Part 4

The Venetian point à réseau was made from about 1650 in Venice and Burano. The cap shown in No. 56 has a beautiful flowing design of a scroll with flowers and leaves, and brides connecting some portions of the design. The main ground is of small mesh réseau worked the length of the lace, which is often the case in Venetian work, though I have never seen it in Alençon lace, the réseau being, as far as I know, usually worked across the lace by the early French workers. (Later, the réseau of the Alençon lace was worked obliquely, as can be seen by examining Plate 67, and the specimens I have seen of modern Alençon are also worked in this way.)

Plates 59 and 60 show interesting specimens of this very rare Venetian lace. No. 2, in the latter plate, is probably a specimen worked in France.

The ground of No. 59 is of brides picotées arranged into hexagonal meshes, a ground which is chiefly associated with the point de France, and this specimen was no doubt from Alençon.

About 1660 important centres of lace-making were developed and subsidised in France by the Government at Alençon, Paris, Sedan, and other places, and the French needle-point then made was scarcely to be distinguished from the Venetian. This was to be expected, as the first workers of lace of this kind in France were imported from Venice. In a letter to Colbert, the minister of Louis XIV., dated 1665, Catherine de Marcq writes, "I am starting for Alençon with four Venetian lace workers."[N]

[N] Bibliothèque Nationale, "Lettres à Colbert," vol. 132, fo. 14 bis.

As our King Charles II. revived his father's edict against foreign lace at about the same time (1662), it would almost seem a concerted action to check the Italian and Flemish superiority in the fabrication of the finest lace, whether needle- or bobbin-made. But although the French were successful in part in rivalling the Venetian needle-point, the finest bobbin-lace of Flanders was never approached by the English workers, and now, of course, can never be equalled, as the secret of the thread used in the finest laces, such as Angleterre, Binche, etc., is lost.

Nothing was too ambitious for the Venetian or French designers of the seventeenth century. Coats of arms under canopies, scriptural or classical figures, wreaths and vases of flowers, were frequently worked into the same design for a piece of lace. The subsequent changes of design which took place in the Alençon lace are most interesting to note, the patterns gradually losing their Venetian character. In No. 61 vases and pots of flowers are introduced, and the floral patterns of the specimens which follow become more and more realistic in drawing.

Towards the end of the reign of Louis XVI. enormous quantities of lace were required for the new fashion of frills and flounces, and the change in design is much marked by the adoption of borders of very light effect, the réseau ground being spotted with little sprigs, slender riband devices, and dots or pois, whence the term semé de larmes. (_See_ Plate 66.) In the numerous specimens shown, the changing fashion can be marked, until in Plates 64 to 67 the Venetian character of the designs of Alençon needle-point has quite disappeared. The patterns are practically designed for borders only; and the réseau is, as I have said, spotted with tiny sprigs, or dots. The expression semé de larmes is said to have arisen in allusion to the misfortunes of Queen Marie Antoinette, by whom much lace of this style was worn.

In needle-point made at Argentan we find a style and design such as we should expect from its close neighbourhood to Alençon. The sole peculiarity of the Argentan workers was that, not content with the almost incredible toil involved in the lace of Alençon, they actually worked the whole réseau of their lace over in buttonhole stitch, thus making those compactly stitched hexagonal meshes which are distinctive of this wonderful fabric. The Argentan réseau was sometimes introduced into lace made at Alençon and elsewhere. The specimens, Nos. 68 and 69, are representative of this rare lace.

The two specimens--one of silk and one of linen thread, Nos. 1 to 2, Plate 70--I consider to be Portuguese, from the curious though rather handsome and effective jumble of design which is often found in Spanish and Portuguese work.

The Brussels needle-point of No. 3, Plate 70, and Plate 71 and Plate 72, must seem poor and thin when compared to the preceding laces. But it is very beautiful in its own delicate style, and has been called the laciest of laces. The réseau is very fragile, hence the name sometimes given of point de gaze. The designs shown have not the complete realism aimed at in the Brussels lace of the present day, but have a charm of their own which I confess attracts me more than all the brilliant improvements of the last sixty years.

The two specimens of darned work on bobbin net, Plates 73 and 74, especially the latter, are remarkable for the beauty and variety of the work.

Plate 75 and Plate 76 have specimens of the beautiful and intricate work called Tönder muslin lace made in Denmark in the eighteenth century. The following, Plate 77, is lace of the same kind but made in South Germany. I obtained these pieces in Leipzig forty years ago.

Number 2, in Plate 76, has a design and fillings which almost recall those in the finest Alençon laces of the late seventeenth century.

Plate 78 has four specimens of eighteenth-century Dutch linen lace made for caps; it is called Gouda lace; the fillings are very well done.

In the Manila fibre lace, Plate 79, No. 1, the ground is entirely worked over by the needle into small squares, giving the appearance of network. This is done in the same way as the earlier tela tirata, the threads drawn together and sewn with wonderful regularity, without any thread being cut.

The two specimens of needle-point, Plate 79, Nos. 2 and 3, made entirely of human hair, are rather difficult to render in a photograph. They are evidently copied from Venetian patterns, and the various shades of hair used have a very pretty effect, while the execution of such fine work in so fragile a material must have demanded extreme skill and deftness of hand. They were made about 1800, at the Bar Convent, York.

A very interesting piece of old English needle-point work is No. 80, a cap of Holy, or Hollie, work. A close réseau is worked by using a stitch very similar to buttonhole stitch, and the effect is of a texture very like the cambric it adorns. The pattern is made by missing stitches, forming small holes.

Hollie lace was chiefly used to decorate infants' caps, etc., for baptism, and the pot with flower, reminiscent of the Annunciation, the Holy Dove, etc., were devices frequently introduced into the patterns. Collars of this work are mentioned in Queen Mary Stuart's inventories.

Number 2, Plate 80, is a specimen of Limerick run lace.

Three pieces of Irish needle-lace, Nos. 1 and 2 of Plate 81, are praiseworthy as very early specimens of this industry. The designs are nondescript, but many of the stitches are well executed. A bobbin-made tape is introduced in No. 1. No. 3 is the so-called Carrickmacross lace; a muslin and machine net foundation is neatly outlined by fine whipped stitches; and buttonhole-stitch brides picotées are used to join the patterns after the background is cut away. This lace was first made after the famine of 1846.

BOBBIN-MADE LACE

The earliest bobbin lace was made by using the same threads for the whole of the lace, thus, when the pattern had been pricked out and the requisite number of bobbins charged with thread, the plaiting and twisting the threads into lace was begun.

The starlike effect in the old Malta laces was very simply made by taking fourteen bobbins to work a strip of the required length; this was then joined up as required into a pattern of more or less regular and starlike form, partly, no doubt, to imitate the older geometric designs. The same bobbins were used throughout. _See_ Plate 83.

The same style of making is more beautifully carried out in the two patterns of Plate 84. The lace in No. 1 is unfortunately very much worn, but the way the bobbin-made strip is arranged to make flowerlike forms is very ingenious; the ground is completely covered and yet nothing is awkward or crowded. No. 2 is also a very fine example of this simple bobbin work. I consider both to be early Venetian.

Number 1 of Plate 85 is a typical pattern of the lace which, originally no doubt inspired by the East has become universal under the name of "peasant" lace. We find it in Russia, Hungary, Dalmatia, Spain, Sicily, Sardinia, in fact wherever lace was made at all, this pattern with slight variations is supreme. Ceylon and India produce very similar lace, as also does South America. I have therefore made no special reference to these peasant laces, as although quite satisfactory from the point of view of utility, they are only otherwise interesting as the product of an industry much to be encouraged.

Numbers 2, 3 and 4, on Plate 85, may be considered as showing a transition state, as in all three there is an attempt to add a background to the toile or tapelike pattern.

Number 4 is a specimen of old Maltese lace now no longer made.

Number 1 in Plate 86 is of reticello pattern and a very successful imitation of the needle-point linen lace.

Number 2 is a fine example of the same style worked into points or pizzi, and is probably Venetian.

Numbers 3, 4 and 5, are examples of Genoese plaited lace.

Number 5 is especially notable as recalling the Eastern tradition.

Plate 87 shows two specimens of Genoese lace. No. 2 is what is sometimes called collar lace, and sometimes Vandyke lace, from the very general use of it in portraits by that great painter. No. 1 is Genoese fringed lace. In both the starlike groups of little "grains of corn," as they are called, are characteristic of Genoese lace, as they are now considered to be of Maltese. But the Genoese patterns were only introduced into Malta and Gozo about sixty or seventy years ago. One can but be glad of the success of an industry so profitable to the industrious peasantry of those islands, but it is impossible not to regret the total disappearance of the old style of lace-making. The old patterns are not in demand for the modern market, which is chiefly French, and the lace is principally made with silk imported from France.

I find that it is often supposed that no specimens exist of ancient Maltese lace. It is, however, well known there that lace was made in Malta and Gozo at all events as early as about 1640. The early flounce (Plate 80) was bought in Valetta more than fifty years ago, and inquiries made convince me that it was made, as my Maltese informant expressed it, "before the time of Lascaris." The Maltese often use the expression "time of Lascaris" or of "Carafa," "Manoel," etc., to date anything. These were the names of different Grand Masters before the islanders invited English occupation in 1800. There is no doubt that the disturbance caused by the French occupation affected lace-making so that it fell into abeyance, but before that time great quantities of these simple, strong and useful laces were made, principally, of course for church use. The narrower edgings (Plate 98) were used for the fine white lawn head-dresses worn with the beautiful national gala dresses, now only preserved by the great Maltese families as relics of the past.

Number 1, Plate 88, is a very curious early pattern called gotico in Italy.

Numbers 2 and 3 are Sicilian peasant laces.

Number 4, Tuscan peasant lace called piedi di gallini (fowls' feet).

Number 5 is a Tuscan peasant lace called zeccatello.

Plate 89 illustrates six peasant laces from Russia, Madeira, Portugal, Ceylon, and Le Puy, made before 1850.

In the Genoese laces in Plates 90 and 91 we have examples of what may be called the second manner of bobbin lace. The patterns of conventional sprays and flowers are made on the pillow separately, and afterwards joined by brides picotées, also bobbin-made. In the lace made in this second manner, in which many laces were made at successive periods in Milan, Genoa, Brussels and Honiton, the threads forming the connecting brides, and later the réseau, can be detected by looking on the reverse of the lace, as they are seen passing behind the patterns. An example of this carrying threads across is shown in the Honiton lace, Plate 118.

Plate 92 represents one of the finest examples I have seen of Genoese bobbin lace, trine a fuselli. The design is of gracefully arranged scrolls and flowers, and includes five birds which are introduced in the most spirited manner. The several tapey shapes, made separately and joined by brides, form the complete design or pattern, the fillings between them are very good, and include the starlike work characteristic of Genoa. This illustration is on a reduced scale in order to show the pattern of the lace. Plate 93 represents the exact size of the same lace.

Plate 94 is a flounce of Milanese bobbin lace, trine a fuselli. The pattern is of scrolls and flowers, a heraldic crowned eagle and small birds, with various fillings in the spaces enclosed. A very strong réseau connects the whole.

Plate 95, a flounce of the same lace, has a very beautiful flowing design of scrolls, with a background of the characteristic réseau of Milanese work.

The Milanese alb flounce (Plate 96) is a very fine piece of much later date. The spaces enclosed by the toilé or tapey parts are filled by bobbin-made fillings or à jours, of various designs, a very strong and evenly made réseau connects the whole.

The two specimens of Italian lace, Plate 97, are of very elegant design; they also have the fond chant pattern of réseau. This style of lace was made both in North and South Italy up to sixty or seventy years ago, but coarser thread was then introduced with disastrous effect.

In the narrow Maltese lace of Plate 98 we have in No. 1 the réseau called mariage; this lace, and Nos. 2 and 3, were made in Malta about 1780.

Turning now to the bobbin-made lace of Flanders, I begin with No. 1 on Plate 99, which has no less than three characteristic lengths joined to form one border. The straight edge, the rather abrupt design, and the réseau cinq trous, indicate a Flemish make of lace. The pattern No. 2 has the clear whiter thread outline. This lace is sometimes called Trolle Kant.

The cap, Plate 100, is of later date; the réseau cinq trous, worked with a very opened out effect, can be observed in the fillings.

The early Mechlin lace resembles in design the point d'Angleterre, and, indeed, also the Alençon lace of the same date. It is most interesting to compare, say, the Mechlin, Plate 101, with the d'Angleterre, Plate 104, and the Venise à réseau of Plate 57. Yet the makings of the three laces are absolutely different--the Venice entirely by needle; the Angleterre is made in two different stages of bobbin work; the Mechlin, as is always the case, was made in the third manner, the threads originally started on the bobbins carrying the work to a finish, and ingeniously sufficing for toilé, réseau, and fillings. Later, Mechlin, for reasons already stated, became a mere border, as shown in Plate 102. It is no longer made. This is also the case with Binche lace (Plate 103). A very beautiful fond de neige, used sometimes as a ground and sometimes as a filling or à jours, distinguishes this lace. The work is very fine and close, the edge is usually straight. It is sometimes called fausses Valenciennes.

Brussels gives its name to a variety of beautiful laces. The most renowned is the point d'Angleterre, made in great quantities during the later part of the seventeenth century for the English market. The designs, as on Plate 104, recall those of the Venise à réseau and of Alençon of the same period; the beautiful flowing garlands, the waved edge with varied fillings, the brides picotées forming the hexagonal réseau, will bear comparison with the Venice lace of Plate 57, and the Alençon of Plate 63. This truly wonderful point d'Angleterre has a very fine toilé; the flowers and scrolls were first made on the pillow and then joined by the réseau (vrai Bruxelles), long used for the highest class of all Brussels bobbin-made laces. Lace of this fineness is no longer made since the fine handspun thread cannot be obtained.

Brussels lace followed the fashion which, as we have seen, obtained in France. In the late eighteenth century only a border was necessary, as lace was worn in a profusion of flounces and frills; and Plate 106 shows a border very similar in design to the Alençon of the same date. The delicate flowers and leaves are joined by the fine réseau mentioned above--namely Brussels vrai réseau, a title employed to distinguish it from machine-made net. This last was introduced during the first quarter of the nineteenth century, and soon gave a different character to Brussels lace, when the flowers made on the pillow were sewn (appliqué) to a simple net made sometimes by hand, but more often by machine.

In the Antwerp lace scarf, No. 1, Plate 107, the fond chant or point de Paris réseau is used, and here we have an example of Potten Kant, or pot lace, so-called because in early times the subject of the Annunciation, with the pots of lilies usually added, was introduced into the designs for it. The indication of flower-pots certainly occurs in many pieces, though not in mine, and no piece exists, as far as I know, with figures.

The cap of Lille lace, No. 2, Plate 107, has the simple twisted thread réseau characteristic of this and of Arras lace. It is not to be distinguished from the réseau often used in Buckingham lace.

We must again notice how similar the design in the fine old Valenciennes of Plate 108 is to that of Alençon needle-point of the same date. The réseau is closely plaited, and the toilé of the beautiful patterns compact and clear in definition. No outline or cordonnet is used in Valenciennes lace. The early lace has what is called the round réseau, the later Valenciennes made at Yprès has a square réseau (Plate 109). This latter lace is still made, but has not the charm of the eighteenth-century lace.

The lace (Plate 110) was probably made in Paris. It is very curious, with heraldic device of an eagle with a shield; dogs also, and stags, are introduced. It may have been made for a wedding about 1690. This lace is often described in the inventories of old families in France as dentelle de chasse.

The Blonde lace (Plate 111) was made in Chantilly for a wedding in 1820.

Plate 112 gives three specimens of bobbin-made lace, with the so-called maglia di Spagna, or Spanish mesh. No. 1 is of linen thread, with a coarser thread introduced; but one should remark that this thread is not used to outline the pattern as in Flemish lace. I have not met this réseau in any Flemish lace. Nos. 2 and 3 are bobbin-made silk lace, and were ruffles for a Court dress-coat.

The black mantilla, Plate 113, has the fond chant réseau used as a filling, and, although bought in Madrid in 1840, it may have been made in France.

The difficulty of working the materials of gold and silver lace is so great that absolute regularity of either pattern or réseau is impossible. This, however, in my opinion, only renders these rare laces more interesting. Both metals are used in the characteristic specimen of sixteenth-century Spanish lace, No. 1 in Plate 114.

Number 2 is a silver seventeenth-century lace from Genoa, the edge is a shell pattern, and several thicknesses of the metal-covered silk thread are used. Plate 115 has four patterns of seventeenth-century gold and silver lace made in Italy, probably at Lucca.

The Brussels lappet, made in 1849, Plate 116, was then considered one of the finest ever made, the pattern is pretty and realistic, and foreshadows the style since prevalent.

The Bedfordshire lappet, on the same plate, is far inferior in execution, but was made by a cottager at about the same time and has done good service.

Two patterns of Buckinghamshire lace, Plate 117, made about 1790, show more even workmanship than is generally seen in this lace. No. 2 has a likeness to the Mechlin and Lille lace of the same date; No. 1 is more like the Flemish Trolle Kant, and was, in fact, called Trolly lace. It will be observed that the fillings have the six-pointed star, or fond chant réseau, so prevalent in pillow lace.

There is a tradition that the art of bobbin-made lace was imported into Devonshire by emigrants from the Netherlands, flying from the tyranny of the Duke of Alva. Mr. Seguin, in his learned book, contends that the troubles in Flanders had completely destroyed the lace industry before Philip II. of Spain sent the notorious Duke of Alva there. I believe, however, both that lace-making existed before that time in England, and that the emigration had a beneficial effect on all English industry, although not an initial one.

I have given both the right and wrong side of the Honiton lace cap-border in Plate 118, to show the threads of the connecting réseau, passing behind the patterns, the thread making the brides picotées also passes in the same manner.

Plate 119 shows a remarkably fine specimen of Honiton bobbin lace. The flowers are made separately in this specimen, and are afterwards joined by twisted brides claires made with a needle. The design is of birds, butterflies, and the rose, shamrock, and thistle. It was, perhaps, made to commemorate the Union.

Plate 120 is of Honiton sprays applied to machine-made net.

Space does not admit of any attempt to give a complete Bibliography. I find that a mere list of books that I have consulted at different times would be too long. I will therefore only mention that the works of the following authors would be very valuable to those intending to pursue this subject.

A fairly complete list of Italian and German pattern-books will be found in Mrs. Bury Palliser's "History of Lace." And the works of Mr. Alan Cole, Dr. Franz Bock, Father Braun, S.J., Dr. Moritz Dreger and Dr. Ilg of Vienna, Dr. Daniel Rock, Mons. Seguin, and Mr. Verhaagen have all been especially useful; and while preparing this for the press I have seen with great delight the splendid book of illustrations of Italian needle lace compiled by Signora Elisa Ricci.

In concluding these remarks, I must say that I owe the first idea of writing on this subject to my learned and accomplished husband, Mr. John Hungerford Pollen. Much information was given me in long bygone days by Dr. Daniel Rock, and by another old friend, Mrs. Bury Palliser, who gave me one of my first specimens in 1862.

At the present time I owe many thanks for advice and supervision to Mr. Alan Cole, whose knowledge of lace is unsurpassed.

PLATES