Part 3

CARNIVAL.--A variety of reticella lace made in Italy, Spain and France during the sixteenth century.

CARTISANE.--Guipure or passement, made with cartisane, which is vellum or parchment in thin strips or small rolls, covered with silk, gold thread or similar material.

CHAIN.--A lace of the seventeenth century, consisting of a braid or passement so worked as to resemble chain links. It was made of colored silk, and also of gold and silver thread.

CHANTILLY.--One of the blonde laces, of the sort recognizable by their Alençon réseau ground and the flowers in light or openwork instead of solid. It is made both in white and black silk. Black Chantilly lace has always been made of silk, but a grenadine, not a lustrous silk. The pattern is outlined with a cordonnet of a flat, untwisted silk strand. During the seventeenth century the Duchesse of Longueville established the manufacture of silk lace at Chantilly and its neighborhood, and as Paris was near and the demand of royalty for this lace increased it became very popular. At the time of the Revolution the prosperity of the industry was ruined, and many of the lacemakers were sent to the guillotine. During the ascendancy of the first Napoleon, the manufacture of Chantilly again became flourishing. Since then the industry has been driven away from that town on account of the higher labor costs resulting from the nearness of Chantilly to Paris, and the lacemakers, unable to meet this increased cost, retired to Gisors, where half a century ago there were between 8,000 and 10,000 lacemakers. The supremacy of lacemaking formerly enjoyed by Chantilly has now been transferred to Calvados, Caen, Bayeux and Grammont. The widely-known Chantilly shawls are made at Bayeux, and also at Grammont.

CHENILLE.--A French lace, made in the eighteenth century, so called because the patterns were outlined with fine white chenille. The ground {35} was made of silk in honeycomb réseau, and the patterns were geometrical and filled with thick stitches.

CLUNY.--A kind of net lace with a square net background in which the stitch is darned. It is so called from the famous museum of antiquities in the Hôtel Cluny, at Paris, and also because the lace was supposed to have a medieval appearance. The patterns used are generally of an antique and quaint description, mostly of birds, animals and flowers, and in the existing manufacture the old traditions are fairly well preserved. Sometimes a glazed thread is introduced in the pattern as an outline. Cluny is a plaited lace, somewhat similar to the Genoese and Maltese laces, and is made in silk, linen or cotton.

CORDOVER.--A kind of filling used in the pattern of ancient and modern point lace.

CORK.--A name formerly used for Irish lace in general, when the manufacture of Irish lace was principally confined to the neighborhood of Cork.

CRAPONNE.--A kind of stout thread guipure lace, of cheap price and inferior make, used for furniture.

CRETAN.--A name given to an old lace, ordinarily made of colored material, whether silk or linen, and sometimes embroidered with the needle after the lace was complete.

CREWEL.--A kind of edging made of crewel or worsted thread, intended as a border or binding for garments.

CROCHET.--Lace which is made with a crochet hook, or whose pattern is so made and then appliquéd on a bobbin or machine-made net. It is similar to needle-point lace, although not equal in fineness to the best examples of the latter.

CROWN.--A lace whose pattern was worked on a succession of crowns, sometimes intermixed with acorns and roses. It was made first in the reign of Queen Elizabeth. A relic of this lace may still be found {36} in the "faux galon," sold for the decoration of fancy dresses and theatrical purposes.

DALECARLIAN.--Lace made for their own use by the peasants of Dalecarlia, a province of Sweden. Its patterns are ancient and traditional. It is a coarse guipure lace, made of unbleached thread.

DAMASCENE.--An imitation of Honiton lace, made by joining lace sprigs and lace braid with corded bars. It differs from modern point lace in that it has real Honiton sprigs, and is without needlework fillings.

DARNED LACE.--A general name for lace upon a net ground, upon which the pattern is appliquéd in needlework. The different laces of this kind are described under Filet Brodé, Guipure d'Art and Spiderwork.

DEVONSHIRE.--Lace made in Devonshire, England, and more frequently designated as Honiton. (See Honiton.) Formerly practically the whole female population of Devonshire were employed in lacemaking, and during the sixteenth and seventeenth centuries Belgian, French and Spanish laces were imitated in that country most successfully, as were also Venetian and Spanish needle-point, Maltese, Greek and Genoese laces. During the last century this variety in lacemaking has died out in Devonshire, and now only Honiton is made.

DIAMOND.--A lace made with a stitch either worked as open or close diamonds, and used in modern point and in ancient needle-points.

DIEPPE.--A fine point lace made at Dieppe, in France, resembling Valenciennes, and made with three threads instead of four. There were several kinds of lace made at Dieppe in the seventeenth and eighteenth centuries, including Brussels, Mechlin, Point de Paris and Valenciennes, but the true Dieppe point was eventually restricted to two kinds, the narrow being called the Ave Maria and Poussin, the wider and double grounded, the Dentelle à la Vierge. Dieppe and Havre were formerly the two great lace centers of Normandy, manufacturing in those cities having antedated that at Alençon, but the prosperity of the lace industry in both these cities was nearly destroyed at the Revolution, and though for a time encouraged under the restored Bourbons, and patronized by Napoleon III, machine-made laces have practically driven the old Dieppe point out of the market. {37}

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DRESDEN POINT.--A fine drawn lace, embroidered with the needle and made in Dresden during the latter part of the seventeenth and the whole of the eighteenth century. It was an imitation of an Italian point lace, in which a piece of linen was converted into lace by some of its threads being drawn away, some retained to form a pattern, and others worked together to form square meshes. The manufacture of Dresden point declined, and now laces of many kinds are made there, notably an imitation of old Brussels.

DUCHESSE.--A fine pillow lace, a variety originally made in Belgium resembling Honiton guipure lace in design and workmanship, but worked with a finer thread and containing a greater amount of raised or relief work. The leaves, flowers and sprays formed are larger and of bolder design. The stitches and manner of working in Honiton and Duchesse are alike.

DUNKIRK.--A pillow lace made with a flat thread, and whose manufacture was carried on in the districts around Dunkirk, a French seaport, in the seventeenth century. The best known kind was an imitation of Mechlin lace.

DUTCH.--A coarse, strong lace, made with a thick ground, and of plain and heavy design. It is a kind of cheap Valenciennes. Dutch lace is inferior in design and workmanship to those of France and Belgium.

ENGLISH POINT.--(a) A fine pillow lace made in the eighteenth century, generally considered to be of Flemish origin and manufacture, {39} and mistakenly called "Point d'Angleterre," as it was neither point lace nor made in England. Some writers, however, assert its English origin. Owing to the protection formerly given by law to English laces, large quantities of Belgium laces are believed to have been smuggled into England under the name of "Point d'Angleterre," so as to evade the customs duties. (b) At the present day the finest quality of Brussels lace, in which needle-point sprigs are applied to Brussels bobbin-ground. (See Application lace, also Point d'Angleterre.)

ESCURIAL.--A modern silk lace, made in imitation of Rose point. The patterns are outlined with a lustrous thread or cord.

FAYAL.--A delicately made and costly lace, hand-made by the women of the Island of Fayal, one of the Azores, off the western Spanish coast. The thread used in making this lace is spun from the fiber of the leaves of the aloe, a plant resembling somewhat the century plant. Great skill is necessary in the manufacture, which is restricted to a comparatively few women of the island, who have been trained to this work from childhood. The lace is marketed in France, chiefly in Paris, at a very high price, and it is very difficult for outside purchasers to buy it at any cost. The patterns are extremely elegant and original in design. Notwithstanding the delicacy of this fabric, it is remarkably durable.

FEDORA.--See Point Appliqué.

FALSE VALENCIENNES.--(a) Lace resembling Valenciennes in surface and in pattern, but without the true Valenciennes net ground, (b) A term for Valenciennes lace made in Belgium.

FLAT POINT.--Lace made without any raised-work or work in relief from raised points.

FLEMISH POINT.--A needle-point guipure lace made in Flanders.

FOOTING.--A narrow lace which is used to keep the stitches of the {40} ground firm and to sew the lace to the garment upon which it is to be worn. Sometimes the footing is worked with the rest of the design. It is used also in making lace handkerchiefs and for quilling effects.

GENOA.--A name originally given to the gold and silver laces for which Genoa was famed in the sixteenth and seventeenth centuries, but now applied to lace made from the fiber of the aloe plant, and also to Macramé lace.

GOLD.--Lace made of warp threads or cords of silk, or silk and cotton combined, with thin gold or silver gilt bands passing around it. It was anciently made of gold or silver gilt wire. It is now used chiefly to decorate uniforms, liveries and some church costumes, and occasionally for millinery. The metal is drawn through a wire, and, after being flattened between steel rollers, several strands of the flattened wire are passed around the silk simultaneously by means of a complex machine having a wheel and iron bobbins. The history of gold lace is interesting, as illustrating the oldest form of the lacemaker's art. From the days of Egypt and Rome down to medieval Venice, Italy and Spain, gold and silver gilt wire were used in making this kind of lace. The Jews in Spain were accomplished workers in this art, and in Sweden and Russia gold lace was the first lace made. In France gold lacemaking was a prosperous manufacture at Aurrillac and Arras, at which latter place it flourished up to the end of the eighteenth century. Gold lace was imported into England at an early date, and King James I established a monopoly in it. Its importation was prohibited by Queen Anne, on account of the extravagant uses of ornamentation to which it was put, and it was also prohibited in the reign of George II, to correct the prevalent taste for the foreign manufactured lace. The attempt was unsuccessful, for we are told that smuggling greatly increased. It became a "war to the knife between the revenue officer and society at large, all classes combined, town ladies of high degree, with waiting-maids, and the common sailor, to avoid the obnoxious duties and cheat the government." {41}

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GRAMMONT.--Grammont lace, so called from the town of Grammont, in Belgium, where it was originally manufactured, is of two kinds: (a) A cheap, white pillow lace. (b) A black silk lace, resembling the Chantilly blondes. These laces are made for flounces and shawls, and were used both in America and Europe. As compared with Chantilly, the ground is coarser and the patterns are not so clear-cut and elegant as the real Chantilly.

GUEUSE.--A thread pillow lace made in France during the eighteenth century. The ground of this lace was réseau, and the toilé was worked with a thicker thread than the ground. It was formerly an article of extensive consumption in France, but, after the beginning of the nineteenth century, it was little used, except by the poorer classes. It was formerly called "Beggars' lace."

GUIPURE.--It was originally a kind of lace or passement made of cartisane and twisted silk. The name was afterward applied to heavy lace made with thin wires whipped around the silk, and with cotton thread. The word guipure is no longer commonly used to denote such work as this, but has become a term of variable designation, and it is so extensively applied that it is difficult to give a limit to its meaning. It may be used to define a lace where the flowers are either joined by brides, or large coarse stitches, or lace that has no ground. The modern Honiton and Maltese are guipures, and so is Venetian point. But as the word has also been applied to large, flowing pattern laces, worked with coarse net grounds, it is impossible to lay down any hard and fast rule about it.

HENRIQUES.--A fine stitch or point, used both in early and modern needle-point work.

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{44} HOLLIE POINT.--A needle-point lace said to have been originally called holy point, on account of its uses. It was popular in the middle ages for church decoration, but was adapted to different purposes in the seventeenth and eighteenth centuries, and various makes of lace have since been called by this name.

HONITON.--A pillow lace originally made at Honiton, Devonshire, England, and celebrated for the beauty of its figures and sprigs. The manufacture is still carried on at that town, where there is a lace school, but a similar lace is made in the leading Continental centers of the industry.

(a) Honiton Application is made by working the pattern parts on the lace pillow and securing them to a net ground, separately made. At present it is customary to use machine-made net upon which hand-made sprays are sewn.

(b) Honiton guipure, which in common acceptation passes as Honiton lace, is distinguished by its large flower patterns upon a very open ground, the sprays being united by brides or bars.

Honiton braid is a narrow, machine-made fabric, the variety in most general use being composed of a series of oval-shaped figures united by narrow bars. It is of different widths, in linen, cotton and silk, and is much used in the manufacture of handkerchiefs, collars, and some varieties of lace.

The history of Honiton lace is more than ordinarily interesting, partly by reason of the doubt as to whether it really was a lace of English invention, or brought by the Flemish workmen to England. Some writers assert the former, but the stronger probability is that the art was brought from Flanders by Protestant immigrants, who fled from persecution. Whichever theory is held, the development of the industry at Honiton, and its close resemblance to other lacemaking processes in Belgium, Holland and France, afford an excellent illustration of the interdependence of lacemakers in all countries upon each {45} other as regards improvements resulting from new ideas. Honiton, if it was brought from Flanders originally, afterward repaid the debt by the beauty and celebrity of its designs, which served as examples for Continental lacemakers. The very attempt to protect its manufacture in England, by imposing prohibitive duties, only increased the desire to receive foreign suggestions, and to smuggle foreign laces into England, while the ingenuity of Continental manufacturers succeeded in copying the best Honiton designs, and even in improving upon them. The English lacemakers at Honiton were, however, at first unsuccessful in their attempts to rival the best laces of the Continent, especially Brussels. Although they had royal patronage, and the whims and lavish expenditure of the court of Charles II were at their service, together with protective duties, it was not until the reign of George II and George III that English lace substantially improved. This resulted from substituting the working of the true Brussels net ground, or vrai réseau, for the old guipure bar ground. The patterns were also formed of detached flower sprays, and soon the Honiton product became almost unrivaled. This superiority continued until about 1820, when machine-made net was introduced, and the old exquisite net ground, made of the finest Antwerp thread, went out of fashion by reason of the commercial demand for an inferior product. Honiton guipure is now the chief form of lace made at that town. As regards composition of the patterns of Honiton laces, as well as finish and delicacy of execution, much improvement has been manifested during the last twenty years by reason of better schools for design, and the rivalry promoted by international exhibitions.

IMITATION.--Machine-made lace of any kind. It often rivals real lace in fineness, but necessarily its mechanical regularity of pattern detracts somewhat from the artistic character of the result. Constant improvement in processes, however, has in some laces made the {46} resemblance to the hand-made product so close that even experts can hardly recognize the difference. If it were asked how the imitation lace can be distinguished from needle-point, the answer is that it is not made with looped stitches like the latter, nor has it the effect of plaited threads, as in pillow lace. Again, the toilé of machine-made lace is often found to be ribbed, and this lace is very generally made of cotton instead of the linen thread with which old needle-point and pillow lace is made. In the invention of substitutes for hand-made lace stitches Switzerland has been the leader, and by 1868 hundreds of machines, perfected from the invention of a native of St. Gall, were turning out a close imitation of the hand-made work. The most recent triumphs of this description are the imitations of Venetian point, in which a nearer approximation than ever before has been made to the needle-worked toilé, and also of the bride work. But, notwithstanding the marvelous results attained in machine-made lace, they are the triumphs of mechanism which cannot displace the superiority, and charm, and rarity, of the finest hand-made work. In the latter the personal equation, the skill and the loving, workmanlike fidelity of the individual toiler to his task impart a quality which dead mechanism can neither create nor supersede. Machine-made lace may be predominantly the lace of commerce, but hand-made lace is the natural expression and embodiment of a delicate and difficult art, and thus it will ever remain.

INSERTION.--A kind of lace, embroidery or other trimming used to insert in a plain fabric for ornamental purposes. It is made with the edges on both sides alike, and often a plain portion of the material outside the work, so that it may be sewn on one side to the garment for which it is intended and to the plain part of the lace or border on the other.

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{48} IRISH.--A term denoting a variety of laces made in Ireland, of which the two most individual and best-known kinds are the net embroideries of Limerick and the appliqué and cut cambric work of Carrick-ma-cross. Other varieties, which are imitations of foreign laces, are Irish point, resembling Brussels lace; black and white Maltese; silver, black and white blondes. The Limerick embroideries, for they cannot be strictly called lace, are an imitation of Indian tambour work, and consist of fine embroidery in chain-stitches upon a Nottingham net. Carrick-ma-cross, or Irish guipure, is a kind of so-called Irish point lace, made at the town of that name, but which is really nothing more than a species of embroidery, from which part of the cloth is cut away, leaving a guipure ground. It is not a very durable lace. The most popular patterns are the rose and the shamrock. Irish crochet is an imitation of the needle-point laces of Spain and Venice; that is to say, it resembles these laces in general effect. There is also a needle-point lace made of rather coarse thread, and used exclusively in Ireland and England. The manufacture of laces in Ireland is carried on by the cottagers, by the nuns in the convents, and in several industrial schools founded for that purpose. It has only become a popular industry within the last twenty-five years, as the costumes of the people in earlier times did not require lace ornamentation, and there was a widespread and deep-rooted aversion to the adoption of English fashions in clothing so long as certain sumptuary laws were unrepealed.

Afterward, under slightly more liberal conditions, English fashions were gradually adopted, and with them came the demand for a cheap Irish lace, as the foreign laces were too expensive. Not until 1743 was there any official attempt to encourage the industry, but in that year the Royal Dublin Society established prizes for excellence in lacemaking. This attempt lasted until 1774. In 1829 a school was opened in Limerick for instruction in the now celebrated lace or embroidery first made in that town; but in the famine years of 1846-48 more effectual measures were taken to spread a knowledge of the art, and several schools {49} were opened in different parts of the country. The Irish have never made a lace that can in any sense be called national, but great skill has been developed in the imitations of the foreign fabrics, and the Irish name has been so closely associated with some of them that they are popularly considered a native Irish product. The exhibition of Irish laces at the Mansion House in London in 1883 added materially to the reputation of these fabrics.

IRISH TRIMMING.--A plain-patterned, woven lace, formerly used in ornamenting muslin underwear, pillow slips and the like.

JESUIT.--A modern needle-point lace, made in Ireland, and so called on account of the tradition as to the introduction of its manufacture after the famine of 1846.

KNOTTED.--A term applied to the old Punto a Groppo, of Italian manufacture originally, and consisting of a fringe or border made of knotted threads. It is commonly called Knotting in all English-speaking countries. The modern Macramé is made like the knotted laces.

LILLE.--A lace made at Lille, in France, noted for its clear and light single réseau ground, which is sometimes ornamented with points d'esprit. It is a lace of simple design, consisting of a thick run thread, enclosing cloth-stitch for thick parts, and plaitings for open parts. The old Lille lace is always made with a stiff and formal pattern, with a thick, straight edge, and with a square instead of the usual round dots worked over the ground. Lille was distinguished as a lacemaking city as far back as 1582, and from that year until 1848 the industry was successful, but since the latter year there has been a steady decline, as more remunerative occupations have gradually drawn away the younger workers from lacemaking. The Lille pattern was similar to that of the laces made at Arras and Mirecourt, in France, and in Bedfordshire and Buckinghamshire, in England, but none of the latter could rival the famous single réseau ground. {50}

LIMERICK.--(See Irish Lace.)

LUXEUIL.--A term applied to several varieties of hand-made lace produced at Luxeuil, France. They are stout, heavy laces, mostly made with the use of braid, and are much used for curtains and draperies.