Chats on Old Lace and Needlework
Chapter 5
It is almost impossible, even from the best of photographic illustrations, to learn all the intricacies of identification. The photographs clearly show style, but it needs specimens of the actual lace to show method of working. From the illustrations in this book, specially selected from the South Kensington Collection, and from specimens in my own collection, every variety of style may be easily understood, as they have been particularly selected to show each point of difference. Commencing with the earliest form of lacework--_i.e._, "cutworke"--nothing will better show this than the "Sampler" specimen, which, half way down, shows two rows entirely typical of this kind of early lace-making--for such it is. A little lower, examples of drawn threadwork are seen, while the upper portion illustrates satin stitch patterns, which more properly belong to embroidery.
The ancient collar from the South Kensington Collection, page 149, shows some of the finest developments of cutwork, when the foundation of linen was entirely dispensed with. The work is exceedingly fine, the threads being no coarser, indeed in many cases less so, than the fine linen it adorns. This is known as Reticella, or "punto in aria." The last name is applicable to all the laces of Venice which succeeded Reticella, and means lace literally made out of nothing or without any building foundation.
The specimen is still of the same class, but where before the design was simple geometric square and pointed as in all the early lace, it now takes on the lovely flowing scroll of the Renaissance that marks the latter half of the seventeenth century.
The same grand styles may be noted all through the great period of Italian Needlepoint lace. It will be seen in a lesser degree in the Guipure laces of Milan and Genoa, but here the cramping influence of the Flemish school shows itself distinctly.
The same bold lines may be noted in the early Needlepoint lace of France, which had not then become sufficiently sure of her capacity to develop a style of her own, and all show the Renaissance spirit. Afterwards when the superb Point de France was at its height of manufacture along with grand outline and exquisite handicraft, the influence of the mighty monarch Louis XIV. asserted itself and although the lace itself commands unbounded admiration, fantastic little notions, symbolical and naturalistic, showed itself--as an illustration page 75: little figures representing "the Indian," "canopied crown over a sealed lady," trees growing all manner of bizarre fruit and flowers, all symbolical of Louis the Magnificent's unbounded power and sway. In the South Kensington Museum there is a still finer specimen, which has not yet been photographed, I believe--a magnificent flounce, about eighteen inches wide (really two boot top pieces joined), of what is known as pseudo-Oriental character, which shows amongst the usual exquisite scrolling no less than seven different figures on each piece--viz., an Indian, a violinist in dress of Louis XIV. period, a lady riding on a bird, two other ladies, one with a pet dog and the other a parrot, a lady violinist, and another lady seated before a toilet-table. These little figures are not more than three-quarters of an inch high, but are worked with such minuteness that even the tiny features are shown. This fantastic adoption of the human figure was copied in Italy and Flanders. The finest specimens of Point d'Angleterre (Brussels) show the same designs; and it may broadly be stated that all lace with figures is of the Louis XIV. period, and over two hundred years old.
Succeeding this period came the dainty elegance of the French laces, when the workers of Alencon and Argentan had developed a purely French style. Note the Point d'Alencon, illustration page 83, where the characteristics of the period are fully shown. The illustration shows a mixed lace, which only recently has been acknowledged by the South Kensington people as Point d'Argentan. Along with the typical Argentan ground of the upper portion is the fine Alencon mesh and varied jours of the border. This also is Louis XIV. style. The lappet shown next is exceedingly instructive, as till quite lately the people who professed to understand lace agreed to call this Genoese, although it was quite unlike anything else made there. This lappet was so labelled at South Kensington, but now is admittedly Argentella (or little Argentan). It is remarkably like Alencon, being of the same period, the only points of difference being that the design is not outlined with a raised Cordonnet (though in different places of the design a raised and purled Cordonnet is often stitched on it) and the special ground (partridge eye) which is agreed to denote "Argentella" lace--page 83. It is sometimes called the may-flower ground, but this is somewhat misleading as that design occurs in other laces. The only other great style is that of Flanders, which at its earliest period had received no influence from the Renaissance that had seized the southern countries of Europe and was still in the grip of mediaeval art. It was not until Italian influence permeated France that Flemish lace perceptibly altered in character.
These are to all intents and purposes the three great styles of lace. England had no style: she copied Flemish, Brussels, and Mechlin laces. Ireland, on the contrary, copied Italian in her Irish crotchet and Carrick-ma-cross (in style only, but not workmanship), and adapted Lille and Mechlin and Brussels and Buckingham in her Limerick lace.
The student must next make herself familiar with the methods pursued by the old lace-workers, and here the difficulty commences. All lace is either Needlepoint, pillow-made, or machine-made. _Needlepoint_ explains itself. Every thread of it is made with a needle on a parchment pattern, and only two stitches are used, buttonhole and a double-loop which is really a buttonhole stitch.
This can be clearly understood by referring to Charts Nos. I. and II., where the _two Brussels grounds_ are shown. The Needlepoint ground, No. I., is formed by a buttonhole stitch, which loops over again before taking the next. The pillow-made ground, No. II., shows the threads plaited or twisted together to form a hexagonal or a diamond-shaped network. This is all the difference between needle-made and pillow-made lace, and in itself helps to identify in many instances its country and period when it was produced. All the early Italian laces were Needlepoint, and all the early French laces were the same. All the Flemish laces (including Brussels) were pillow-made, and mixed laces in any of these countries are of later make. Italy adapted the Flemish pillow-lace, and produced Genoese and Milanese guipures, in addition to the coarse imitation of Reticella which she now made by plaiting threads on the pillow. Brussels adopted the needle-made motifs and grounds of Italy, and produced perhaps her finest lace, weaving her beautiful designs and outlines on the pillow, and afterwards filling the spaces with needle-made jours and brides, as in Point d'Angleterre.
A study of Chart II. will show the different style of grounds or reseaux of both Needlepoint and pillow-made lace, the buttonhole grounds being either of "brides" with or without picots, or buttonhole loops, as in Brussels, and Alencon (with a straight thread whipping across to strengthen the ground), loops buttonholed over all as in Argentan, or made of tiny worked hexagons with separate buttonholed threads around them as in Argentella. The pillow-made grounds are made of two plaited or twisted threads, except in the case of Valenciennes, when it is made of four threads throughout (hence its durability). In Brussels, it will be noted, the threads are twisted twice to commence the mesh. These meet two other threads, and are plaited four times, dividing into two again, and performing the same twist, the whole making a hexagon rather longer than round. Mechlin has precisely the same ground, only that the threads are plaited _twice_ instead of four times, as in Brussels, making the hexagon roundish instead of long.
The ground of Lille lace is of exactly the same shape as Valenciennes, but is composed of two threads twisted loosely twice each side of the diamond, and that of Valenciennes being made of four threads plaited.
With the aid of these little charts, a remembrance of the various styles and a few actual specimens of lace, and _a powerful magnifying glass_, it is not beyond the power of any reader of this little book to become expert in the identification of old lace.
XIV
SALE PRICES
XIV
SALE PRICES
Lace is such an article of luxury, and, as a rule, only belonging to the wealthiest class, that it seldom or ever comes into the open market. In 1907 two collections were dispersed at Christie's--those of Mrs. Massey-Mainwaring and Mrs. Lewis Hill.
The most costly laces are the Venetian Points, some of the fine Rose Points being priceless. It is so fragile that little of it remains, and the smallest piece is eagerly snapped up by collectors.
In 1904 at Christie's lace sold for the following prices--
L A 58-inch length of 24-ins. deep Point de Venise 600
A 4-yards length of Rose Point, 11 inches deep 420
The same year--
L 4 yards of Point d'Argentan, 25 inches deep 460
44 inches Point d'Alencon, 17 inches deep 43
2-1/2 yards Point d'Alencon, 14 inches deep 46
In 1907, March 11, _Massey-Mainwaring Sale_ at Christie's--
sold for L s. d. 1-1/2 yards Venetian Gros Point, 8 inches deep 16 16 0
5 yards length of Reticella, 7-1/2 inches deep 33 12 0
4 short lengths 42 0 0
7 pieces of Point d'Alencon 21 0 0
4 yards narrow Point d'Argentan 15 15 0
3 pairs Point d'Argentan lappets 15 15 0
30 yards narrow Mechlin in odd lengths 21 0 0
April 15th, the _Lewis-Hill Sale_ at Christie's:--
sold for L s. d. 4 yards Venetian Point, 15-1/2 inches deep 68 5 0
4 " " " 8-1/2 " " 52 10 0
3 yards Spanish Point, 6-1/2 inches deep 73 10 0
An Old Brussels scarf in two pieces 10 10 0
6 yards Brussels applique 23 10 0
A Point Gaze parasol-cover 6 16 0
A Brussels flounce 12 1 6
3 yards Honiton flounce, 17 inches deep 69 6 0
Another similar 69 6 0
6 yards Honiton lace in three pieces 24 3 0
An old lace coverlet 25 4 0
Another ditto 26 5 0
A lace altar-frontal 21 1 0
With the exception of the Honiton flounces, which sold beyond their market value, all the above pieces were bought by London lace dealers!
The famous collection of the late Mrs. Hailstone was sold in 1909. This lady had for many years been known as a lace collector, and the sale of her effects was eagerly anticipated. The result was extremely interesting to the collectors, as Mrs. Hailstone had collected specimen lengths of almost every known lace. No huge prices obtained, but the sale may be regarded as representative, and the prices quoted as being open-market value.
L s. d. A set of bed-hangings, forming six curtains, made of Italian lace and linen 40 0 0
A large portiere curtain of Italian lacis-work 10 10 0
A Point d'Alencon fichu 30 0 0
" " " cravat end, a pair of sleeves, one odd piece 18 0 0
A pair of Argentan lappets and six yards lace 12 0 0
A panel fine raised Venetian Point, 22 inches wide, 28 inches long 24 0 0
A Berthe, Point de Venise, 1 yard 120 inches, 12 inches deep 25 0 0
A Point de Venise Berthe 36 0 0
A 1 yard 13 inches x 7 inches panel Venetian lace 50 0 0
Two specimen pieces, 3-1/4 inches, all of Point de Venise a reseau 14 10 0
A Buckinghamshire collar, sleeves, and pieces 5 5 0
A specimen of old Honiton, baby's cap, bodice, and handkerchief 3 5 0
An old Honiton baby's robe, said to have belonged to Princess Charlotte 15 10 0
Seven volumes of lace specimens of old and modern lace 35 0 0
In December, 1910, probably the most valuable collection ever placed upon the market was dispersed at Messrs. Christie's. The late Sir William Abdy Bt., had for many years devoted his time and money to the collection of valuable lace, such as now can only be seen in the great national collections. The prices obtained are significant of the huge sums which must be paid to obtain wearable pieces of valuable lace such as skirt lengths, 3- or 4-yard lengths of deep flouncings, shawls, coverlets, aprons, &c.
L s. d.
A fine Point d'Alencon skirt, 2-1/2 yards, 44 inches deep 160 0 0
A fine Point d'Alencon scarf, 2 yards 9 inches x 10 inches deep 72 0 0
A Point d'Argentan Berthe, 9-1/2 inches deep 39 0 0
A Point d'Argentan flounce, 6 yards 30 inches x 5-1/2 inches deep 140 0 0
A Point d'Argentan flounce, 2 yards 26 inches long x 25 inches deep 210 0 0
A Point d'Argentan flounce, 3 yards 28 inches long x 24 inches deep 310 0 0
A Point d'Argentan flounce, 3 yards 35 inches long x 25 inches deep 431 0 0
A Point d'Argentan flounce, 3 yards 16 inches long x 24-1/2 inches deep 290 0 0
An Italian gold and thread lace flounce, 4 yards long, 29 inches deep 740 0 0
A length of Italian Rose Point, 4 yards 15 inches long, 3 inches deep 70 0 0
An old Italian Rose Point flounce, 3 yards 31 inches long, 17-1/2 inches deep 660 0 0
An old Italian Rose Point square, 31 inches x 34 inches 180 0 0
An old Italian Rose Point flounce, 3 yards 19 inches long, 7-1/2 inches deep 520 0 0
An old Italian Rose Point panel, 34 inches x 9 inches 95 0 0
A Point de Venise lappet a reseau, 46 inches long, 5-1/4 inches wide 22 0 0
Point de Venise trimming, 8 yards long x 4 inches deep 65 0 0
A piece of flat Venetian insertion, 4 yards x 3-3/4 inches deep 92 0 0
A Rose Point flounce, 4 yards long x 5 inches deep 200 0 0
A Rose Point flounce, 3 yards 31 inches long x 22 inches deep 600 0 0
A Rose Point flounce, 4 yards 7 inches long x 24 inches deep 540 0 0
A Rose Point flounce, 3 yards 32 inches long x 15 inches deep 560 0 0
A Rose Point flounce, 4 yards 11 inches long x 18 inches deep, and a pair of sleeves en suite 650 0 0
A Rose Point flounce, 4 yards 3 inches long x 11-1/2 inches deep 510 0 0
A raised Point de Venise square, 1 yard 24 inches long x 1 yard 6 inches wide 450 0 0
An Old Brussels apron, 41 inches wide, 37 inches deep 145 0 0
A specimen piece of early Valenciennes, 2 yards long x 7 inches deep 42 0 0
The following prices have been given by the South Kensington authorities for specimens shown:--
L s. d.
A Venetian Point altar-frontal, 8 x 3 feet 350 0 0
A Venetian chasuble, stole, maniple, and chalice veil 200 0 0
A 2 yards x 5/8 yard Venetian flounce 125 0 0
A Gros Point collar 21 0 0
A Brussels lappet 23 0 0
A drawn-thread jacket 10 10 0
Linen cutwork tunic 20 0 0
CHATS ON NEEDLEWORK
I
OLD ENGLISH EMBROIDERY
Needlework pioneer art--Neolithic remains--Earliest known English specimens--Bayeux tapestry.
While the subject of lace-making has been treated as almost cosmopolitan, that of embroidery, in this volume, must be regarded as purely national! I purposely refrain from introducing the embroideries of other countries, other than mentioning the ancient civilisations which shared the initial attempts to decorate garments, hangings, &c. (of which we really know very little), and shall confine myself to the needlework of this country, more especially as it is the one art and craft of which England may be unfeignedly proud. It is assumed that needlecraft was the pioneer art of the whole world, that the early attempts to decorate textiles by embroideries of coloured silks, and the elaborate use of gold and silver threadwork, first suggested painting, sculpture, and goldsmith's work. Certainly early Egyptian paintings imitated embroideries, and we have good ground for supposing that stained glass was a direct copy of the old ecclesiastical figures or ancient church vestments. The Neolithic remains found in Britain show that at a very early period the art of making linen-cloth was understood. Fragments of cloth, both of linen and wool, have been discovered in a British barrow in Yorkshire, and early bone needles found at different parts of the country are plentiful in our museums. There is no doubt that we owe much of our civilisation to the visit of the Phoenicians, those strange people, who appear to have carried all the arts and crafts of ancient Babylon and Assyria to the wonder isles of the Greek Archipelago, to Egypt, to Southern Spain, and to Cornwall and Devonshire. These people, dwelling on the maritime border of Palestine, were the great traders of their age, and while coming to this country (then in a state of wildest barbarism) for tin left in exchange a knowledge of the arts and appliances of civilisation hitherto not understood. The Roman Invasion (45 B.C.) brought not only knowledge of craftsmanship but also Christianity. St. Augustine, to whom the conversion of the Britains is credited, carried with him a banner embroidered with the image of Christ. After the Romans had left the country, and it had become invaded by the Celts and the Danes, and had again been taken possession of by the Saxons, a period of not only rest but advancement arrived, and we see early in the seventh century the country prosperous and settled. Aldhelm, Bishop of Sherborne, wrote a poem in which he speaks of the tapestry-weaving and the embroidery which the women of England occupied their lives.
The earliest specimen of embroidery known to have been executed in England is that of the stole and maniple of St. Cuthbert, which is now treasured at Durham Cathedral. These were worked by Aelfled, the Queen of Edward the Elder, Alfred the Great's son. She worked them for Bishop Fridhestan in 905 A.D. Her son Athelstan, after her death, visited the shrine of St. Cuthbert, at Chester-le-street, and in an inventory of the rich gifts which he left there, there is recorded "one stole with a maniple," amongst other articles. These very embroideries were removed from the actual body of St. Cuthbert in 1827. They are described by an eyewitness as being "of woven gold, with spaces left vacant for needlework embroideries." Exquisitely embroidered figures are in niches or clouds. The whole effect is described as being that of a fine illuminated MS. of the ninth century, and indescribably beautiful. Another great prelate, St. Dunstan, Archbishop of Canterbury, designed embroideries for the execution of pious ladies of his diocese (924 A.D.).
Emma, Queen of Ethelred the Unready, and afterwards of Canute, designed and embroidered many church vestments and altar-cloths, and Editha, wife of Edward the Confessor, embroidered the King's coronation mantle.
The great and monumental Bayeux tapestry--which is miscalled, as it is _embroidery_--was the work of Queen Matilda, who, like Penelope, wove the mighty deeds of her husband and king in an immense embroidery. This piece of needlecraft comes upon us as a shock, rather than an admiration, after the exquisite embroideries worked by and for the Church. It is interesting, however, as a valuable historic "document," showing the manners and customs of the time. The canvas is 227 feet long and 20 inches wide, and shows events of English history from the accession of Edward the Confessor to the defeat of Harold, at Hastings. It is extremely crude; no attempt is made at shading, the figures being worked in flat stitch in coloured wools, on linen canvas. Certainly it is one of the quaintest and most primitive attempts of working pictures by needlecraft.
The evidence of the costumes, the armour, &c., are supposed to tell us that this tapestry was worked many years after the Conquest, but it can be traced by documentary evidence as having been seen in Bayeux Cathedral as far back as 1476. In the time of Napoleon I. it was removed from the cathedral and was actually used as a covering for a transport waggon. Finally, however, it was exhibited in the Musee Napoleon, in 1803, and was afterwards returned to Bayeux. In 1840 it was restored and relined, and is now in the Hotel de Ville at Bayeux!
II
THE GREAT PERIOD OF EMBROIDERY
II
THE GREAT PERIOD OF EMBROIDERY
"Opus Anglicanum"--The Worcester fragments--St. Benedict--Legend of Pope Innocent--The "Jesse" cope--The "Syon" cope.