but that remains a matter of conjecture. There must, however, have been an interchange of examples, as about this time Pillow-made lace appeared in Italy, and led to the making of the Milanese and Genoese varieties, and Needlepoint motifs appeared amongst the woven network of Flanders.

Lace, under the name of "Lacis," had been known in France from the time of Catherine de Medici, who patronised the manufacturers and used it lavishly. About 1585 she induced Federico di Vinciolo, a lace-maker and designer of Venice, to settle in France, and there the making of Venetian lace was attempted. A mere slavish imitation of the Venetian school resulted, and it was not until the age of the _Grande Monarque_, Louis XIV., that French lace rivalled that of Venice.

Colbert, the great French Minister, becoming alarmed at the enormous sums spent on Italian lace, determined to put a check to its importation; and, by forbidding its use, establishing lace schools near Alencon, and bribing Italian workers to come over as organisers and teachers, started the manufacture of lace on an extensive scale, the beautiful fabrics known as Point d'Alencon, Point d'Argentan, and Point d'Argentella being the result. It is frequently said that the last-named lace came from Genoa or Milan, but most of the present-day authorities agree that this is one of the many fairy tales with which the passing of time has adorned the history of lace.

The persecution of the Protestants when the Huguenots fled to England, bringing with them their arts of silk-weaving and lace-making, led to the introduction of English lace. Devonshire apparently received a contingent of laceworkers quite distinct from those who settled in Buckinghamshire and Bedfordshire, and from the first stages showed far finer methods and designs. With the exception of "Old Honiton," England cannot boast of anything very fine, and even this is merely a meaningless meandering of woven tape-like design for the greater part. The lace of Buckinghamshire ranks, perhaps, lowest in the scale of lace products, its only merit being its extreme durability.

The laces of Ireland are of comparatively recent growth, and though in many instances exquisitely fine, do not as yet show much originality.

THE ART OF LACE-MAKING

Needlepoint--Pillow Laces--Charts of various Reseaux--Technical Terms.

Lace-making naturally falls into two classes--the Needlepoint and Pillow varieties. In some laces, more especially of the Belgian class, there is a _mixed_ lace, the "toile" or pattern, being worked with the needle, and the ground, or "reseau," made round it on the pillow and _vice versa_.

To the first-named class we must assign the Needlepoint laces of Italy and the exquisite handmade laces of France. To the latter order belong the early Macrame lace, called "Punto a Groppo"; the Genoese and Milanese laces of Italy; Mechlin and Brussels of Belgium; Valenciennes, Lille, and Chantilly of France; and the English laces of Honiton, Buckinghamshire, and Bedfordshire.

Pillow lace may be easily distinguished from Point lace, as in the former the ground, or reseau, is made of plaited threads. That of Point lace is composed of threads made by the use of the buttonhole stitch only, or, in the case of Alencon point, the mesh is worked in a special manner. The later laces, _i.e._, those made during the last hundred years, have frequently a ground of machine lace, and thus, strictly speaking, are not lace at all, but only embroideries or appliques. The machine-made ground can be distinguished by sense of touch alone. If we take a piece of hand-made net between the finger and thumb and slightly roll it, it will gather in a soft little roll, with the touch almost of floss silk. The machine-made net is hard, stiff, and wiry, and remains perceptibly so in this test. Also, the mesh of machine-made lace is as regular as though made with a fine machine fret-saw, that of hand-made lace being of varying sizes, and often following the pattern of the lace design.