,transcriber's ,notes3 ,inconsistencies in spelling 7for example fogliami vs4 foliami7 have generally been preserved as originally printed4 ,all corrections made to the text are listed at the end of this ebook4 ,,seven ,,centuries ,,of ,,lace ,,by ,,mrs4 ,,john ,,hungerford ,,pollen ,,with ,a ,,preface ,,by ,,alan ,,cole1 ,c4,b4 ,,and #abj ,,full-,,page ,,illustrations ,,new ,,york3 ,,the ,,macmillan ,,company ,,london3 ,,william ,,heinemann ,,mcmviii ,printed in ,england ,,preface ,,dear ,,mrs4 ,,pollen1--,having examined the admirable photographs to your lace collection1 and the letterpress which you have written to accompany them1 with a view to meet your wish that ,i should make revisions and suchlike where ,i thought necessary1 please allow me in the first place to thank you for having entrusted me with what has been a very congenial work1 and to say that ,i really have but few suggestions to offer4 ,such as they are1 they amount to little more than amplifying1 and slightly modifying here and there1 what you have written4 ,your glossary of terms used in describing lace and cognate work is very full1 and contains several ,italian terms which strike me as being unquestionably of technical value in supplementing information put forward in the best ,english works on lace-making4 ,upon the introductory part of your attractive letterpress you also asked me to freely express an opinion1 giving it such a shape as to make it suitable for use as a preface to your work4 ,i now do this with considerable diffidence1 notwithstanding that during a good many years ,i have had a large number of specimens of lace before me1 including probably some of the finest ever made4 ,you had the initial advantage of inheriting lace of incontestable origin and antiquity1 and also of finding specimens in different countries where facts and traditions of their manufacture could be ascertained on the spot4 ,for so long a period as that from1 say1 the sixteenth to the eighteenth centuries1 men derived as much satisfaction in acquiring and wearing laces as women then did4 ,but autres temps1 autres murs1 and closely as our sex may at one time have run yours in the appreciation of lace1 yours has outstripped and beaten ours4 ,this1 of course1 is as it should be1 for skill in all forms of needlework and dainty thread-work has practically been the monopoly of women from the time of ,penelope forwards1 notwithstanding the strict observance of the rule laid down by ,st4 ,benedict that the members of his ,order should be expert in the use of both pen and needle 7as they were for centuries72 or the records of the seventeenth century1 that boys attended lace-making schools in ,devonshire1 and that ,english tailors and labouring men often made good saleable lace in their leisure time during the eighteenth century4 ,with your suggestion that many sorts of white thread ornamental work1 from which a development of needle-made and bobbin-made laces can be traced1 are of earlier date than the sixteenth century1 ,i entirely agree2 and in corroboration of this1 various public collections1 within comparatively recent times1 have secured from disused ancient ,coptic cemeteries in ,egypt fragments of elaborate nettings and ,saracenic examples of that kind of work which you identify with the ,italian ,sfilatura and punto a stuora4 ,this last-named stitch is virtually the stitch used in tapestry-making1 and it often appears on a small scale in intricate1 drawn and whipped thread ,persian linen embroidery1 the practice of which is assuredly of great age4 ,these methods of stitching for ornamental purposes appear to have been well known in countries coming at some time or another under the direct influence of ,saracenic embroiderers2 but it is interesting to note they are not identical in character with that of buttonhole stitching1 which plays so important a part in lace-making4 ,the essential feature of the fabric now recognised as lace lies in its being wrought independently of any visible foundation such as linen or net2 it is essentially a textile ornamentation depending upon special design1 which can be rendered1 so far as needle-point lace is concerned1 by variations of the buttonhole stitch--the punto a festone in ,italy1 and point nou in ,france--which is distinctively a looping1 and not a whipping or weaving1 stitch2 and so far as bobbin-made lace is concerned1 by twisting and plaiting threads together4 ,the genesis of ornamental design for such laces is1 ,i fancy1 pretty well established through the classification of kindred designs1 beginning with those involving simple abstract and geometric forms2 these are gradually succeeded by others with conventional and more varied devices1 suggesting plant and animal life2 and these followed by others in which definitely realistic renderings of actual things are aimed at4 ,thus1 very broadly1 we have three typical groups1 and of the first your photographs ,nos4 #c1 #f1 #g1 with #bi1 #cj1 and #hf1 give examples2 of the second group there are examples in photographs ,nos4 #aa1 #ab1 #af1 #ag1 c42 and the third group is illustrated by ,nos4 #cf and #cg1 #ij to #ic1 and #aaf4 ,the sixteenth-century ,italian pattern books are mainly concerned with designs for lace of the first group as distinct from embroidery on linen or net4 ,the period of the second group is established by the laces one finds represented in paintings by such painters as ,vandyck1 ,rembrandt1 ,gonzales ,coques1 ,mignard1 and ,hyacinthe ,rigaud1 whilst the generality of the designs in the third group is safely attributable to designers employed towards the end of the seventeenth century1 and during the eighteenth by the ,royal or ,state subsidised manufactories of ,france1 about which several local records1 quoted by ,mademoiselle ,despierre in her book on the ,points d',alenon1 are particularly interesting4 ,laces of rather indeterminate design1 such as those which we call peasant laces1 have1 as a rule1 a quaint treatment of pattern1 the origin of which is1 ,i think1 almost invariably to be referred to some carefully designed prototype2 but the charm of such peasant laces lies chiefly in the goodness of their texture combined with a distortion of forms1 which arises from the workers' navet in misunderstanding the parent design4 ,the really valuable work was that of sympathetic and skilled workers1 done directly from well-designed patterns4 ,now the origin of needle-point and bobbin-made laces is1 ,i think1 ,occidental1 or ,european1 and not ,oriental2 and the three broadly indicated pattern groups are accompanied by three equally recognisable sorts of texture4 ,the first of them is comparatively stiff and wiry2 the second more lissom and inclined to tapiness2 and the third1 still more lissom1 becoming gauzy and filmy in quality4 ,delicate1 filmy laces1 common to the eighteenth century1 could not1 therefore1 ,i think1 have been dreamt of in the sixteenth century2 neither at that time was there a conception of the tapey1 and at times linen-like1 laces made in the early part and middle of the seventeenth century4 ,hence we seem able to rely upon an apparent procession of design types1 running concurrently with an equally apparent procession of qualities of texture4 ,by keeping in mind these combined successions of pattern and texture one is enabled not only to classify laces1 but also to account for later survivals of old types1 as well as for the approximate dates when old and new types severally have arisen4 ,it is evident that the ,french word dentelle1 which is a comprehensive term for laces1 came from the dents1 or tooth-shaped borders and edges of lace made soon after the beginning of the sixteenth century4 ,at the same time1 there had been during two centuries earlier1 a fashion of jagging or cutting into points or scallops the borders of cloth silk and velvet costumes1 gowns1 hoods1 and long sleeves4 ,but when the notably increased use of linen shirts1 with cuffs and small collars just showing beyond the outer garments occurred in the sixteenth century1 white and coloured thread purlings and taut fringings or edgings were made for them1 and so came to be called points1 dents and punti as the cut borders of cloth costumes had been4 ,the latter fashion gradually obscured the former1 and thus the terms point1 dent1 and punto were almost solely applied to ornamentation in real lace or in lace-like fabrics4 ,in still later times1 as you notice1 point lace is generally understood to be the designation of needle-point lace1 or dentelle l'aiguille1 as distinct from the dentelle au fuseau1 bobbin or pillow-made lace4 ,i have been tempted to touch upon this matter of lace points1 vandykes1 and scallops because the border of the alb1 said to have been worn by ,pope ,boniface ,,viii41 consists of scallops of bobbin-made thread-work1 and of a type of pattern and texture which ,i should say cannot very well be earlier in date than the middle of the sixteenth century4 ,on the other hand1 the ornamental thread-work done in punto di treccia and punto a stuora1 which fills large and small squares and remarkable five-sided figures1 seems to have some ,saracenic or ,moorish character1 and may possibly not be assignable to the sixteenth century with the same cogency of inference as applies to the scallops of ,italian merletti a piombini on the border of the alb4 ,whatever may be the result of further inquiries concerning the tradition of ,pope ,boniface having worn this alb1 and therefore establishing its date as being late thirteenth century1 ,i hope that you will retain it as an illustration in your book4 ,whilst the majority of your photographs are from generally well-known varieties of lace1 those from the earlier drawn thread-works and darning upon different makes of square mesh1 net1 or grounds of radiating1 intertwisted threads1 are particularly interesting--and the entire series1 accompanied by your descriptions1 forms a most valuable encyclopdia of designs and textures to be seen in laces and cognate fabrics4 ,believe me to be1 ,yours very truly1 ,,alan ,s4 ,,cole4 ,,contents ,,page ,,preface ,,by ,,mr4 ,a4 ,,cole v ,,introduction #c ,,glossary #i ,,needlepoint ,,lace #ba ,,bobbin-,,made ,,lace #dc ,,index #ee ,,list ,,of ,,plates ,,plate ,i4 ,the ,alb1 preserved at ,assisi1 said to have been worn by ,st4 ,francis ,,ii4 ,the ,alb which is said to have been worn by ,pope ,boniface1 ,a4,d4 #abih ,,iii4 7#a7 ,detail of the ,alb of ,pope ,boniface ,,viii4 7#b7 ,detail of the ,assisi ,alb ,,iv4 ,three ,pieces of ,needlework from ,egypto-,roman or ,coptic ,tombs of the ,second and ,third ,centuries ,v4 7#a7 ,a ,piece of ,bobbin-made ,lace 7#b7 ,darned ,work with ,white ,linen ,thread 7#c7 ,portion of a ,mummy ,cloth ,,vi4 ,two ,examples of ,italian ,tela ,tirata and ,punto ,reale ,,vii4 ,an ,example of ,early ,lacis or ,sfilatura ,,viii4 ,seven ,enlarged ,stitches used in ,lacis and ,linen ,lace ,,ix4 ,five ,enlarged ,varieties of ,rseaux ,x4 ,seven ,enlarged ,varieties of ,rseaux ,,xi4 ,border of ,lacis or darned ,square ,mesh ,net ,punto a ,tela or ,linen-,stitch ,,xii4 ,border of ,square ,mesh ,lacis ,,xiii4 ,two ,examples of ,lacis ,work ,,xiv4 ,part of a ,quilt ,,xv4 ,lacis ,table-,cover ,,xvi4 ,no4 #a4 ,vandyke ,border of ,lacis ,no4 #b4 ,part of a ,quilt of ,squares of ,lacis ,,xvii4 ,border of ,lacis with the ,twisted ,mesh called ,buratto ,,xviii4 ,two ,borders of ,lacis called ,buratto ,,xix4 ,band of ,tela ,tirata or ,drawn ,work ,,xx4 ,part of a ,cover of ,tela ,tirata or ,drawn ,work ,,xxi4 ,band or ,flounce of ,tela ,tirata or ,drawn ,work ,,xxii4 ,an ,infant's ,swaddling ,band or ,fascia of ,tela ,tirata ,,xxiii4 ,band of a ,variety of ,tela ,tirata ,,xxiv4 ,linen ,cloth with ,border ,,xxv4 ,two ,bands ,,xxvi4 ,pyx ,veil of ,tela ,tirata1 or ,drawn ,thread ,work ,,xxvii4 ,a ,portion of the ,pyx ,cloth1 to show both sides of the work ,,xxviii4 ,three ,cloths1 ,fringed ,,xxix4 ,two ,borders ,,xxx4 ,two ,borders ,,xxxi4 ,two ,examples ,,xxxii4 ,chalice ,cover of ,reticello and ,punto in ,aria ,,xxxiii4 ,a ,reticello ,pattern worked in very fine ,punto in ,aria and ,punto ,avorio ,,xxxiv4 ,scalloped ,border of a ,corporal of ,flat ,needle-,point ,lace1 called ,punto in ,aria ,,xxxv4 ,a ,cloth with ,insertion and ,border of ,punto in ,aria ,,xxxvi4 ,needle-,point ,border of ,flat ,needle-,point ,lace1 called ,punto in ,aria ,,xxxvii4 ,ornament for the ,neck of an ,alb of ,punto in ,aria ,,xxxviii4 ,border and ,edging ,,xxxix4 ,a ,lady's ,camisia or ,shirt ,,xl4 ,bed-,cover of ,cut ,linen ,lace 7,tela ,tagliata a ,foliami and ,punto a ,festone7 ,,xli4 ,rabat of ,flat ,needle-,point ,lace ,brides ,,xlii4 ,part of a ,dress ,trimming of very fine ,needle-,point1 called ,rose-,point ,,xliii4 ,parts of a ,collar of ,needle-,point1 called ,rose-,point or ,point de ,venise ,,xliv4 ,stomacher 7for a ,dress7 of ,needle-,point1 called ,rose-,point or ,point de ,venise ,,xlv4 ,part of a ,flounce of ,needle-,point1 called ,rose-,point or ,point de ,venise ,,xlvi4 ,part of a ,beautiful ,flounce of ,delicate ,needle-,point of ,raised or ,rose-,point ,lace1 known as ,point de ,venise ,,xlvii4 ,portion of ,,xlvi41 actual size ,,xlviii4 ,paten ,cover of ,needle-,point ,raised1 or ,rose-,point ,lace1 very similar in style and gracefulness to that of ,no4 ,,xxxiii4 ,,xlix4 ,a ,portion of ,,xlviii41 magnified to show the stitches ,l4 ,three ,borders of ,delicate ,needle-,point ,raised1 or ,rose-,point ,lace ,,li4 ,deep ,flounce of ,needle-,point ,lace ,brides ,picotes1 usually called ,point de ,france ,,lii4 ,portion of ,,li41 enlarged ,,liii4 ,border of ,needle-,point ,raised ,lace1 called ,spanish ,rose-,point ,,liv4 ,two ,specimens of ,needle-,point ,raised ,lace1 called ,spanish ,rose-,point ,,lv4 ,two ,examples of ,needle-,point ,lace ,,lvi4 ,cap of ,needle-,point ,lace ,rseau ,,lvii4 ,a ,border of ,needle-,point ,lace1 ,venetian ,point ,rseau ,,lviii4 ,two ,examples of ,venetian ,point ,rseau ,,lix4 ,a ,border of ,needle-,point ,lace1 possibly ,venetian1 though the style is ,french ,,lx4 ,two ,patterns ,needle-,point ,lace ,rseau1 called ,point ,d',alenon ,,lxi4 ,two ,borders of ,needle-,point ,lace ,rseau1 called ,point ,d',alenon ,,lxii4 ,four ,borders of ,needle-,point ,lace ,rseau1 called ,point ,d',alenon ,,lxiii4 ,cap-,border of ,needle-,point ,lace ,rseau1 called ,point ,d',alenon ,,lxiv4 ,beautiful ,lappet of ,needle-,point ,lace ,rseau1 called ,point ,d',alenon ,,lxv4 ,three ,patterns of ,needle-,point ,lace ,rseau1 called ,point ,d',alenon ,,lxvi4 ,two ,patterns of ,needle-,point ,lace ,rseau1 called ,point ,d',alenon ,,lxvii4 ,cape of ,needle-,point called ,point ,d',alenon ,,lxviii4 ,two ,borders of ,needle-,point ,lace ,,lxix4 ,lappet of ,needle-,point ,lace1 called ,point ,d',argentan ,,lxx4 ,three ,specimens of ,needle-,point ,lace ,,lxxi4 ,lappet of ,needle-,point ,lace ,,lxxii4 ,part of a ,scarf ,,lxxiii4 ,flounce of ,machine-made ,net with ,pattern darned on it ,,lxxiv4 ,part of ,full-,size ,cotta of ,net with ,large ,flower ,pattern darned in ,silk into it ,,lxxv4 ,a ,specimen of the ,embroidered ,muslin ,work called ,tnder ,lace ,,lxxvi4 ,two ,specimens of the ,embroidered ,muslin ,work called ,tnder ,lace ,,lxxvii4 ,three ,patterns of ,muslin ,lace ,,lxxviii4 ,four ,patterns of ,dutch ,linen ,lace ,,lxxix4 7#a7 ,manila ,lace 7#b and #c7 ,lace ,worked in ,needle-,point ,,lxxx4 7#a7 ,infant's ,baptism ,cap 7#b7 ,a ,cap ,border ,,lxxxi4 ,three ,specimens of ,early ,irish ,needle-,point ,lace ,,lxxxii4 ,specimen of ,knotted and ,twisted ,string or ,thread ,work1 called ,macram ,,lxxxiii4 ,flounce ,,lxxxiv4 ,two ,patterns of ,bobbin-made ,lace ,,lxxxv4 ,four ,bobbin-made ,laces 7reduced in size7 ,,lxxxvi4 ,four ,bobbin-made ,laces 7reduced in size7 ,,lxxxvii4 ,bobbin-made ,lace ,,lxxxviii4 ,five ,bobbin-made ,laces ,,lxxxix4 ,six ,specimens of ,lace made before #ahej ,,xc4 ,two ,borders of ,bobbin-made ,lace ,brides ,,xci4 ,flounce of ,bobbin-made ,lace ,brides1 in which the ,toil is well developed ,,xcii4 ,flounce of ,bobbin-made ,lace ,,xciii4 ,lace as ,,xcii41 actual size ,,xciv4 ,flounce of ,bobbin-made ,lace ,,xcv4 ,part of a ,flounce for an ,alb1 of ,bobbin-made ,lace ,rseau ,,xcvi4 ,flounce for an ,alb of ,bobbin-made ,lace ,rseau ,,xcvii4 ,two ,borders of ,bobbin-made ,lace ,,xcviii4 ,three ,borders of ,bobbin-made ,edging ,,xcix4 ,bobbin-made ,lace ,rseau ,c4 ,cap of ,bobbin-made ,lace1 called ,point de ,flandre ,bride ,picotes ,,ci4 ,three ,patterns of ,bobbin-made ,mechlin ,lace ,,cii4 ,three ,borders of ,bobbin-made ,mechlin ,lace ,,ciii4 ,four ,specimens of ,bobbin-made ,lace called ,binche ,lace ,,civ4 ,three ,borders of ,bobbin-made ,lace ,vrai ,rseau de ,bruxelles1 called ,point ,d',angleterre ,,cv4 ,lappet of ,bobbin-made ,lace1 called ,point ,d',angleterre ,,cvi4 ,two ,parts of a ,border of ,bobbin-made ,lace1 called ,brussels ,point ,,cvii4 7#a7 ,a ,scarf 7#b7 ,a ,cap ,,cviii4 ,three ,borders of ,bobbin-made ,lace1 called ,valenciennes ,point ,,cix4 ,four ,borders of ,bobbin-made ,lace1 called ,valenciennes ,lace1 with ,square ,mesh ,rseau ,,cx4 ,border of ,bobbin-made ,lace1 with a ,point de ,paris ,rseau ,,cxi4 ,flounce for a ,dress1 of ,bobbin-made ,silk ,lace ,,cxii4 ,three ,borders of ,bobbin-made ,lace1 with a rseau of ,maglia di ,spagna ,,cxiii4 ,mantilla or ,scarf of ,bobbin-made ,black ,silk ,lace ,,cxiv4 ,two ,examples of ,bobbin-made ,insertions ,,cxv4 ,four ,patterns of ,italian ,gold and ,silver ,bobbin-made ,lace ,,cxvi4 ,two ,lappets of ,bobbin-made ,black ,,cxvii4 ,two ,borders of ,bobbin-made ,lace ,,cxviii4 ,border1 ,cap1 and ,crown of ,bobbin-made ,lace ,,cxix4 ,lappet of ,bobbin-made ,lace ,,cxx4 ,two ,borders of ,appliqu ,lace1 one with a vandyke edge and one with a mitred or scalloped edge ,,introduction ,the idea of giving1 by means of photography1 full-sized reproductions of my specimens of ancient needle and bobbin-made lace1 originated from a desire to avoid unfolding these delicate fabrics when my friends wished to see them4 ,by arranging carefully that several of the photographs should give the exact size of each stitch of the work1 seeing and handling the originals have been rendered practically unnecessary4 ,though many books on lace exist giving most valuable historic1 artistic and technical data1 none with which ,i am acquainted give the practical information ,i have found most desired1 that is to say1 full-sized representations of the pieces of lace4 ,i therefore think that such reproductions of my specimens may have a wider interest than ,i had originally imagined1 and accordingly ,i have now prepared them for general publication4 ,it is impossible to judge of lace from a mere picture of pretty and artistic drapery1 or from portraits of great personages wearing lace collars or dress trimmings4 ,lace in pictures has1 in the first place1 been interpreted by the painter1 and no pencil or brush can show more than the general effect4 ,the stitches in the toil1 or ground of needle-point lace1 amount sometimes to several thousand in every square inch2 and the almost incredible fineness of the twists in the rseau of pillow laces makes identification very difficult1 unless it is founded on observation of actual portions of the fabric4 ,it can hardly be contested that1 apart from some generally accepted deductions as to design and time of execution1 the chief means of judging lace correctly lies in studying the toil or clothing1 and the groundwork of meshes or rseau4 ,to assist in this1 many of the examples of my lace in their actual size1 and in some cases greatly enlarged photographs1 are given4 ,i have illustrated and described only fabrics which1 if not in my possession1 have actually come under my observation1 such as the two ancient albs of ,eastern design1 which1 although hitherto unnoticed by ,italian writers on lace1 may1 ,i think1 claim to have formed a very interesting link between the ,coptic or ,egypto-,roman design1 and that of the early ,italian lace4 ,to aid in a judgment on this point1 ,i also illustrate some designs from early ,coptic tombs4 ,the pre-,reformation ,pyx ,veil of needle-point linen work or tela tirata remains the property of the parish of ,hessett in ,suffolk4 ,it is a supremely interesting object and unique1 as far as ,i know1 in the way it is worked4 ,i therefore give two illustrations of it among the early sixteenth-century linen laces4 ,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 years4 ,italy1 ,france1 and ,great ,britain have already some hundreds of lace centres1 while1 from ,denmark to ,madagascar1 ,sweden to ,ceylon1 ,i have specimens of most excellent and praiseworthy industries4 ,that these1 as well as the very beautiful fabrics made now by lace machines1 may prosper1 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 success4 ,i classify lace as needle-point and bobbin-point4 ,numerous varieties occur in each1 but ,i will only mention the three chief divisions ,i make in each class4 ,the three chief kinds of needle-point1 ,trine ad ,ago1 are3 #a4 ,lacis 7or ,modano7 and ,buratto work4 7,see ,plates #h1 #aa1 #ag47 ,i include also under ,lacis those varieties which are called in ,italy ,sfilature1 as the ancient specimens are1 ,i find1 usually worked on a foundation of knotted lacis4 ,see ,plate #g4 #b4 ,linen lace1 comprising reticello work and tela tirata4 ,see ,plates #ad1 #ai1 #be4 #c4 ,punto in aria--of which all later needle-point laces are varieties4 ,see ,plates #ca and #cb4 ,the three chief ways of making bobbin-lace1 ,trine a fuselli1 are3 #a4 ,a tape1 sometimes plain1 sometimes ornamented1 is made on the pillow4 ,this tape is placed and arranged as wished and joined up on the pillow1 but it is not cut or finished off1 but continues to form the pattern until the lace is completed4 ,see ,plates #hc and #hd4 #b4 ,complete sprays or patterns are made on the pillow and finished off2 these are afterwards joined by brides or by a rseau4 ,see ,plates #ij and #ia4 #c4 ,the bobbins first used1 continue and complete both pattern and ground of the whole length of the lace4 ,see ,plate #ig4 ,i here give a ,glossary1 the result of inquiries tabulated during a stay in ,italy some years ago4 ,i cannot find any authoritative translation of the technical terms used to describe ancient lace1 so ,i give my interpretations for what they are worth4 ,,glossary ,,jours or ,,modes ,see ,fillings4 ,,alb ,the long linen robe 7worn under the chasuble by priests at the altar7 which is sometimes enriched with a border of lace1 as well as with lace on the cuffs4 ,,appliqu ,when the ornamentation made separately is fixed and sewn by hand to a complete ground of bobbin or machine-made net4 ,,argentella ,a name given sometimes to lace made with either fillings or a complete background of the rseau called rosac4 ,this very pretty work occurs in both ,venetian and ,french needle-point of the eighteenth century4 7,see ,plate #fj47 ,but it is a mistake to use the word as denoting a distinct make of lace4 ,,avorio ,ivory4 ,see ,,punti4 ,,bobbin-,,made ,,lace ,see ,,pillow-,,lace4 ,,bone ,,point ,see ,,cordonnet4 ,this term was also applied to early bobbin-made lace made in ,england with bone bobbins4 ,,brides1 or ,,bars ,ties or loops between the edges of details1 forming the pattern1 and connecting them together4 ,brides are often adorned with picots1 or little knots1 and are then called brides picotes1 when they have no picots they are brides claires4 ,brides occur both in needlepoint and in bobbin-made lace4 ,,button-,,hole ,,stitch ,see ,,punto ,a ,,festone4 ,,buratto ,lacis1 with a twisted instead of a knotted foundation4 ,,clothing ,see also ,,fond and ,,toil4 ,,cordonnet ,one or more threads used to outline or define the forms composing patterns of lace4 ,the cordonnet in the heavier ,venetian and ,spanish point is usually substantial and bold1 and in parts gradually swelling and diminishing to form reliefs on the lace1 which then suggests an effect of carved bone or ivory4 ,this gave rise to one of the meanings of the term1 bone point4 ,these relief portions were often enriched by rows or tiers of picots4 ,in ,alenon lace a horsehair instead of a stout thread was sometimes used as a foundation for the cordonnet1 which was closely over-cast with button-hole stitches4 ,,cotta ,the short white linen robe worn by servers and at times by priests4 ,this1 like the alb1 is sometimes trimmed with lace4 ,,filet ,see ,,lacis4 ,,fillings ,these are termed in ,french modes or jours1 and are the ornamental work 7made either by needle or by bobbins7 introduced into any enclosed place in the toil1 or elsewhere in the lace4 ,,fond ,see also ,,clothing and ,,toil4 ,the word fond1 or foundation1 denotes the close parts in either needle-point or pillow lace1 which were made first1 and then joined together by bars or brides1 or by a rseau4 ,in some laces the whole work proceeds concurrently4 ,,fuselli ,bobbins4 ,,groppo ,a knot4 ,,guipure ,a term long used for any lace of a heavyish texture made without rseau4 ,it is now often used for lace made with a tape1 but it applies more correctly1 perhaps1 to gimp work4 ,,ivory ,,stitch ,or ,,punto-,,avorio4 ,so called because the effect when closely worked makes a surface like ivory1 as it is quite without the slight rib which shows in punto a festone1 which is the stitch usually found in the various punti in aria4 ,see ,no4 #f1 ,plate #h4 ,,lacis ,,or ,,lassis ,derived from ,latin laqueus1 a noose1 in ,english1 ,lace4 ,a foundation of net1 or filet1 with a pattern darned into it4 ,the net for the ,italian lacis1 called punto a maglia quadra1 as well as for the ,french filet or lacis1 was made very much as fish-nets are now made2 the darning-stitch was called punto a rammendo4 ,in ,buratto lacis1 sometimes called punto di ,ragusa1 the twisted network was made by passing the foundation threads forwards and backwards in a frame4 7,see ,no4 #c1 ,plate #h47 ,the name ,buratto comes from the sieves made in this way in ,italy for sifting grain and meal4 ,,macram ,derived from the ,arabic4 ,it is a hand-made1 knotted fringe1 called ,moresco in ,spain4 ,,maglia ,mesh4 ,,mezzo ,,punto ,a description of lace in which the pattern is formed with a braid or tape1 and the brides and fillings are of needle-point work4 ,see ,plate #ee4 ,,modano ,a general name in ,italy for lacis work with square mesh4 ,,modes ,see ,fillings4 ,,picots ,loops or knots added to brides1 or1 indeed1 to any part of the lace1 for its enrichment4 ,,pillow ,,lace ,lace made with bobbins on a pillow2 this lace is called in ,italian trine a fuselli1 or sometimes merletti a piombini1 as in making the coarser lace the workers attach pieces of lead to the bobbins4 ,,point ,,lace ,strictly speaking1 should always mean needle-made lace1 as the term is used too generally in respect of either needle-made or pillow-made lace to be of much value as a definition without further qualification4 ,,point ,,de ,,neige ,a name sometimes given to fine ,venice needle-point lace1 with many small raised flowers and clusters of picots--which give the effect almost of snowflakes4 ,see ,plate #ej4 ,,punto ,a stitch4 ,,punti ,in the earliest needle-point lace-work on linen or net the punti1 or stitches1 were as follows3 ,,punto ,a ,,rammendo 7sometimes called ,,punto ,,di ,,genoa74 ,darning or ladder stitch4 ,this is the stitch used in lacis work4 ,see enlarged stitch ,nos4 #a and #c of ,plate #h4 ,,punto ,a ,,stuora ,matting stitch4 ,this stitch is used to make the centres of geometrical patterns in lacis and reticello work4 ,it looks like the centre of a round mat or basket4 ,see enlarged stitch1 ,no4 #a1 ,plate #h4 ,,punto ,,tagliato ,work on cut linen4 ,,punto ,a ,,tela ,linen or cloth stitch4 ,,punto ,,tirato ,work on linen1 which is begun by pulling threads from the linen without cutting it4 ,see ,,tela ,,tirata1 enlarged stitch1 ,no4 #e1 ,plate #h4 ,,punto ,,treccia ,or tress stitch--so called from the threads of linen being left loose1 and only caught here and there by a few stitches1 so looking like a tress of hair4 ,see ,plate #h1 and top border of ,no4 #b1 ,plate #bi4 ,treccia also means plait4 ,later stitches were3 ,,punto ,,avorio ,see ,,ivory ,,stitch1 enlarged stitch1 ,no4 #f1 ,plate #h4 ,,punto ,,in ,,aria ,needle-point lace worked without any foundation of net or linen1 hence the term1 aria--in the air4 ,see ,plate #ca4 ,,punto ,a ,,festone ,buttonhole stitch3 in ,french point nou4 ,the term a festone comes from festoon--a garland hanging in a curve--the stitch being often used when edging lace to form curves or festoons round the edge or the patterns of lace4 ,the buttonhole or looped stitch is used in constructing the toil1 or fond1 and also to cover the cordonnet and brides of needle-point lace4 ,until the advent of the rseau this stitch was almost the only one used in ,venetian needle-point4 ,see enlarged lace ,plate #di1 and ,plate #eb4 ,,punto ,,riccio ,literally curled stitch3 this is a variety of punto scritto1 but the name will easily be understood on looking at the specimens--as they are adorned with the tendril-like curls1 which gives the name to this stitch4 ,see ,no4 #c1 ,plate #bh4 ,,punto ,,reale ,this is really an embroiderer's stitch1 and in ,english called satin stitch2 in linen lace it is usually associated with punto tirato4 ,,punto ,,in ,,rilievo ,raised or rose stitch4 ,,punto ,,scritto ,literally writing stitch1 as this stitch is used for marking names and generally for outlining work4 ,in ,english it would be called short stitch4 ,,quadro ,a square 7as in punto a maglia quadra1 or square mesh net74 ,r,,seau ,term used for what may be called the mesh background of both needle and bobbin-made lace4 ,the rseau connects the toil1 or more solid parts of the patterns together by filling the spaces between them with fine meshes1 the make of which is very varied especially in the pillow laces4 ,the two rseaux of ,alenon needle-point are shown in ,no4 #a1 ,plate #i1 and the rseau feston of ,argentan is shown in ,no4 #c1 ,plate #i1 the rseau of the ,venice point rseau in ,no4 #b1 ,plate #i4 ,the needle-point rseau of the ,brussels lace is ,no4 #d1 ,plate #i2 and the bobbin-made ,brussels1 now called vrai rseau1 is ,no4 #e1 ,plate #i4 ,the rseaux of the bobbin laces are shown on ,plate #aj4 ,,no4 #a ,the maglia di ,spagna1 or ,spanish mesh2 this was also much used for fine silk laces or ruffles4 ,see ,plate #aab4 ,,no4 #b ,the rseau called sometimes point de ,paris1 and also fond chant2 it was used for ,paris pillow-made laces1 as well as at ,chantilly for silk ,blonde laces4 ,it also occurs in pillow laces from ,italy and ,flanders4 ,,no4 #c ,the rseau of early ,valenciennes1 called the round rseau4 ,see ,plate #ajh4 ,,no4 #d ,rseau of ,mechlin lace4 ,in this two sides of each mesh are of plaited threads1 the other four of twisted threads4 ,,no4 #e ,rseau called cinq trous1 characteristic of much ,flemish lace4 ,see ,plates #ii and #ajj4 ,,no4 #f ,rseau of later ,valenciennes1 called square rseau1 and of late years almost the only rseau used in ,yprs lace4 ,see ,plate #aji4 ,,no4 #g ,rseau of ,buckingham lace4 ,this also corresponds with the rseau used in ,lille and ,arras pillow laces4 ,see ,plate #ajg4 ,,reticello ,the word is derived from rete1 a net1 and is usually descriptive of the patterns in which repeated squares1 with wheel or star devices and such-like1 depending upon the diagonals of each square1 are the prevailing features4 ,in needle-point lace these openwork patterns are usually of buttonhole stitching4 ,the squares are partly cut out of the linen material1 the threads not cut are sewn over with punto a rammendo forming a frame for the rest of the work4 7,plate #bi47 ,the reticello pattern is also carried out in early bobbin-made lace4 ,see ,plate #hf4 ,,rosaline ,a modern ,italian name for the fine ,venetian point called point de neige4 ,see ,plate #ej4 ,,rose-,,point ,any needle-point with raised work on it4 ,this raised work may be sometimes suggestive of recurrent blossoms1 but the word rose in this connection is technical1 and merely means raised4 ,,sfilatura ,drawn thread work4 ,a variety of lacis4 ,see ,no4 #a1 ,plate #bh4 ,,tela ,,tirata ,or drawn work4 ,the linen is sometimes drawn1 that is to say1 threads of both warp and woof are removed from the entire piece to be worked1 only leaving three or four threads each way4 ,the pattern is then darned in so as to appear like the original linen4 ,i believe the identical threads drawn out are sometimes used for this4 ,the remaining threads are then sewn over to form the background of small squares4 7,see ,no4 #e1 ,plate #h47 ,a second way is only to draw threads from the background1 cutting some of the cross threads1 and leaving the original linen to form the pattern1 as in ,no4 #d1 ,plate #h4 ,,toil ,is the clothing1 fond1 or closer texture in the pattern of both needle- and bobbin-made lace4 ,toil is so called because it resembles toile or linen4 ,the various details of the toil in needle-point lace are usually outlined by a buttonhole stitch cordonnet1 or sometimes merely by a single thread1 and are then fitted to each other to form a complete design4 ,this fitting together of the several parts is well exemplified in ,no4 #dj1 ,venetian cut linen lace1 in which the fond is really of toil1 cut and joined by brides4 ,in all the other specimens the toil is wholly of needle-point work4 ,in the earlier needle-point laces brides were used1 but in later ones the whole background usually consists of a rseau4 ,,tombolo ,lace pillow4 ,,trina ,lace4 ,,trine ,,ad ,,ago1 needle-made laces2 ,,trine ,a ,,fuselli1 bobbin-made laces--,italian terms in present use4 ,,seven ,,centuries ,,of ,,lace ,many books giving patterns for lace-making were produced in the sixteenth century1 but few of them afford any technical instruction in the art1 and all assume that lace was already in demand throughout ,europe4 ,we need not therefore take these interesting little books into consideration in determining the antiquity of lace1 although they are of great assistance on the question of design1 as they constantly show by introducing the gammadion and other symbols1 the survival of the ,oriental tradition4,a ,this is also clearly shown in the numerous specimens of embroideries and woven silks made in ,sicily and ,spain in the thirteenth and fourteenth centuries1 and preserved in our own and ,continental museums4 ,a ,eyn neu ,kunstlichbuch1 c4 ,metre piere quinty ,cologne1 #aebg4 ,the earliest specimens of lace stitches in my possession are on pieces of ,coptic linen work from tombs of the third to the fifth century from the collection of ,mr4 ,r4 de ,rustafjaell4 ,the threads purposely left loose in the weaving are held by punto a rammendo worked in white linen thread4 ,a background of coloured worsted is afterwards added1,b 7,see ,plate #d47 ,it is interesting to compare the towel1 ,,no4 #a in ,plate #bh1 which in my opinion has probably been worked in the same way1 that is1 the weaver has omitted the woof threads1 leaving only the warp threads to be drawn together by needlework4 ,the bobbin-lace found in the same tomb is illustrated in ,plate #e4 ,b ,darning stitch exists in the ,british ,museum on a piece of material woven from flax1 and found in an ,egyptian tomb4 ,and chain stitch is seen on a fragment of ,greek work of the fourth century1 ,b4,c41 at the ,hermitage1 ,st4 ,petersburg4 ,the first mention of lace-making in ,europe that ,i know of is an old rule of the thirteenth century for ,english nuns1 cautioning them against devoting too much time to lace and ornamental work to the detriment of work for the poor4,c ,c ,ne makie none purses 444 ne laz bute leave1 auh schepied1 and seouwed1 and amended cherche clodes1 and poure monne clodes4 ,do not make no purses 444 nor lace1 without leave1 but shape and sew1 and mend1 church-vestments and poor people's clothes4 ,the ,ancren ,riwle 7,the ,nun's ,rule71 p4 #dbj1 h4 ,a4,d4 #abaj4 ,morton's edition1 ,old ,english1 #ahec4 ,this laz or lace was doubtless lacis4 ,this lacis or network1 now called modano in ,italy1 was the earliest foundation for the work of needle-made lace trine ad ago4 ,we find in the ,appendix to ,dugdale's ,history of ,st4 ,paul's mention of work of albo filo nodato knotted white thread4 ,this was noted at a ,visitation made in #abie4;,d ,but pieces of this opus sfilatorium have also been found in ,egyptian tombs4 ,early specimens often have the gammadion or symbol of the cross4 ,see ,plate #d4 ,d ,dugdale1 ,st4 ,paul's1 p4 #caf4 ,a roll of the possessions of the ,templars after their suppression in #acab includes an inventory of the goods of ,temple ,church4 ,one item of this is one net which is called ,espinum to cover ,lectern1 #bs4,e ,we must look to the specimens existing from early times in ,europe1 and to contemporary testimony1 whether of painting or sculpture1 to enable us to fix the date of these interesting productions of human industry--the early lacis and linen laces4 ,embroidery on silk1 in which many of the lace stitches were used1 has a very early record4 ,e ,norfolk ,archology1 vol4 v4 7,norwich #ahei71 p4 #ia4 ,here we need only cite the many magnificent examples of embroidered ,church vestments1 chasubles1 copes1 c41 so freely produced from the thirteenth century onwards1 of which the wonderful ,dalmatic of the ninth century in the ,vatican ,treasury1 the ,syon ,cope of the thirteenth century in the ,victoria and ,albert ,museum1 together with others1 are to this date in excellent and almost perfect condition4 ,now1 if we remember that albs and other linen vestments used at ,mass have been for centuries as necessary and important as the outer ones of silk1 it must be allowed that while such a wealth of decoration was lavished on the latter1 adornment of the former was not likely to have been omitted4 ,i am1 therefore1 of opinion that much of the lacis1 tela tirata1 and reticello work generally ascribed to the fifteenth and sixteenth centuries1 may more correctly be considered to be earlier in date4 ,that few of such ancient specimens remain is no doubt due to the linen thread being less durable than the silk and also to that arch enemy of lace in all ages1 the washerwoman4 ,as silk and gold embroidery could not be washed1 it survived4 ,all who have to care for ,church vestments at the present time know that albs and other linen objects for ,church use are comparatively short-lived1 and it must be remembered that lace in early times was chiefly made for ,church purposes4 ,after consulting illuminated manuscripts of the eighth and ninth centuries1 ,i have come to the conclusion that there is in them strong evidence of lacework having been employed to ornament the albs worn even at those periods4 ,st4 ,mark1 in a ,gospel 7now in the ,bibliothque ,nationale1 ,paris7 said to have been written for ,charlemagne1 wears an alb which appears to me to be of this kind4 ,also in the ,bibliothque ,nationale1 ,paris1 is a twelfth-century ,bible1 called the ,bible of ,st4 ,martial1 in which the ,bishop is pictured wearing a highly ornamental alb under his gothic-shaped chasuble4 ,he grasps his pastoral staff in one hand1 and with the other he receives the precious ,book4,f ,f ,vol4 viii41 ,plate #bde1 of ,bastard's ,peintures et ,ornements des ,,mss4 ,paris1 #ahcb-fi4 ,on the question of design1 as indicating the date of lacework1 ,i am of opinion that the early geometric character of primitive design was sooner modified than is generally thought to be the case4 ,we find1 for instance1 in an eighth-century ,gospel in the ,bibliothque ,nationale of ,paris1 a scroll ornament painted with vine leaves1 grapes1 c4 ,why should not this have inspired a laceworker of the same period to attempt a similar design8 ,at a little later date a ,sacramentaire has most realistic flowers and leaves ornamenting the initials in the ,manuscript4 ,these beautiful works of art were executed by religious persons and monks1 probably of the ,benedictine ,order4 ,a great part of the lace made at the same time was undoubtedly the work of nuns4 ,what more likely than that mutual assistance was given to carry out the principal aim of both--the ornamentation and glory of the ,sacred ,scriptures1 and the services of the ,church8 ,many of the earlier albs are decorated with passemens or apparels1 which are squares or oblongs of ornamental work often enriched with gold thread4 ,these were sewn on the lower part of the front of the alb and on the cuff of the sleeve4 ,the alb preserved at the ,cathedral of ,sens1 and said to have been worn by ,st4 ,thomas of ,canterbury1 is ornamented in this way4 ,in some of the old books of patterns for lace1 the straight-edged laces are all called passemens1 and only the pointed ones dentelles1 or pizzi4 ,later the apparels gave place to ornament worked on the linen itself1 and often forming a continuous band of decoration more or less wide round the edge4 ,a tombstone on the floor of the church of ,st4 ,sabina in ,rome has a recumbent figure with an alb decorated with a band of this kind4 ,the inscription denotes that the figure represents a ,german abbot1 named ,egidius ,varnsprach2 the date is #acab4 ,later still1 lace of all kinds was merely sewn on to the alb as a flounce1 in the way usually adopted at the present time4 ,as far as ,i am aware1 only two complete albs of early linen lace exist4 ,they are both of very fine texture1 the thread of the linen having been spun with great care and the weaving very closely done4 ,the oldest is the alb1 ,plate #a1 which is said to have been woven and ornamented by ,st4 ,clare of ,assisi and her nuns1 and is still preserved in the monastery of that place4 ,the tradition is that it was worn by ,st4 ,francis of ,assisi4 ,i was fortunately able to examine it closely and to obtain details of the lacework1 which is worked on the linen itself in tela tirata and punto reale4 ,symbolic animals and chimeras are introduced1 but the polygonal character of the design is preserved throughout1 and establishes1 ,i consider1 its ,coptic derivation4 ,to confirm this1 ,i need only instance the fact that these1 and other earliest known specimens of lacis and linen lace existing1 are almost identical in design with the forms familiar to us from the discoveries in ,coptic tombs in ,egypt from the first and third centuries onwards4 ,these designs1 simple and formal as they appear1 are really full of meaning4 ,mr4 ,albert ,gayet has pointed out1 in his history of ,coptic art1 that the law of polygonal evolution only completed in the eleventh century the course it had steadfastly pursued from the beginning4 ,he continues3 ,it seems a far cry from the early ,greek tradition to this time4 ,but the ,coptic artist was never in sympathy with the ,greek striving towards realism4 ,he wished to express1 not the image itself1 but the impression conveyed by the image4 ,he preferred the thought to the concrete form4 ,the divine idea1 which to the ,greek must mean a precise representation1 he prefers to render quite otherwise4 ,the fidelity of the ,coptic artist to this polygony renders it the key to all his art4 ,his first efforts are blunders1 but he is not discouraged1 he continues without hesitation to follow his ideal4 ,he finds in the philosophy of the polygon the impression he wishes to convey of the ideal and the invisible4 ,his composition1 according to the ,gnostic definition1 has its secret side1 hidden under the emblem shown1 while the emblem shown has also a hidden side4 ,then by the superposition of entrelacs1 or strap-work1 he conveys the idea of evolution1 or things 7mysteries7 turning and repeating themselves indefinitely1 but always in an inflexible circle4 ,for example1 a number of star-centred octagons1 formed by a network of lines1 will have a cross in the centre--other little crosses may be traced in each star--and in the arabesques of the corners crosses may also be found4 ,everywhere1 even in the most closely packed work1 this symbol can be found2 the most abstract geometrical combinations are still subject to the same system4 ,polygony places everywhere and always the sign of the ,faith4,g ,g ,gayet1 ,a41 ,l'art ,copte4 ,paris1 #aijb4 ,i must also make a quotation from the learned ,dr4 ,rock1 which1 though written nearly forty years ago1 is so apposite while considering this beautiful lacework from ,assisi and its ,eastern derivation4 ,strengthening our idea that the old ,egyptians had borrowed the cross as a spell against evil1 and a symbol of eternal life1 is a passage set forth by ,rufinus1 ,a4,d4 #cig1 and by ,socrates ,b4,c4 #ddj4 ,on demolishing at ,alexandria a temple dedicated to ,serapis1 were observed several stones sculptured with letters called hieroglyphics1 which showed the figures of a cross4 ,certain ,gentile inhabitants of the city who had lately been converted to the ,christian faith1 initiated in the method of interpreting these enigmatic characters1 declared that the figure of the cross was considered as the symbol of future life4,h ,h ,hist4 ,eccles41 lib4 v41 c4 #ag4 ,we know that modifications of the form of the cross have been found on monuments already discovered2 others may turn up with the so-called 'gammadion' found upon ,egyptian stuff of such an early date4 ,the recurrence of the gammadion upon ,christian monuments is curious4 ,it is shown in the catacombs1 and in numerous later instances4 ,christianity widened the meaning of this symbol and made it teach the doctrine of the ,atonement of ,calvary1 and that ,christ is our corner-stone4 ,in the thirteenth century it was taken to be an apt memorial of ,his five wounds and1 remembering the stigmata of ,st4 ,francis of ,assisi1 this gammadion became the favourite device of such as bore that ,saint's name4,i ,i ,dr4 ,rock1 ,introduction to ,textile ,fabrics at ,south ,kensington ,museum 7,chapman and ,hall1 #ahgj71 p4 cxxxix4 ,no less than twenty varieties of these polygonal ornaments1 many of them introducing the gammadion1 are to be found in the lacework of the ,assisi alb4 ,see ,plate #c4 ,the tradition mentioned by ,dr4 ,rock of the device of the gammadion being identified with ,st4 ,francis may1 ,i think1 have originated in the circumstance of his having worn this alb4 ,in ,plate #f ,i give two examples of early ,italian punto reale of the same kind although very inferior in variety and in workmanship1 but in most of these early cartiglia1 as this work is called in ,italy1 the polygonal idea is still predominant4 ,the other complete alb is also of linen lace1 and is said to have been worn by ,pope ,boniface ,,viii4 in #abih4 7,see ,plate #b47 ,it is preserved in the ,treasury of the ,sistine ,chapel in the ,vatican1 where ,i had an opportunity of examining it closely and of obtaining the technical details ,i give4 ,as to its possible history ,i may note that ,st4 ,nilos and his monks were driven from the ,east by the ,saracens at the end of the tenth century1 and came to ,italy1 where they were welcomed by ,pope ,gregory ,v4 ,he established them in the monastery a few miles from ,rome1 where their successors still worship with their ,eastern rites4 ,the famous alb may have been brought by these very monks or those who followed them from the ,east4,j ,j ,the ,pope1 ,gregory ,v4 7#iif-iii71 and the ,western ,emperor1 ,otho ,,iii4 7#iic-ajjb71 who was then also at ,rome1 went out to meet the strangers beyond the walls1 and received them with all possible honour and respect4 ,and out there in the ,campagna1 at ,grottaferrata1 ,st4 ,nilos at last built a home for his monks1 and there he died4 ,grottaferrata has stood unchanged till now1 no ,pope has tried to destroy or ,latinise it2 after ten centuries1 its monks sing out their ,greek office in the very heart of the ,latin ,patriarchate1 while outside the ,latin olives shelter its ,byzantine walls4--,the ,orthodox ,eastern ,church1 ,adrian ,fortescue1 ,d4,d4 ,london1 #aijg4 ,then1 as now1 specimens of the world's treasures of art and handicraft arrived in ,rome from all parts of the known world4 ,i see no difficulty in recognising the antiquity of this alb4 ,that the great ,pope ,boniface ,,viii4 wore it is only a tradition1 and no evidence is afforded or vouched for by the authorities at the ,vatican4 ,one evidence of its origin should not be overlooked which is the material1 which ,i believe to be the real ,byssus1 or fine handspun linen from the plant ,linum usitatissimum not at that time available in ,europe4 ,dr4 ,bock remarks that this ,byssus was much sought for in early ,christian times under the name of ,byssus of ,alexandria4,k ,the linen of the ,assisi alb is of the same texture1 which ,i can only describe as crisp and wiry1 notwithstanding that in many parts it is much worn2 on handling the linen it reminded one at once of the linen of ,egyptian mummy cloths1 and the ,italian curators of both albs1 while ,i must say profoundly indifferent as to the questions of design and execution1 which interested me most1 were all quite certain that they had known no linen texture resembling it in ,italy4 ,it was impossible not to call to mind in this connection1 ,fine linen with broidered work from ,egypt was that which thou spreadest forth to be thy sail4,l ,the linen of the alb of ,pope ,boniface is slightly finer than that of the ,assisi alb1 and is heavily worked with lace ornaments of an ,eastern character4 ,the repeated geometrical patterns1 or rosettes symmetrically grouped in squares1 are worked by the needle in punto a rammendo 7see ,plate #c71 and the curious stitch called punto treccia1 or tress-work1 is introduced1 as well as the punto a stuora1 or matting stitch4 ,it may be observed that in such early lacework the punto a festone1 or buttonhole stitch1 is never1 or very rarely found1 though afterwards it became almost the only stitch used in all needle-point1 until the advent of the rseau4 ,k ,dr4 ,franz ,bock1 ,die textilen ,byssus1 ,aachen1 #ahie4 ,l ,ezechiel1 xxvii4 #g4 ,in the alb of ,pope ,boniface there is no buttonhole stitch--the ornaments in squares called quadri were inserted in the linen of the alb1 and were surrounded by rows of punto tirato worked in the linen itself4 ,the flounce and insertions1 or falsature1 of pillow-made lace were evidently added at a later date4 ,it is interesting to see in the fresco by ,giotto 7#abgf-accg71 preserved in ,st4 ,john ,lateran1 that ,pope ,boniface ,,viii4 is supported by two ecclesiastics1 one of whom is wearing an alb with what appears to be lace on the sleeve4 ,the tomb of the same pope1 and of others of about the same date1 afford still more cogent evidence4 ,in the ,crypt of ,st4 ,peter's1 ,rome1 ,pope ,boniface ,,viii4 is represented in full pontifical vestments lying on a bier which is draped with a richly ornamental pall2 this is raised to show a linen cloth with a border of reticello work in what is termed by a learned writer the well-known geometrical design of the thirteenth century4 ,the ,pope wears an alb with an ornamental border which is repeated on the sleeves4 ,the fact is1 of course1 acknowledged that linen cloth was used for bed-linen1 towels1 and other articles4 ,for albs1 linen1 and linen only1 was ordered by the rubric2 therefore1 if one sees an alb represented1 whether by painting or sculpture1 the intention to represent linen is implied4 ,and1 if ornamented1 the intention to represent linen lace is clear in many instances1 although the painter or sculptor cannot1 of course1 give us a facsimile as satisfying as the photographs we have here4 ,i will here refer to the well-known pictures by ,giotto and his school4 ,one in the ,louvre1 of the birth of ,st4 ,john the ,baptist1 has most unmistakable lacework on the linen of the bed1 and on the long towel gracefully depicted as hanging from the shoulder of one of the attendants4 ,a fresco1 also by ,giotto1 in the ,basilica of ,assisi1 represents the figure of the ,divine ,infant in a shirt with reticello ornament4 ,duccio di ,buoninsegna 7#abfj-acdj7 and ,lorenzetti 7#abgf-acdh7 may be mentioned among many others1 as in their paintings linen cloths are rendered with unmistakable needle-point ornament4 ,it is quite clear that these laces were in general use before the fourteenth century1 although it is not surprising that few specimens remain to us4 ,the pattern of the lacis1 or sfilatura1 in ,plate ,no4 #g1 is geometrical1 with an ,eastern tendency1 as in ,pope ,boniface's alb4 ,it is singularly like the dresses of saints in some of the ,ravenna mosaics1 and the more ancient stitches can be seen in the specimen given1 but there is no buttonhole stitch4 ,in describing the design of this piece of old lacis1 ,i am again tempted to quote ,m4 ,gayet's description of lace found in the ,coptic tomb4 ,he says3 ,it is lace as it is made to-day4 ,all the threads of the rseau are drawn together to one point1 and the meshes start from the centre like rays crossing and recrossing and thus forming various patterns4 ,the pieces of network from these ,coptic tombs1 preserved in the ,victoria and ,albert ,museum fully justify this description1 and no doubt the ,eastern tradition can be traced in ,plate #g4 ,as we have seen1 the ornament of the earliest laces was simple1 or quasi-simple1 in design2 but even then the craving to represent life often appears4 ,the band down the front of the ,assisi alb1 for example1 has a row of stags thoroughly subservient to the distinctly polygonal idea4 ,in ,plate #aa a portion of an early lacis or modano border is represented4 ,conventional peacocks and numerous smaller birds are added to the central design of ,i4,h4,s4 in ,gothic letters--quaint little angels are at the ends of some of the rays4 ,the inscription has so far found no interpreter4 ,the altar-cloth in ,plate #ab may possibly have been made for ,richard ,,ii42 his two wives were both ,french1 and this piece has the stag1 which was the royal device4 ,no4 #a of ,plate #ac is an interesting border of ,sicilian lacis1 the design ,eastern1 introducing the gammadion1 the netting is all made obliquely4 ,two stitches are used for the pattern1 the punto a rammendo and also the punto scritto4 ,a vandyked border of punto avorio is added4 ,in ,plate #ad the squares of lacis or modano are alternated with linen worked with reticello4 ,the design in each square is different4 ,the effect of the gold thread added to the pattern worked in punto a tela1 or linen-stitch1 in ,plate #ae1 is very good1 and there is much variety in the execution of this piece4 ,no4 #a of ,plate #af is lacis of possibly ,german work with a design of vine-leaves and grapes worked in punto a tela4 ,no4 #b is a vandyked border of ,english lacis with a pattern of large and small blossoms--the larger ones resemble ,tudor roses4 ,both these pieces have the punto riccio introduced4 ,plate #ag is a specimen of lacis called buratto in ,italy1 as the netting is twisted and not knotted4 ,the pattern is punto a rammendo1 worked with very coarse thread1 but the result is satisfactory4 ,this piece must be early sixteenth-century work4 ,the two examples of buratto work in the following plate1 ,plate #ah1 are much more finely worked with punto a rammendo4 ,the narrow border is probably the earliest4 ,alenon has certainly more romantic associations than any other lace-producing town4 ,for the making of lace at ,alenon did not begin only with the establishment of that industry in #affj1 of which ,i shall speak later4 ,more than a century before that date ,margurite d',angoulme1 ,duchess of ,alenon1 and afterwards ,queen of ,navarre1 while living at her castle of ,alenon1 worked and caused to be worked1 beautiful ornaments for albs and other articles for use at the altar of ,st4 ,leonard's1 her parish church4 ,some of these are preserved in the ,alenon ,museum2 a specimen of early lacis is especially interesting1 worked in squares with radiating threads1 and the centres worked with punto a stuora as in ,plate #ag4 ,the specimen of lacis1 with gold thread introduced similar to that in ,plate #ae1 may very likely be the very piece alluded to by ,clment ,marot in his odes to ,queen ,margurite4 ,she died in #aedi4 ,elle adonnait son courage ,a faire maint bel ouvrage ,dessus la toile et encore a ,joindre la soie et or4 ,vous d'un pareil exercice ,mariez par artifice ,dessus la toile a maint tract ,l'or et la soie en pourtract4 ,another interesting record of this ,queen is to be found in a manuscript of the expenses of ,madame ,margurite1 sister of the ,king 7,francis ,i474 ,for #fj yards fine ,florence lace for her collars4,m ,this lace was probably fine punto in aria worked in points1 as in ,plate #cj1 but it may1 of course1 also have been bobbin-made lace similar to the edging in ,plate #bi4 ,m ,manuscript in ,bibliothque ,nationale4 ,,ms4 ,,ff#b1 #aj1cid4 ,the earliest example of tela tirata here is a piece representing ,st4 ,francis of ,assisi and events of his life1 ,plate #ai4 ,under the saint's feet is an inscription imperfectly rendered by the pious worker4 ,st4 ,michael is above1 and still higher is the ,madonna and many emblems or perhaps fancies of the worker4 ,this lace may have been worked in ,assisi itself in the thirteenth or fourteenth century4 ,another early specimen has a man in armour with a helmet of thirteenth-century shape4 ,see ,plate #bj4 ,another piece1 ,plate #ba1 which is very fine and was no doubt worked for a wedding1 represents a bride and bridegroom standing dressed in sixteenth-century costume and surrounded by attendants4 ,below is a hawking party with dogs4 ,the infant's swaddling band1 ,plate #bb1 is interesting1 as these bands are no longer ornamented4 ,the specimen of tela tirata ,no4 #a1 in ,plate #be1 is of singular make1 the whole piece to be worked being prepared by drawing threads at regular intervals4 ,these same threads are then darned in with a needle to form the pattern4 ,in this specimen a small piece has been unpicked to show the way the threads were drawn before beginning the work4 ,this method has1 ,i believe1 not hitherto been noticed1 as the plan of cutting threads and leaving the pattern in the linen is more usual2 but1 of course1 no cut threads at all remaining in the work rendered it more even and durable1 and so justified the extra trouble4 ,no4 #b of ,plate #be1 is a piece of tela tirata with punto reale similar1 though coarser in make1 to the work on the ,assisi alb4 ,three specimens of sixteenth-century linen work1 ,plate #bh1 are reduced in size2 one is on a huckaback with a fine macram fringe4 ,the drawn work of this piece is beautifully done4 ,the cloth in the centre is worked in punto riccio and has a border of punto avorio and a curious fringe4 ,the third is cut and worked in punto riccio and reticello1 and has a border of bobbin-made lace4 ,in ,plate #bi we have two examples of reticello1 the linen almost entirely cut away and hidden by the different stitches4 ,the punto a stuora is still used for the centres1 as we have seen in the earlier laces1 and the punto a festone appears for the first time4 ,in the second example we have a curious combination of three laces--an upper border worked almost exactly like the very early lace of ,plate #g2 then comes an insertion of reticello1 and finally a border of ,venetian bobbin-lace 7merletto a fuselli74 ,this is early fifteenth-century work4 ,we now come to the third division made in needle-point lace--the punto in aria1 which may be said to be the starting-point of all subsequent needle-point laces4 ,no linen or netting being used the worker had to construct her lace--in aria--out of nothing1 and a splendid opening it gave1 as we shall now see1 for invention and for execution4 ,this punto in aria1 worked into points1 was extensively used for personal adornment3 these points gave the name of pizzi to lace1 a name which still survives in ,italy as comprehensive of all lace1 as the name dentelle is in ,france4 ,the first examples ,i give here are the two dentated 7or vandyked7 borders of ,plate #ca4 ,the chalice cover1 ,plate #cb1 is a very interesting combination of reticello and punto in aria2 the lines of the cut-linen foundation are carried across and form a lattice behind the punto in aria devices4 ,the beautifully worked waved pattern circling round the design may be intended to represent ,st4 ,peter's chains3 the ,saint stands with the ,scriptures in one hand and the ,keys in the other1 and has a winged cherub on each side2 the edge is of punto in aria4 ,the reticello pattern of ,plate #cc is beautifully rendered in punto avorio and punto in aria4 ,this piece1 unlike the specimens given before1 has no linen foundation1 and therefore is classed as punto in aria and not as reticello or cutwork4 ,the corporal border of ,plate #cd1 of very conventional floral pattern is1 ,i think1 undoubtedly of ,german early seventeenth-century work4 ,the border of the ,venetian cloth in ,plate #ce1 is a very fine specimen of punto in aria4 ,the two insertions1 of which one is given1 are alike4 ,they have strange winged and tailed animals alternating with scrolls and vases4 ,the vandyked border is a wonderful piece of work containing altogether forty-eight small figures1 and1 as is often the case in ,venetian work1 the figures1 birds and animals have tiny black glass beads for eyes4 ,the animals have loops of fine buttonhole stitch to denote manes4 ,a very interesting and beautiful piece of punto in aria is ,plate #cf4 ,the design is still reminiscent of the ,east2 the flowing interlaced flower-stems1 with animals introduced1 have quite a ,persian effect4 ,but the beautiful rendering of the pendant flowers1 and the true love knots1 as well as the heraldic device of the ,visconti 7the crowned serpent7 mark the elegance and freedom of the ,renaissance4 ,it was1 no doubt1 made in ,venice in the late sixteenth century4 ,the punto in aria trimming for the neck of an alb1 ,plate #cg1 is a very remarkable piece1 and the execution full of interest4 ,the work is entirely without foundation4 ,the figures are clothed with mantles of very beautifully worked network1 called in ,italy mezza mandolina4 ,the edges of the mantles are worked in punto avorio4 ,realism is attempted by representing the features in relief1 and little black beads are added to the eyes4 ,a curious border of the ,venetian rose-point is ,no4 #a1 ,plate #ch1 worked entirely in punto a festone4 ,birds and serpents occur1 and the thick cordonnet which outlines the pattern is also used to denote the scales of the serpents and the feathers of the birds1 tiny black beads mark the eyes as in ,plate #cg4 ,the edging is of very fine punto avorio4 ,a specimen of the so-called coraline ,venice needle-point is also on this ,plate4 ,in ,plate #ci we have a very interesting specimen of needle-point as applied to personal use--a lady's camisia1 or shirt1 of the sixteenth century4 ,the linen has a square hole cut for the head1 and this opening is beautifully worked in punto in aria4 ,the sleeves are ornamental with oblique bands of cut-work1 and the seams everywhere worked with drawn stitches and insertions of punto avorio4 ,the handwoven linen is in good condition1 although the garment must have been much worn1 as the cuffs have been replaced by bobbin-made frills1 trine a fuselli4 ,it is doubtful whether three hundred years hence any linen garment worn at the present time will survive4 ,from the beginning of the sixteenth century the fashion began of working portions of the lace separately1 and joining them together by brides1 and modes or fillings were also introduced1 into the pattern4 ,later1 from about #afcj1 the rseau ground was introduced1 covering the whole space between the patterns2 the patterns themselves also changed1 and from being geometric and conventional became more and more realistic4 ,the stately lace of ,venice1 however1 may be said to have always preserved its conventional tradition1 whether in the heavy rose or raised point or the delicate point rseau4 ,venice obtained her pre-eminence of lace-making in the sixteenth century4 ,the flat point is probably the earliest distinctive lace2 but this was soon enriched by work upon work1 stitch upon stitch1 which gave the name of rose-point or punto in rilievo4 ,the characteristic ornament in the heavy so-called gros point de ,venise consists of conventional blossoms like leaves and scrolls treated as though carved in ivory or bone1 and to it applies the title of punto tagliato a fogliami4 ,the brides are sometimes quite plain1 but later are adorned with picots4 ,we now come to the period when lace1 so long only made for church purposes1 was very extensively made and used by lay persons for their personal adornment1 and for furnishing purposes4 ,the bed cover ,plate #dj was1 no doubt1 one of many made for a household of simple tastes2 the coarse linen is cut into a fine flowing pattern edged with buttonhole stitch1 and ornamented with various fillings4 ,but in houses of greater pretension the use of the richest rose-point became lavish1 not only on the dress of the mistress1 the collar of the master1 but on table covers and hangings of every kind4 ,examples of this splendid lace are given in ,no4 #db and following plates4 ,no4 #dd has1 perhaps1 the finest toil2 but the design of ,no4 #de is very beautiful4 ,no4 #df is a flounce for an alb of very fine scroll design with brides picotes and occasional raised work2 the beauty of the pattern is better seen in the enlargement1 ,plate #dg4 ,the paten cover1 ,no4 #dh1 and the enlargement of it1 ,no4 #di1 give a complete idea of the style and execution of this lace4 ,the design of the flounce1 ,no4 #ea1 is of the style usually associated with point de ,france1 the stitches and brides picotes are identical in workmanship with the ,venetian point4 ,it was probably made at ,alenon1 ,sedan1 or one of the other lace-making centres which were started upon the importation of ,venetian laceworkers into ,france after the middle of the seventeenth century4 ,the specimens of ,spanish rose-point1 ,nos4 #ec and #ed1 show the stately and elaborate design1 rather overloaded with ornament1 which is characteristic of this lace4 ,the ,venetian point rseau was made from about #afej in ,venice and ,burano4 ,the cap shown in ,no4 #ef has a beautiful flowing design of a scroll with flowers and leaves1 and brides connecting some portions of the design4 ,the main ground is of small mesh rseau worked the length of the lace1 which is often the case in ,venetian work1 though ,i have never seen it in ,alenon lace1 the rseau being1 as far as ,i know1 usually worked across the lace by the early ,french workers4 7,later1 the rseau of the ,alenon lace was worked obliquely1 as can be seen by examining ,plate #fg1 and the specimens ,i have seen of modern ,alenon are also worked in this way47 ,plates #ei and #fj show interesting specimens of this very rare ,venetian lace4 ,no4 #b1 in the latter plate1 is probably a specimen worked in ,france4 ,the ground of ,no4 #ei is of brides picotes arranged into hexagonal meshes1 a ground which is chiefly associated with the point de ,france1 and this specimen was no doubt from ,alenon4 ,about #affj important centres of lace-making were developed and subsidised in ,france by the ,government at ,alenon1 ,paris1 ,sedan1 and other places1 and the ,french needle-point then made was scarcely to be distinguished from the ,venetian4 ,this was to be expected1 as the first workers of lace of this kind in ,france were imported from ,venice4 ,in a letter to ,colbert1 the minister of ,louis ,,xiv41 dated #affe1 ,catherine de ,marcq writes1 ,i am starting for ,alenon with four ,venetian lace workers4,n ,n ,bibliothque ,nationale1 ,lettres ,colbert1 vol4 #acb1 fo4 #ad bis4 ,as our ,king ,charles ,,ii4 revived his father's edict against foreign lace at about the same time 7#affb71 it would almost seem a concerted action to check the ,italian and ,flemish superiority in the fabrication of the finest lace1 whether needle- or bobbin-made4 ,but although the ,french were successful in part in rivalling the ,venetian needle-point1 the finest bobbin-lace of ,flanders was never approached by the ,english workers1 and now1 of course1 can never be equalled1 as the secret of the thread used in the finest laces1 such as ,angleterre1 ,binche1 etc41 is lost4 ,nothing was too ambitious for the ,venetian or ,french designers of the seventeenth century4 ,coats of arms under canopies1 scriptural or classical figures1 wreaths and vases of flowers1 were frequently worked into the same design for a piece of lace4 ,the subsequent changes of design which took place in the ,alenon lace are most interesting to note1 the patterns gradually losing their ,venetian character4 ,in ,no4 #fa vases and pots of flowers are introduced1 and the floral patterns of the specimens which follow become more and more realistic in drawing4 ,towards the end of the reign of ,louis ,,xvi4 enormous quantities of lace were required for the new fashion of frills and flounces1 and the change in design is much marked by the adoption of borders of very light effect1 the rseau ground being spotted with little sprigs1 slender riband devices1 and dots or pois1 whence the term sem de larmes4 7,see ,plate #ff47 ,in the numerous specimens shown1 the changing fashion can be marked1 until in ,plates #fd to #fg the ,venetian character of the designs of ,alenon needle-point has quite disappeared4 ,the patterns are practically designed for borders only2 and the rseau is1 as ,i have said1 spotted with tiny sprigs1 or dots4 ,the expression sem de larmes is said to have arisen in allusion to the misfortunes of ,queen ,marie ,antoinette1 by whom much lace of this style was worn4 ,in needle-point made at ,argentan we find a style and design such as we should expect from its close neighbourhood to ,alenon4 ,the sole peculiarity of the ,argentan workers was that1 not content with the almost incredible toil involved in the lace of ,alenon1 they actually worked the whole rseau of their lace over in buttonhole stitch1 thus making those compactly stitched hexagonal meshes which are distinctive of this wonderful fabric4 ,the ,argentan rseau was sometimes introduced into lace made at ,alenon and elsewhere4 ,the specimens1 ,nos4 #fh and #fi1 are representative of this rare lace4 ,the two specimens--one of silk and one of linen thread1 ,nos4 #a to #b1 ,plate #gj--;,i consider to be ,portuguese1 from the curious though rather handsome and effective jumble of design which is often found in ,spanish and ,portuguese work4 ,the ,brussels needle-point of ,no4 #c1 ,plate #gj1 and ,plate #ga and ,plate #gb1 must seem poor and thin when compared to the preceding laces4 ,but it is very beautiful in its own delicate style1 and has been called the laciest of laces4 ,the rseau is very fragile1 hence the name sometimes given of point de gaze4 ,the designs shown have not the complete realism aimed at in the ,brussels lace of the present day1 but have a charm of their own which ,i confess attracts me more than all the brilliant improvements of the last sixty years4 ,the two specimens of darned work on bobbin net1 ,plates #gc and #gd1 especially the latter1 are remarkable for the beauty and variety of the work4 ,plate #ge and ,plate #gf have specimens of the beautiful and intricate work called ,tnder muslin lace made in ,denmark in the eighteenth century4 ,the following1 ,plate #gg1 is lace of the same kind but made in ,south ,germany4 ,i obtained these pieces in ,leipzig forty years ago4 ,number #b1 in ,plate #gf1 has a design and fillings which almost recall those in the finest ,alenon laces of the late seventeenth century4 ,plate #gh has four specimens of eighteenth-century ,dutch linen lace made for caps2 it is called ,gouda lace2 the fillings are very well done4 ,in the ,manila fibre lace1 ,plate #gi1 ,no4 #a1 the ground is entirely worked over by the needle into small squares1 giving the appearance of network4 ,this is done in the same way as the earlier tela tirata1 the threads drawn together and sewn with wonderful regularity1 without any thread being cut4 ,the two specimens of needle-point1 ,plate #gi1 ,nos4 #b and #c1 made entirely of human hair1 are rather difficult to render in a photograph4 ,they are evidently copied from ,venetian patterns1 and the various shades of hair used have a very pretty effect1 while the execution of such fine work in so fragile a material must have demanded extreme skill and deftness of hand4 ,they were made about #ahjj1 at the ,bar ,convent1 ,york4 ,a very interesting piece of old ,english needle-point work is ,no4 #hj1 a cap of ,holy1 or ,hollie1 work4 ,a close rseau is worked by using a stitch very similar to buttonhole stitch1 and the effect is of a texture very like the cambric it adorns4 ,the pattern is made by missing stitches1 forming small holes4 ,hollie lace was chiefly used to decorate infants' caps1 etc41 for baptism1 and the pot with flower1 reminiscent of the ,annunciation1 the ,holy ,dove1 etc41 were devices frequently introduced into the patterns4 ,collars of this work are mentioned in ,queen ,mary ,stuart's inventories4 ,number #b1 ,plate #hj1 is a specimen of ,limerick run lace4 ,three pieces of ,irish needle-lace1 ,nos4 #a and #b of ,plate #ha1 are praiseworthy as very early specimens of this industry4 ,the designs are nondescript1 but many of the stitches are well executed4 ,a bobbin-made tape is introduced in ,no4 #a4 ,no4 #c is the so-called ,carrickmacross lace2 a muslin and machine net foundation is neatly outlined by fine whipped stitches2 and buttonhole-stitch brides picotes are used to join the patterns after the background is cut away4 ,this lace was first made after the famine of #ahdf4 ,,bobbin-,,made ,,lace ,the earliest bobbin lace was made by using the same threads for the whole of the lace1 thus1 when the pattern had been pricked out and the requisite number of bobbins charged with thread1 the plaiting and twisting the threads into lace was begun4 ,the starlike effect in the old ,malta laces was very simply made by taking fourteen bobbins to work a strip of the required length2 this was then joined up as required into a pattern of more or less regular and starlike form1 partly1 no doubt1 to imitate the older geometric designs4 ,the same bobbins were used throughout4 ,see ,plate #hc4 ,the same style of making is more beautifully carried out in the two patterns of ,plate #hd4 ,the lace in ,no4 #a is unfortunately very much worn1 but the way the bobbin-made strip is arranged to make flowerlike forms is very ingenious2 the ground is completely covered and yet nothing is awkward or crowded4 ,no4 #b is also a very fine example of this simple bobbin work4 ,i consider both to be early ,venetian4 ,number #a of ,plate #he is a typical pattern of the lace which1 originally no doubt inspired by the ,east has become universal under the name of peasant lace4 ,we find it in ,russia1 ,hungary1 ,dalmatia1 ,spain1 ,sicily1 ,sardinia1 in fact wherever lace was made at all1 this pattern with slight variations is supreme4 ,ceylon and ,india produce very similar lace1 as also does ,south ,america4 ,i have therefore made no special reference to these peasant laces1 as although quite satisfactory from the point of view of utility1 they are only otherwise interesting as the product of an industry much to be encouraged4 ,numbers #b1 #c and #d1 on ,plate #he1 may be considered as showing a transition state1 as in all three there is an attempt to add a background to the toile or tapelike pattern4 ,number #d is a specimen of old ,maltese lace now no longer made4 ,number #a in ,plate #hf is of reticello pattern and a very successful imitation of the needle-point linen lace4 ,number #b is a fine example of the same style worked into points or pizzi1 and is probably ,venetian4 ,numbers #c1 #d and #e1 are examples of ,genoese plaited lace4 ,number #e is especially notable as recalling the ,eastern tradition4 ,plate #hg shows two specimens of ,genoese lace4 ,no4 #b is what is sometimes called collar lace1 and sometimes ,vandyke lace1 from the very general use of it in portraits by that great painter4 ,no4 #a is ,genoese fringed lace4 ,in both the starlike groups of little grains of corn1 as they are called1 are characteristic of ,genoese lace1 as they are now considered to be of ,maltese4 ,but the ,genoese patterns were only introduced into ,malta and ,gozo about sixty or seventy years ago4 ,one can but be glad of the success of an industry so profitable to the industrious peasantry of those islands1 but it is impossible not to regret the total disappearance of the old style of lace-making4 ,the old patterns are not in demand for the modern market1 which is chiefly ,french1 and the lace is principally made with silk imported from ,france4 ,i find that it is often supposed that no specimens exist of ancient ,maltese lace4 ,it is1 however1 well known there that lace was made in ,malta and ,gozo at all events as early as about #afdj4 ,the early flounce 7,plate #hj7 was bought in ,valetta more than fifty years ago1 and inquiries made convince me that it was made1 as my ,maltese informant expressed it1 before the time of ,lascaris4 ,the ,maltese often use the expression time of ,lascaris or of ,carafa1 ,manoel1 etc41 to date anything4 ,these were the names of different ,grand ,masters before the islanders invited ,english occupation in #ahjj4 ,there is no doubt that the disturbance caused by the ,french occupation affected lace-making so that it fell into abeyance1 but before that time great quantities of these simple1 strong and useful laces were made1 principally1 of course for church use4 ,the narrower edgings 7,plate #ih7 were used for the fine white lawn head-dresses worn with the beautiful national gala dresses1 now only preserved by the great ,maltese families as relics of the past4 ,number #a1 ,plate #hh1 is a very curious early pattern called gotico in ,italy4 ,numbers #b and #c are ,sicilian peasant laces4 ,number #d1 ,tuscan peasant lace called piedi di gallini 7fowls' feet74 ,number #e is a ,tuscan peasant lace called zeccatello4 ,plate #hi illustrates six peasant laces from ,russia1 ,madeira1 ,portugal1 ,ceylon1 and ,le ,puy1 made before #ahej4 ,in the ,genoese laces in ,plates #ij and #ia we have examples of what may be called the second manner of bobbin lace4 ,the patterns of conventional sprays and flowers are made on the pillow separately1 and afterwards joined by brides picotes1 also bobbin-made4 ,in the lace made in this second manner1 in which many laces were made at successive periods in ,milan1 ,genoa1 ,brussels and ,honiton1 the threads forming the connecting brides1 and later the rseau1 can be detected by looking on the reverse of the lace1 as they are seen passing behind the patterns4 ,an example of this carrying threads across is shown in the ,honiton lace1 ,plate #aah4 ,plate #ib represents one of the finest examples ,i have seen of ,genoese bobbin lace1 trine a fuselli4 ,the design is of gracefully arranged scrolls and flowers1 and includes five birds which are introduced in the most spirited manner4 ,the several tapey shapes1 made separately and joined by brides1 form the complete design or pattern1 the fillings between them are very good1 and include the starlike work characteristic of ,genoa4 ,this illustration is on a reduced scale in order to show the pattern of the lace4 ,plate #ic represents the exact size of the same lace4 ,plate #id is a flounce of ,milanese bobbin lace1 trine a fuselli4 ,the pattern is of scrolls and flowers1 a heraldic crowned eagle and small birds1 with various fillings in the spaces enclosed4 ,a very strong rseau connects the whole4 ,plate #ie1 a flounce of the same lace1 has a very beautiful flowing design of scrolls1 with a background of the characteristic rseau of ,milanese work4 ,the ,milanese alb flounce 7,plate #if7 is a very fine piece of much later date4 ,the spaces enclosed by the toil or tapey parts are filled by bobbin-made fillings or jours1 of various designs1 a very strong and evenly made rseau connects the whole4 ,the two specimens of ,italian lace1 ,plate #ig1 are of very elegant design2 they also have the fond chant pattern of rseau4 ,this style of lace was made both in ,north and ,south ,italy up to sixty or seventy years ago1 but coarser thread was then introduced with disastrous effect4 ,in the narrow ,maltese lace of ,plate #ih we have in ,no4 #a the rseau called mariage2 this lace1 and ,nos4 #b and #c1 were made in ,malta about #aghj4 ,turning now to the bobbin-made lace of ,flanders1 ,i begin with ,no4 #a on ,plate #ii1 which has no less than three characteristic lengths joined to form one border4 ,the straight edge1 the rather abrupt design1 and the rseau cinq trous1 indicate a ,flemish make of lace4 ,the pattern ,no4 #b has the clear whiter thread outline4 ,this lace is sometimes called ,trolle ,kant4 ,the cap1 ,plate #ajj1 is of later date2 the rseau cinq trous1 worked with a very opened out effect1 can be observed in the fillings4 ,the early ,mechlin lace resembles in design the point d',angleterre1 and1 indeed1 also the ,alenon lace of the same date4 ,it is most interesting to compare1 say1 the ,mechlin1 ,plate #aja1 with the d',angleterre1 ,plate #ajd1 and the ,venise rseau of ,plate #eg4 ,yet the makings of the three laces are absolutely different--the ,venice entirely by needle2 the ,angleterre is made in two different stages of bobbin work2 the ,mechlin1 as is always the case1 was made in the third manner1 the threads originally started on the bobbins carrying the work to a finish1 and ingeniously sufficing for toil1 rseau1 and fillings4 ,later1 ,mechlin1 for reasons already stated1 became a mere border1 as shown in ,plate #ajb4 ,it is no longer made4 ,this is also the case with ,binche lace 7,plate #ajc74 ,a very beautiful fond de neige1 used sometimes as a ground and sometimes as a filling or jours1 distinguishes this lace4 ,the work is very fine and close1 the edge is usually straight4 ,it is sometimes called fausses ,valenciennes4 ,brussels gives its name to a variety of beautiful laces4 ,the most renowned is the point d',angleterre1 made in great quantities during the later part of the seventeenth century for the ,english market4 ,the designs1 as on ,plate #ajd1 recall those of the ,venise rseau and of ,alenon of the same period2 the beautiful flowing garlands1 the waved edge with varied fillings1 the brides picotes forming the hexagonal rseau1 will bear comparison with the ,venice lace of ,plate #eg1 and the ,alenon of ,plate #fc4 ,this truly wonderful point d',angleterre has a very fine toil2 the flowers and scrolls were first made on the pillow and then joined by the rseau 7vrai ,bruxelles71 long used for the highest class of all ,brussels bobbin-made laces4 ,lace of this fineness is no longer made since the fine handspun thread cannot be obtained4 ,brussels lace followed the fashion which1 as we have seen1 obtained in ,france4 ,in the late eighteenth century only a border was necessary1 as lace was worn in a profusion of flounces and frills2 and ,plate #ajf shows a border very similar in design to the ,alenon of the same date4 ,the delicate flowers and leaves are joined by the fine rseau mentioned above--namely ,brussels vrai rseau1 a title employed to distinguish it from machine-made net4 ,this last was introduced during the first quarter of the nineteenth century1 and soon gave a different character to ,brussels lace1 when the flowers made on the pillow were sewn 7appliqu7 to a simple net made sometimes by hand1 but more often by machine4 ,in the ,antwerp lace scarf1 ,no4 #a1 ,plate #ajg1 the fond chant or point de ,paris rseau is used1 and here we have an example of ,potten ,kant1 or pot lace1 so-called because in early times the subject of the ,annunciation1 with the pots of lilies usually added1 was introduced into the designs for it4 ,the indication of flower-pots certainly occurs in many pieces1 though not in mine1 and no piece exists1 as far as ,i know1 with figures4 ,the cap of ,lille lace1 ,no4 #b1 ,plate #ajg1 has the simple twisted thread rseau characteristic of this and of ,arras lace4 ,it is not to be distinguished from the rseau often used in ,buckingham lace4 ,we must again notice how similar the design in the fine old ,valenciennes of ,plate #ajh is to that of ,alenon needle-point of the same date4 ,the rseau is closely plaited1 and the toil of the beautiful patterns compact and clear in definition4 ,no outline or cordonnet is used in ,valenciennes lace4 ,the early lace has what is called the round rseau1 the later ,valenciennes made at ,yprs has a square rseau 7,plate #aji74 ,this latter lace is still made1 but has not the charm of the eighteenth-century lace4 ,the lace 7,plate #aaj7 was probably made in ,paris4 ,it is very curious1 with heraldic device of an eagle with a shield2 dogs also1 and stags1 are introduced4 ,it may have been made for a wedding about #afij4 ,this lace is often described in the inventories of old families in ,france as dentelle de chasse4 ,the ,blonde lace 7,plate #aaa7 was made in ,chantilly for a wedding in #ahbj4 ,plate #aab gives three specimens of bobbin-made lace1 with the so-called maglia di ,spagna1 or ,spanish mesh4 ,no4 #a is of linen thread1 with a coarser thread introduced2 but one should remark that this thread is not used to outline the pattern as in ,flemish lace4 ,i have not met this rseau in any ,flemish lace4 ,nos4 #b and #c are bobbin-made silk lace1 and were ruffles for a ,court dress-coat4 ,the black mantilla1 ,plate #aac1 has the fond chant rseau used as a filling1 and1 although bought in ,madrid in #ahdj1 it may have been made in ,france4 ,the difficulty of working the materials of gold and silver lace is so great that absolute regularity of either pattern or rseau is impossible4 ,this1 however1 in my opinion1 only renders these rare laces more interesting4 ,both metals are used in the characteristic specimen of sixteenth-century ,spanish lace1 ,no4 #a in ,plate #aad4 ,number #b is a silver seventeenth-century lace from ,genoa1 the edge is a shell pattern1 and several thicknesses of the metal-covered silk thread are used4 ,plate #aae has four patterns of seventeenth-century gold and silver lace made in ,italy1 probably at ,lucca4 ,the ,brussels lappet1 made in #ahdi1 ,plate #aaf1 was then considered one of the finest ever made1 the pattern is pretty and realistic1 and foreshadows the style since prevalent4 ,the ,bedfordshire lappet1 on the same plate1 is far inferior in execution1 but was made by a cottager at about the same time and has done good service4 ,two patterns of ,buckinghamshire lace1 ,plate #aag1 made about #agij1 show more even workmanship than is generally seen in this lace4 ,no4 #b has a likeness to the ,mechlin and ,lille lace of the same date2 ,no4 #a is more like the ,flemish ,trolle ,kant1 and was1 in fact1 called ,trolly lace4 ,it will be observed that the fillings have the six-pointed star1 or fond chant rseau1 so prevalent in pillow lace4 ,there is a tradition that the art of bobbin-made lace was imported into ,devonshire by emigrants from the ,netherlands1 flying from the tyranny of the ,duke of ,alva4 ,mr4 ,seguin1 in his learned book1 contends that the troubles in ,flanders had completely destroyed the lace industry before ,philip ,,ii4 of ,spain sent the notorious ,duke of ,alva there4 ,i believe1 however1 both that lace-making existed before that time in ,england1 and that the emigration had a beneficial effect on all ,english industry1 although not an initial one4 ,i have given both the right and wrong side of the ,honiton lace cap-border in ,plate #aah1 to show the threads of the connecting rseau1 passing behind the patterns1 the thread making the brides picotes also passes in the same manner4 ,plate #aai shows a remarkably fine specimen of ,honiton bobbin lace4 ,the flowers are made separately in this specimen1 and are afterwards joined by twisted brides claires made with a needle4 ,the design is of birds1 butterflies1 and the rose1 shamrock1 and thistle4 ,it was1 perhaps1 made to commemorate the ,union4 ,plate #abj is of ,honiton sprays applied to machine-made net4 ,space does not admit of any attempt to give a complete ,bibliography4 ,i find that a mere list of books that ,i have consulted at different times would be too long4 ,i will therefore only mention that the works of the following authors would be very valuable to those intending to pursue this subject4 ,a fairly complete list of ,italian and ,german pattern-books will be found in ,mrs4 ,bury ,palliser's ,history of ,lace4 ,and the works of ,mr4 ,alan ,cole1 ,dr4 ,franz ,bock1 ,father ,braun1 ,s4,j41 ,dr4 ,moritz ,dreger and ,dr4 ,ilg of ,vienna1 ,dr4 ,daniel ,rock1 ,mons4 ,seguin1 and ,mr4 ,verhaagen have all been especially useful2 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 ,ricci4 ,in concluding these remarks1 ,i must say that ,i owe the first idea of writing on this subject to my learned and accomplished husband1 ,mr4 ,john ,hungerford ,pollen4 ,much information was given me in long bygone days by ,dr4 ,daniel ,rock1 and by another old friend1 ,mrs4 ,bury ,palliser1 who gave me one of my first specimens in #ahfb4 ,at the present time ,i owe many thanks for advice and supervision to ,mr4 ,alan ,cole1 whose knowledge of lace is unsurpassed4 ,,plates ,illustration3 ,,plate ,i4 ,,the ,,alb1 ,,preserved ,,at ,,assisi1 ,,said ,,to ,,have ,,been ,,worn ,,by ,,st4 ,,francis ,illustration3 ,,plate ,,ii4 ,,the ,,alb ,,which ,,is ,,said ,,to ,,have ,,been ,,worn ,,by ,,pope ,,boniface1 ,a4,d4 #abih ,illustration3 ,,plate ,,iii4 7#a7 ,,detail ,,of ,,the ,,alb ,,of ,,pope ,,boniface ,,viii4 7#b7 ,,detail ,,of ,,the ,,assisi ,,alb4 ,illustration3 ,,plate ,,iv4 ,,three ,,pieces ,,of ,,needlework ,,from ,,egypto-,,roman ,,or ,,coptic ,,tombs ,,of ,,the ,,second ,,and ,,third ,,centuries ,one is part of a circular panel or roundel1 and the other two are parts of girdles4 ,the gammadion or symbol of the cross can be traced in all three3 and the polygonal character of the design is similar to that of the ,assisi alb ,illustration3 ,,plate ,v4 7#a7 ,a ,,piece ,,of ,,bobbin-,,made ,,lace4 7#b7 ,,darned ,,work ,,with ,,white ,,linen ,,thread4 7#c7 ,,portion ,,of ,a ,,mummy ,,cloth ,no4 #a is a piece of bobbin-made lace1 found in the ,coptic tombs in #aijc1 and now in the ,cluny ,museum in ,paris4 ,bobbins were found at the same time4 ,i do not think this fabric was made on a lace pillow1 but that a sort of frame with pegs was used to keep the bobbins separate ,no4 #b is darned work with linen white thread1 very similar to the ,italian towel ,no4 #a in ,plate ,,xxviii42 the background is afterwards darned in with coloured wool4 ,this is also from a ,coptic tomb of the third century ,no4 #c is a portion of a mummy cloth of the ,eighteenth ,dynasty1 #agjj ,b4,c4 ,the linen is very strong and of a wiry nature ,illustration3 ,,plate ,,vi4 ,,two ,,examples ,,of ,,italian ,,tela ,,tirata ,,and ,,punto ,,reale ,chosen as showing similarity to the work of the ,assisi alb4 ,together #ac ft4 #g in4 long ,italian4 #afth century ,illustration3 ,,plate ,,vii4 ,,an ,,example ,,of ,,early ,,lacis ,,or ,,sfilatura ,chosen as showing similarity to the work of the alb of ,pope ,boniface4 ,the square mesh netting has centres worked in matting stitch1 punto a stuora2 threads radiate from these centres and darning stitch and punto di treccia are both used to form various patterns1 some cruciform #g ft4 #i in4 #aj in4 ,sicilian1 #aeth century ,illustration3 ,,plate ,,viii4 ,,seven ,,enlarged ,,stitches ,,used ,,in ,,lacis ,,and ,,linen ,,lace ,no4 #a4 ,early lacis work1 showing the punto a stuora and punto di treccia ,no4 #b4 ,lacis with square knotted mesh and pattern darned with punto a tela4 ,in this specimen gold thread has been run round the pattern ,no4 #c4 ,lacis with a twisted mesh1 darned with punto a rammendo2 this style is called ,buratto in ,italy ,no4 #d4 ,tela tirata4 ,the threads are only partly drawn1 and the pattern left in the linen1 some threads being cut ,no4 #e4 ,tela tirata4 ,in this style some threads of both warp and woof in the whole piece of linen are drawn3 the missing threads of the pattern are then darned in again2 the background is then sewn over as in the other style4 ,no threads at all are cut1 which makes it more even and durable ,no4 #f4 ,punto avorio4 ,the needle-made knots make a very even surface resembling ivory ,no4 #g4 ,english needle-point1 called ,hollie or ,holy ,work1 a stitch which resembles the ,alenon rseau in the working1 as after completing a row the thread is passed back so as always to begin at the same point ,illustration3 ,,plate ,,ix4 ,,five ,,enlarged ,,varieties ,,of ,r,,seaux ,no4 #a4 ,small and large rseaux of ,point d',alenon ,no4 #b4 ,point de ,venise rseau ,no4 #c4 ,point d',argentan4 ,no4 #d4 ,brussels needle-made rseau ,no4 #e4 ,brussels bobbin-made rseau ,illustration3 ,,plate ,x4 ,,seven ,,enlarged ,,varieties ,,of ,r,,seaux ,no4 #a4 ,bobbin-made ,maglia di ,spagna ,no4 #b4 ,bobbin-made ,fond chant or ,point de ,paris ,no4 #c4 ,round mesh bobbin-made ,valenciennes ,no4 #d4 ,bobbin-made ,mechlin ,no4 #e4 ,cinq trous rseau ,no4 #f4 ,bobbin-made square mesh ,valenciennes ,no4 #g4 ,lille1 ,arras1 or ,buckingham rseau ,illustration3 ,,plate ,,xi4 ,,border ,,of ,,lacis ,,or ,,darned ,,square ,,mesh ,,net4 ,,punto ,a ,,tela ,,or ,,linen-,,stitch ,with religious inscriptions3 a fanciful peacock and the letters ,i4,h4,s4 surrounded by a glory of flames and by little angular angels #d ft4 #aj in4 #b ft4 #aj in4 ,italian1 #aeth century ,illustration3 ,,plate ,,xii4 ,,border ,,of ,,square ,,mesh ,,lacis ,intended probably for an altar-cloth with a design of ornamental hexagonal compartments worked in linen stitch1 in each of which are various devices1 ,i4,h4,s4 in a heart-shape above two heraldic lions1 elsewhere a stag1 pairs of birds1 symmetrical devices of leaf and blossom1 etc4 #f ft4 #aj in4 ,french1 #aeth century ,illustration3 ,,plate ,,xiii4 ,,two ,,examples ,,of ,,lacis ,,work ,no4 #a4 ,lacis with gammadion1 or early ,christian symbol4 #d ft4 ,no4 #b4 ,lacis cover1 containing #ci squares of different patterns darned with punto a tela or linen stitch4 ,the border is of bobbin-made lace4 #b ft4 #a in4 #ba in4 ,italian1 #aeth century ,illustration3 ,,plate ,,xiv4 ,,part ,,of ,a ,,quilt ,made of squares of lacis work alternating with oblongs of linen in which are squares worked in needle-point called reticello or cut-work4 #c ft4 #h in4 #b ft4 #d in4 ,italian1 #aeth century ,illustration3 ,,plate ,,xv4 ,,lacis ,,table-,,cover ,of square mesh net worked in linen stitch with bold and graceful scrolls1 leaves1 etc41 amidst which are cartouches of foliated shields bearing a heraldic lion in the centre4 ,the pattern is outlined and enriched with gold thread1 and the cartouches have a variety of stitches4 ,it has a bobbin-made vandyke edging of lace 7merletti a fuselli7 with gold thread introduced into it4 #e ft4 #f in4 #bb in4 ,italian1 #afth century ,illustration3 ,,plate ,,xvi4 7#a7 ,,vandyke ,,border ,,of ,,lacis4 7#b7 ,,part ,,of ,a ,,quilt ,,of ,,squares ,,of ,,lacis ,no4 #a4 ,vandyke border of lacis knotted square mesh net darned in linen stitch with repeated large and small blossoms2 the larger ones resemble ,tudor roses4 #d ft4 ,english1 #afth century ,no4 #b4 ,part of a quilt of squares of lacis1 the one shown has a pattern of a vine3 alternating with rectangles of linen decorated with small cut-work4 #c ft4 #c in4 #b ft4 ,german1 #afth century ,the pattern in both pieces is outlined and partly worked with punto riccio ,illustration3 ,,plate ,,xvii4 ,,border ,,of ,,lacis ,,with ,,the ,,twisted ,,mesh ,,called ,,buratto ,the design is worked in punto a rammendo with numerous armed men and animals4 #e ft4 #i in4 ,italian1 #aeth century ,illustration3 ,,plate ,,xviii4 ,,two ,,borders ,,of ,,lacis ,,called ,,buratto ,the darning or punto a rammendo of the edge pattern is in each case worked the reverse way to that employed for the main design4 ,together #d ft4 #g in4 ,italian1 #afth century ,illustration3 ,plate ,,xix4 ,,band ,,of ,,tela ,,tirata ,,or ,,drawn ,,work ,the pattern left in the linen represents a variety of sacred and other subjects4 ,a king and a queen between whom is an angel3 ,st4 ,michael engaging ,satan3 ,st4 ,rafael holding ,tobit by the hand1 etc4 ,the photograph shows a portion1 representing ,st4 ,francis receiving the ,stigmata2 below are the words3 ,s4 ,francisca4 ora pr41 above to his left a church #f ft4 #g in4 #ab in4 ,italian1 early #adth century ,illustration3 ,,plate ,,xx4 ,,part ,,of ,a ,,cover ,,of ,,tela ,,tirata ,,or ,,drawn ,,work ,the pattern left in the linen includes a man in armour1 about to slay a curious beast2 elsewhere are archaic birds4 #c ft4 #b in4 #ba in4 ,italian1 early #adth century ,illustration3 ,,plate ,,xxi4 ,,band ,,or ,,flounce ,,of ,,tela ,,tirata ,,or ,,drawn ,,work ,the pattern includes various figures1 a wedding-party above two lions flanking a flower-pot3 a hawking-party below #f ft4 #a in4 #ad in4 ,italian1 about #aedj ,illustration3 ,,plate ,,xxii4 ,,an ,,infant',s ,,swaddling ,,band ,,or ,,fascia ,,of ,,tela ,,tirata ,the pattern is of a conventional stem and leaf design4 ,the edging on the sides is of bobbin-made lace of two patterns #c ft4 #f in4 ,sicilian1 #afth century ,illustration3 ,,plate ,,xxiii4 ,,band ,,of ,a ,,variety ,,of ,,tela ,,tirata ,with a darned pattern in heavy thread of female figures alternating with birds2 the vandyked edging is of punto avorio #aj ft4 #f in4 #e in4 ,sardinia1 #afth century ,illustration3 ,,plate ,,xxiv4 ,,linen ,,cloth ,,with ,,border ,of tela tirata worked with looped and knotted stitches and reticello3 the geometrical pattern is repeated without variation #be in4 #ag in4 ,italian1 #aeth century ,illustration3 ,,plate ,,xxv4 ,,two ,,bands ,no4 #a4 ,band of a variety of tela tirata or drawn-work3 pattern a scroll with a flower3 there are no cut threads in this work4 #c ft4 #h in4 ,no4 #b4 ,band of punto reale and tela tirata with a bobbin-made edging4 #d ft4 #aa in4 ,italian1 #agth century ,illustration3 ,,plate ,,xxvi4 ,,pyx ,,veil ,,of ,,tela ,,tirata1 ,,or ,,drawn ,,thread ,,work ,this interesting piece is a survival from pre-reformation times4 ,it is #b ft4 #d in4 square and has no cut threads in it4 ,the pattern is made by drawing #ab threads both of warp and woof and leaving small squares of #ab threads4 ,the loose threads are then most ingeniously whipped over1 forming a star-like pattern between the squares4 ,the worker has passed her needle behind the squares #h times so as to form a star at the back of each square1 the corners have wooden balls gilt3 and a silk fringe surrounds the whole ,illustration3 ,,plate ,,xxvii4 ,a ,,portion ,,of ,,the ,,pyx ,,cloth1 ,,to ,,show ,,both ,,sides ,,of ,,the ,,work ,illustration3 ,,plate ,,xxviii4 ,,three ,,cloths1 ,,fringed ,no4 #a has a geometric effect worked on the drawn foundation3 this style is called sfilatura in ,italy2 the knotted fringe is of macram4 #d ft4 #b ft4 ,no4 #b has a design of birds and scrolls in punto riccio1 a border worked in punto avorio1 and a curious hand-made fringe4 #f ft4 #f in4 #b ft4 ,no4 #c is ornamented with reticello and punto riccio and has a bobbin-made edging and fringe4 #c ft4 #f in4 #b ft4 ,illustration3 ,,plate ,,xxix4 ,,two ,,borders ,no4 #a4 ,border of reticello or needle-point cut-work3 the geometrical rosettes are repeated with very slight internal alteration4 #i in4 ,no4 #b is a curious piece consisting of two borders and an edging2 the upper border is a mixture of punto a festone1 punto di treccia and punto a stuora work4 ,the vandyke edge is of bobbin-work 7merletti a fuselli74 #b ft4 #h in4 ,italian1 #aeth century ,illustration3 ,,plate ,,xxx4 ,,two ,,borders ,of needle-point on linen1 called reticello or cut-work4 ,the pointed edgings of both pieces are bobbin-made lace1 sometimes called plaited lace ,together #i ft4 #b in4 #d in4 ,italian1 #afth century ,illustration3 ,,plate ,,xxxi4 ,,two ,,examples ,of dentated or vandyke edgings of needle-point called punto in aria1 because it is made independently of any foundation4 ,together #d ft4 #h in4 ,italian1 about #aeej ,illustration3 ,,plate ,,xxxii4 ,,chalice ,,cover ,,of ,,reticello ,,and ,,punto ,,in ,,aria ,in the centre is the figure of ,st4 ,peter with the ,bible in his right hand and the ,keys in his left4 ,two winged cherubs hold portions of a long chain pattern which encircles the details of conventional foliage and flowers4 ,a lattice of reticello work supports the punto in aria devices4 ,the linen can be seen at the sides1 which have an edge of punto in aria4 #ac in4 #g in4 #agth century ,illustration3 ,,plate ,,xxxiii4 ,a ,,reticello ,,pattern ,,worked ,,in ,,very ,,fine ,,punto ,,in ,,aria ,,and ,,punto ,,avorio ,a pointed edge is also finely worked in punto avorio4 #e ft4 #h in4 ,italian1 #agth century ,illustration3 ,,plate ,,xxxiv4 ,,scalloped ,,border ,,of ,a ,,corporal ,,of ,,flat ,,needle-,,point ,,lace1 ,,called ,,punto ,,in ,,aria ,in which the repeating conventional semi-floral forms are connected by small brides4 #f ft4 ,german1 early #agth century ,illustration3 ,,plate ,,xxxv4 ,a ,,cloth ,,with ,,insertion ,,and ,,border ,,of ,,punto ,,in ,,aria ,the border has a figure in each vandyke1 either a lady with two birds or a siren2 the insertion has strange winged and tailed animals supporting vases of flowers3 all the figures1 birds and animals have tiny black beads for eyes4 #f ft4 #d in4 #c ft4 ,italian1 #afth century ,illustration3 ,,plate ,,xxxvi4 ,,needle-,,point ,,border ,,of ,,flat ,,needle-,,point ,,lace1 ,,called ,,punto ,,in ,,aria ,the design of open scrolling and continuous floral stems is arranged to form points alternately of carnations and hyacinths and includes stags1 hounds1 peacocks and other animals3 the ,visconti crest--a crowned serpent--is introduced1 and the stems sometimes twist into true lovers' knots4 ,this piece was probably made for a wedding4 #d ft4 #c in4 #e in4 ,venetian1 #afth century ,illustration3 ,,plate ,,xxxvii4 ,,ornament ,,for ,,the ,,neck ,,of ,,an ,,alb ,,of ,,punto ,,in ,,aria ,the ,madonna1 in a robe sprinkled with stars and crowned1 is seated on clouds1 her foot resting on the head of a cherub4 ,the three persons of the ,trinity are above4 ,cherubs and conventional flowers are introduced into the background3 the robes are worked apart from the figures in a lacis stitch called mezza mandolina4 ,small glass beads are added to the eyes4 #ah in4 #f in4 #afth century ,illustration3 ,,plate ,,xxxviii4 ,,border ,,and ,,edging ,no4 #a4 ,border of needle-point lace1 called punto in relievo or rose-point4 ,birds and serpents occur in the design and each portion of the pattern is outlined by a thick cordonnet worked in buttonhole stitch1 punto festone4 ,this thick cordonnet is also used to denote the scales of the serpent and to accentuate the features of the birds1 the narrow braid at the top of the lace is bobbin-made1 the edging is of very fine needle-point called punto avorio4 #aa in4 #c in4 ,italian1 #afth century ,no4 #b4 ,edging of flat needle-point lace brides4 ,the pattern is a somewhat confused rendering of a continuous scrolling stem type2 the brides irregularly introduced have pronounced picots2 and this feature has given rise to the title of coraline lace1 on account of its suggestion of coral forms4 ,venetian1 about #affj ,illustration3 ,,plate ,,xxxix4 ,a ,,lady',s ,,camisia ,,or ,,shirt ,the back and front are in one piece with a square opening for the head3 this is worked all round with a fine insertion and vandyked edge of punto in aria3 the sleeves have oblique insertions of reticello work4 ,in the cuffs bobbin-made lace has replaced the original work ,italian1 #afth century ,illustration3 ,,plate ,,xl4 ,,bed-,,cover ,,of ,,cut ,,linen ,,lace 7,,tela ,,tagliata ,a ,,foliami ,,and ,,punto ,a ,,festone7 ,the pattern is of bold flowing scrolls1 cut in linen1 edged by buttonhole stitch1 and joined by brides3 a few modes are introduced into the blossom forms1 the edging is of bobbin-made lace 7merletto a fuselli74 #g ft4 #f in4 #d ft4 #h in4 ,venetian1 #agth century ,illustration3 ,,plate ,,xli4 ,,rabat ,,of ,,flat ,,needle-,,point ,,lace ,,brides ,the pattern is of well-balanced scrolls and conventional flowers enriched with a few simple modes and joined by brides variously picotes #aa in4 #g in4 ,venetian1 about #afdj ,illustration3 ,,plate ,,xlii4 ,,part ,,of ,a ,,dress ,,trimming ,,of ,,very ,,fine ,,needle-,,point1 ,,called ,,rose-,,point 7,,punto ,,tagliato ,a ,,foliami7 ,the pattern wrought chiefly in close toil consists of scrolls and conventional flowers joined by very few brides4 ,intermixed with the toil are variations of simple modes4 #ca in4 #aj in4 ,venetian1 about #afdj ,illustration3 ,,plate ,,xliii4 ,,parts ,,of ,a ,,collar ,,of ,,needle-,,point1 ,,called ,,rose-,,point1 ,,or ,,point ,,de ,,venise 7,,punto ,,tagliato ,a ,,foliami7 ,pattern of continuous scrolls and conventional flowers frequently enriched on their raised cordonnets with picots and joined by brides picotes #e ft4 #i in4 #c in4 ,venetian1 #agth century ,illustration3 ,,plate ,,xliv4 ,,stomacher 7,,for ,a ,,dress7 ,,of ,,needle-,,point1 ,,called ,,rose-,,point1 ,,or ,,point ,,de ,,venise 7,,punto ,,tagliato ,a ,,foliami7 ,pattern of conventional flowers joined by brides picotes3 the clothing or toil of these flowers is of very close work #aj in4 long4 ,venetian1 #agth century ,illustration3 ,,plate ,,xlv4 ,,part ,,of ,a ,,flounce ,,of ,,needle-,,point1 ,,called ,,rose-,,point1 ,,or ,,point ,,de ,,venise 7,,punto ,,tagliato ,a ,,foliami7 ,a splendid scroll occurs in the pattern here shown which is rich with conventional flowers and double brides picotes #ag in4 #i in4 ,venetian1 #agth century ,illustration3 ,,plate ,,xlvi4 ,,part ,,of ,a ,,beautiful ,,flounce ,,of ,,delicate ,,needle-,,point ,,of ,,raised ,,or ,,rose-,,point ,,lace1 ,,known ,,as ,,point ,,de ,,venise ,the pattern consists of well-balanced elegantly scrolling devices1 terminating in conventional leaves and flowers with occasional raised work on them1 and is set in a ground of brides picotes arranged in hexagons4 ,the style of many features in the design is ,french 7,louis ,,xiv47 and the specimen seems to be of ,franco-,venetian origin #ag in4 #ai in4 ,venice1 #agth century ,illustration3 ,,plate ,,xlvii4 ,,portion ,,of ,,xlvi4 ,,actual ,,size ,illustration3 ,,plate ,,xlviii4 ,,paten ,,cover ,,of ,,needle-,,point ,,raised1 ,,or ,,rose-,,point ,,lace1 ,,very ,,similar ,,in ,,style ,,and ,,gracefulness ,,to ,,that ,,of ,no4 ,,xxxiii4 ,the pattern consists of slender scrolls1 with flowers enriched with massings or galleries of picots surrounding the letters ,i4,h4,s4 at the centre #f in4 square4 ,venetian1 about #afgj ,illustration3 ,,plate ,,xlix4 ,a ,,portion ,,of ,,xlviii41 ,,magnified ,,to ,,show ,,the ,,stitches ,illustration3 ,,plate ,l4 ,,three ,,borders ,,of ,,delicate ,,needle-,,point ,,raised ,,or ,,rose-,,point ,,lace ,sometimes called point de neige on account of the massings or galleries of picots on the raised rosettes4 ,it is also called rosaline in ,italy4 ,some authorities claim this style as ,french1 and it is one that may be fairly termed ,franco-,venetian1 about #afgj-hj ,together #d ft4 #h in4 #b in4 ,illustration3 ,,plate ,,li4 ,,deep ,,flounce ,,of ,,needle-,,point ,,lace ,,brides ,,picot,,es1 ,,usually ,,called ,,point ,,de ,,france ,this handsome design1 in the rendering of which the play of contrast as between toil and simple modes is a salient feature1 is composed of semi-realistic leaf1 fruit and flower forms arranged symmetrically in groups which are repeated alternately through the whole length of the flounce4 ,accentuations of raised cordonnet are occasionally introduced4 #i ft4 #b in4 #ac in4 ,french 7,alenon or ,sedan71 about #afij ,illustration3 ,,plate ,,lii4 ,,portion ,,of ,,li41 ,,enlarged ,illustration3 ,,plate ,,liii4 ,,border ,,of ,,needle-,,point ,,raised ,,lace1 ,,called ,,spanish ,,rose-,,point ,the fond or toil of this lace is partly made of bobbin-made tape2 on this is raised work1 and gimps as well as buttonhole-stitched cordonnets of different dimensions outline and accentuate the rounded serrations and inner portions of the conventional foliage forms1 into which are introduced many varieties of modes4 #d ft4 #f in4 ,spanish1 #agth century ,illustration3 ,,plate ,,liv4 ,,two ,,specimens ,,of ,,needle-,,point ,,raised ,,lace1 ,,called ,,spanish ,,rose-,,point 7,,slightly ,,reduced ,,in ,,size7 ,this fond is partly of bobbin-made tape3 on this is raised work of gimp and various cordonnets buttonhole stitched and edged with loops4 ,these latter1 from their sort of caterpillar effect1 originate the fanciful name sometimes given of caterpillar point ,spanish1 #agth century ,illustration3 ,,plate ,,lv4 ,,two ,,examples ,,of ,,needle-,,point ,,lace ,no4 #a is of silk needle-point lace with cordonnet1 buttonholed in different sizes4 ,this is a small portion1 actual size1 of the lace used to embellish the ,jewish talith or silk mantle or scarf worn at prayers4 ,venetian1 #agth century ,no4 #b4 ,border of needle-point lace sometimes called mezzo-punto1 as fine bobbin-made tape or braid is used to outline the pattern1 two or three varieties of needle fillings are wrought within the tape forms4 #ai in4 #agth century ,illustration3 ,,plate ,,lvi4 ,,cap ,,of ,,needle-,,point ,,lace ,r,,seau ,the design consists of a waved open ornamental riband device crossing a spray of conventional flowers4 ,this lace may be distinguished from ,alenon by the use of a single thread instead of a buttonholed stitch in the cordonnet as well as by the make and lay of the meshed ground1 point de ,venise rseau4 ,the style of the design is borrowed from the ,french of the latter part of the #agth century4 #b ft4 #h in4 #f in4 ,venetian1 late #agth century ,illustration3 ,,plate ,,lvii4 ,a ,,border ,,of ,,needle-,,point ,,lace1 ,,venetian ,,point ,r,,seau ,the leading masses of the pattern undulate1 and between the undulations are either conventional leaves or flowers filled in with simple diaper modes and more openly arranged brides picotes4 #c ft4 #e in4 ,venetian1 late #agth century ,illustration3 ,,plate ,,lviii4 ,,two ,,examples ,,of ,,venetian ,,point ,r,,seau ,no4 #a4 ,needle-point lace usually called ,venetian point rseau4 ,the pattern entirely covers the lace and is of conventional floral type3 the fillings are very varied4 ,this lace is not ,venetian in design1 and was probably made at ,sedan4 #f ft4 #e in4 ,sedan1 early #ahth century ,no4 #b is a beautiful fragment1 actual size1 of ,venetian point rseau4 ,venice1 late #agth century ,illustration3 ,,plate ,,lix4 ,a ,,border ,,of ,,needle-,,point ,,lace1 ,,possibly ,,venetian1 ,,though ,,the ,,style ,,is ,,french ,the pattern is of leafy scrolls and conventional flowers well marked1 enriched with light fillings and outlined with cordonnet of fine buttonhole stitching4 ,the ground is of buttonholed brides arranged into hexagons strongly suggestive of ,point d',argentan4 #f ft4 #f in4 7,french 787 ,alenon or ,sedan7 late #agth century ,illustration3 ,,plate ,,lx4 ,,two ,,patterns ,,needle-,,point ,,lace ,r,,seau1 ,,called ,,point ,d',,alen,,on ,in ,no4 #a the pattern is ,venetian in style and the fillings and rseau also mark it as from ,burano4 ,in ,no4 #b the style is more ,french and it may be from ,alenon3 every detail of the patterns is outlined with a buttonhole-stitch cordonnet4 ,together #i ft4 #f in4 ,late #agth century ,illustration3 ,,plate ,,lxi4 ,,two ,,borders ,,of ,,needle-,,point ,,lace ,a ,r,,seau1 ,,called ,,point ,d',,alen,,on ,in the border small compartments are treated with modes or jours and occasional brides picotes3 a buttonhole-stitch cordonnet outlines every detail of the pattern4 #d ft4 #h in4 ,alenon1 about #agaj ,illustration3 ,,plate ,,lxii4 ,,four ,,borders ,,of ,,needle-,,point ,,lace ,r,,seau1 ,,called ,,point ,d',,alen,,on ,together #ac ft4 #f in4 ,alenon1 about #agdj ,illustration3 ,,plate ,,lxiii4 ,,cap-,,border ,,of ,,needle-,,point ,,lace ,r,,seau1 ,,called ,,point ,d',,alen,,on ,the pattern consists of a waved stem serrated1 from which spring small sprays of flowers4 ,the width is graduated and the length is without a join4 ,the modes or fillings1 at intervals along the edge1 are of dainty star and other geometric devices and all particularly characteristic of ,french 7,alenon7 lace4 #c ft4 #d in4 ,alenon1 middle #ahth century ,illustration3 ,,plate ,,lxiv4 ,,beautiful ,,lappet ,,of ,,needle-,,point ,,lace ,r,,seau1 ,,called ,,point ,d',,alen,,on ,the pattern is of tiny wavy stems1 having little leaves and peapods1 which recur in the design of the outer border with lattice and honeycomb fillings enriched with minute picots4 #d ft4 ,alenon1 late #ahth century ,illustration3 ,,plate ,,lxv4 ,,three ,,patterns ,,of ,,needle-,,point ,,lace ,r,,seau1 ,,called ,,point ,d',,alen,,on ,the ornamental design is mainly confined to the border1 the rseau being sprinkled with dots1 called pois or sometimes larmes 7hence the expression sem de larmes74 ,together #g ft4 #f in4 ,alenon1 late #ahth century ,illustration3 ,,plate ,,lxvi4 ,,two ,,patterns ,,of ,,needle-,,point ,,lace ,r,,seau1 ,,called ,,point ,d',,alen,,on ,the main ornamentation is along the border4 ,the ground is sem de pois and little sprays1 after the style of other such small devices1 some of which gave rise to the term sem de larmes4 ,together #i ft4 #aj in4 ,alenon1 late #ahth century ,illustration3 ,,plate ,,lxvii4 ,,cape ,,of ,,needle-,,point ,,called ,,point ,d',,alen,,on ,this piece shows two sizes of mesh in the rseaux3 the large forms the main ground1 sem de larmes1 whilst the finer is introduced as a mode in the border of pointed leafy forms4 #e ft4 #c in4 #e in4 ,illustration3 ,,plate ,,lxviii4 ,,two ,,borders ,,of ,,needle-,,point ,,lace ,called point d',argentan1 on account of the make of the big mesh ground4 ,the pattern of the first is similar to that of ,no4 ,,lxiii42 in the waved garland is a filling of very fine mesh 7the ,alenon ground74 ,the pattern of the second is of the sem de pois or de larmes style and in the edge is a recurrent filling of fine ,alenon ground4 ,the main ground of both pieces is composed of hexagonal meshes worked over in buttonhole stitch1 as in ,argentan lace4 ,together #d ft4 #aj in4 ,argentan4 ,no4 #a about #agej4 ,no4 #b about #aghj ,illustration3 ,,plate ,,lxix4 ,,lappet ,,of ,,needle-,,point ,,lace1 ,,called ,,point ,d',,argentan ,the edge is formed by repeated curved sprays enclosing small spaces which are filled by a fine ,alenon rseau3 sprays of flowers also occur at intervals along the lace4 ,the ground is entirely composed of hexagonal meshes worked over in button-hole stitch of ,point d',argentan4 #d ft4 #b in4 #g in4 ,argentan1 late #ahth century ,illustration3 ,,plate ,,lxx4 ,,three ,,specimens ,,of ,,needle-,,point ,,lace ,no4 #a is of silk lace rseau and has a quaint stiff pattern of branches with birds introduced2 a stout thread cordonnet outlines most of the pattern1 that of the eye1 wing and tail of each bird is overworked with buttonhole stitch4 ,probably ,portuguese1 #ahth century ,no4 #b is from a floral design treated with occasional buttonhole cordonnet as in ,no4 #b4 ,no4 #c4 ,border of needle-point1 called point de gaze on account of the extreme delicacy of the bobbin-made rseau 7vrai rseau de ,bruxelles73 the pattern is a flowery border with small sprays recurring in the ground in the style of the ,louis ,,xvi4 period4 ,together #c ft4 #c in4 ,brussels1 #ahth century ,illustration3 ,,plate ,,lxxi4 ,,lappet ,,of ,,needle-,,point ,,lace ,called point de gaze on account of the delicacy of the rseau4 ,the design of scrolls and flowers is chiefly worked in a rather loose toil1 outlined with a stout thread cordonnet and enriched with various open modes or fillings4 #c ft4 #c in4 #d in4 ,brussels1 #ahcj ,illustration3 ,,plate ,,lxxii4 ,,part ,,of ,a ,,scarf ,or veil of light needle-point fine stem floral pattern worked on a foundation of machine-made net #f ft4 #b ft4 ,brussels1 #ahdj ,illustration3 ,,plate ,,lxxiii4 ,,flounce ,,of ,,machine-,,made ,,net ,,with ,,pattern ,,darned ,,on ,,it ,this class of work is now usually called ,limerick lace1 but it was often made in ,england and in many places abroad #c ft4 #g in4 ,italian1 about #ahcj ,illustration3 ,,plate ,,lxxiv4 ,,part ,,of ,,full-,,size ,,cotta ,,of ,,net ,,with ,,large ,,flower ,,pattern ,,darned ,,in ,,silk ,,into ,,it ,the work is very evenly done ,french1 about #ahci ,illustration3 ,,plate ,,lxxv4 ,a ,,specimen ,,of ,,the ,,embroidered ,,muslin ,,work ,,called ,t,,nder ,,lace ,this is formed of two thicknesses of muslin sewn in different patterns by the needle3 in places the second thickness of muslin is cut away when the needlework is completed4 ,the design is composed of leaf and floral ornaments gracefully shaped and somewhat ,french in style #ab in4 #h in4 ,danish1 #ahth century ,illustration3 ,,plate ,,lxxvi4 ,,two ,,specimens ,,of ,,the ,,embroidered ,,muslin ,,work1 ,,called ,t,,nder ,,lace ,in ,no4 #a only one thickness of muslin is employed3 the thicker looking parts of the toil result from the passing of very evenly darned threads at the back of it ,in ,no4 #b two thicknesses of muslin are used4 ,the floral forms1 much more slender than in ,no4 #a1 are defined with a stout thread cordonnet4 ,together #e ft4 #aj in4 ,danish1 #ahth century ,illustration3 ,,plate ,,lxxvii4 ,,three ,,patterns ,,of ,,muslin ,,lace ,from ,german ,bohemia4 ,two thicknesses of muslin are used4 ,together #g ft4 #ahth century ,illustration3 ,,plate ,,lxxviii4 ,,four ,,patterns ,,of ,,dutch ,,linen ,,lace ,the outlines of conventional floral patterns are in chain stitch1 and the fillings very various and finely executed ,together #h ft4 #i in4 ,gouda1 #ahth century4 ,illustration3 ,,plate ,,lxxix4 7#a7 ,,manila ,,lace4 7#b ,,and #c7 ,,lace ,,worked ,,in ,,needle-,,point ,no4 #a4 ,a specimen of needlework called ,manila lace1 made upon a light cambric-like stuff woven from fibre of great fineness4 ,the flowers are embroidered and the whole ground of square meshes is worked by the needle1 in the same way as the tela tirata work ,manila1 about #ahdj ,nos4 #b and #c4 ,lace worked in fine needlepoint stitches with human hair of different shades--the pattern is evidently copied from the ,venetian ,english1 about #ahjj ,illustration3 ,,plate ,,lxxx4 7#a7 ,,infant',s ,,baptism ,,cap4 7#b7 ,a ,,cap ,,border ,no4 #a4 ,infant's ,baptism cap with insertions of needlepoint lace called ,hollie or ,holy point3 the design in the crown shows the doves and the pot with flowers reminiscent of the ,annunciation ,english1 #afth century ,no4 #b4 ,a cap border of ,limerick run lace ,irish1 #aith century ,illustration3 ,,plate ,,lxxxi4 ,,three ,,specimens ,,of ,,early ,,irish ,,needle-,,point ,,lace ,no4 #a has a tape introduced4 ,no4 #c is the so-called ,carrickmacross lace 7first made about #ahdh7 ,together #f ft4 ,about #ahdh ,illustration3 ,,plate ,,lxxxii4 ,,specimen ,,of ,,knotted ,,and ,,twisted ,,string ,,or ,,thread ,,work1 ,,called ,,macram ,this sort of work is often made by knotting the frayed ends on the edge of a woven material1 or else separately by knotting strings of cords of linen or silk1 the ends of which are fastened to a small cushion or pillow1 but bobbins are not used in this work4 #aj in4 #ab in4 ,italian1 #ahth century ,illustration3 ,,plate ,,lxxxiii4 ,,flounce ,for an alb of bobbin-made lace1 in the making of which a continuous braid is used to form the pattern4 ,the lace is shaped on its lower edge into flatly curving scallops or mitres4 #i ft4 #d in4 #aj in4 ,maltese1 early #afth century ,illustration3 ,,plate ,,lxxxiv4 ,,two ,,patterns ,,of ,,bobbin-,,made ,,lace ,no4 #a a design decidedly ,eastern4 ,no4 #b has a floral design4 ,both are made in the first manner1 the pattern entirely carried out with the tape it was begun with1 no brides or rseau being added ,together #d ft4 #g in4 ,venetian1 #afth century ,illustration3 ,,plate ,,lxxxv4 ,,four ,,bobbin-,,made ,,laces 7,,reduced ,,in ,,size7 ,no4 #a is peasant lace of the familiar type ,no4 #b a fine insertion to ornament bed-linen1 with a conventional floral design ,no4 #c a similar design in a coarser lace ,italian1 #afth century ,no4 #d is a ,maltese lace of the #afth century ,together #aj ft4 #b in4 ,illustration3 ,,plate ,,lxxxvi4 ,,four ,,bobbin-,,made ,,laces 7,,reduced ,,in ,,size7 ,no4 #a is a reticello pattern ,no4 #b is a vandyked pattern in so-called plaited lace ,italian1 #afth ,no4 #c is a simple plaited lace or gimp century ,nos4 #d and #e are very fine examples of early ,italian bobbin laces of #afth century4 ,together #bc yards ,illustration3 ,,plate ,,lxxxvii4 ,,bobbin-,,made ,,lace ,no4 #a4 ,fringed edging of bobbin-made lace4 ,in both pieces the characteristic little seed shapes are freely used ,no4 #b4 ,scalloped border of bobbin-made lace called collar lace1 in which the ornament is formed chiefly by a continuous narrow toil or braid4 ,the same threads are used in the whole width of the lace ,together #c ft4 #b in4 ,genoese1 late #afth or early #agth century ,illustration3 ,,plate ,,lxxxviii4 ,,five ,,bobbin-,,made ,,laces ,no4 #a a curious early pattern of lace made in ,umbria ,nos4 #b and #c are ,sicilian peasant laces ,no4 #d a lace called in ,umbria piedi di gallina ,no4 #e a peasant lace called zeccatello ,together #aj ft4 #d in4 ,italian1 #afth century ,illustration3 ,,plate ,,lxxxix4 ,,six ,,specimens ,,of ,,lace ,,made ,,before #ahej ,one each in ,russia1 ,madeira1 ,portugal1 and ,ceylon1 and two from ,le ,puy in ,france ,together #ad ft4 ,illustration3 ,,plate ,,xc4 ,,two ,,borders ,,of ,,bobbin-,,made ,,lace ,,brides ,the pattern of scrolls and leaves is made separately and joined on the pillow by single and knotted brides in the smaller piece and by double and knotted brides in the larger one4 ,together1 #h ft4 #g in4 #e in4 ,genoese1 #agth century ,illustration3 ,,plate ,,xci4 ,,flounce ,,of ,,bobbin-,,made ,,lace ,,brides ,,in ,,which ,,the ,,toil ,,is ,,well ,,developed ,the pattern is of large conventional sprays made separately on the pillow and afterwards joined by bobbin-made knotted brides4 #e ft4 #g in4 #f in4 ,italian1 early #agth century ,illustration3 ,,plate ,,xcii4 ,,flounce ,,of ,,bobbin-,,made ,,lace ,the pattern includes birds 7an eagle1 a peacock1 a parrot1 a crow1 etc47 set amidst conventional scrolls and flowers4 ,these are all made separately and joined on the pillow by double and knotted brides #i ft4 #aa in4 #i in4 ,illustration3 ,,plate ,,xciii4 ,the lace1 as ,,xcii actual size4 ,genoese1 #agth century ,illustration3 ,,plate ,,xciv4 ,,flounce ,,of ,,bobbin-,,made ,,lace ,the pattern of beautifully arranged scrolls and flowers includes an eagle with a marquis coronet and other small birds3 a rseau connects the whole4 #c ft4 #ab in4 ,milanese1 #ahth century ,illustration3 ,,plate ,,xcv4 ,,part ,,of ,a ,,flounce ,,for ,,an ,,alb1 ,,of ,,bobbin-,,made ,,lace ,r,,seau ,the pattern is made separately and arranged to form conventional scrolls and flowers3 a rseau unites the whole4 #af in4 #h in4 ,milanese1 #agth century ,illustration3 ,,plate ,,xcvi4 ,,flounce ,,for ,,an ,,alb ,,of ,,bobbin-,,made ,,lace ,r,,seau ,the pattern is of graceful conventional floral and other forms arranged symmetrically in groups repeating one another4 ,a variety of noticeable fillings is introduced4 ,this specimen is reduced in size4 #i ft4 #h in4 #ad in4 ,milanese1 #ahth century ,illustration3 ,,plate ,,xcvii4 ,,two ,,borders ,,of ,,bobbin-,,made ,,lace ,no4 #a4 ,border of bobbin-made lace4 ,the pattern consists of repeated groupings of scrolls and pendant forms2 the same thread is used throughout ,italian1 #agth century ,no4 #b4 ,border of bobbin-made lace rseau4 ,the pattern is composed with a slender toil arranged to form continuous scrolls with leafy offshoots3 the rseau ground is of the fond chant type3 the same thread is used throughout4 ,together #aa ft4 ,italian1 #agth century ,illustration3 ,,plate ,,xcviii4 ,,three ,,borders ,,of ,,bobbin-,,made ,,edging ,together #aj ft4 #g in4 ,maltese1 #ahth century ,illustration3 ,,plate ,,xcix4 ,,bobbin-,,made ,,lace ,r,,seau ,no4 #a is made up of three lengths of lace sewn together4 ,the straight edge indicates perhaps an earlier date for this interesting specimen than that of the narrower piece4 ,together #e ft4 ,flanders1 #agth century ,illustration3 ,,plate ,c4 ,,cap ,,of ,,bobbin-,,made ,,lace1 ,,called ,,point ,,de ,,flandre ,,brides ,,picot,,es ,the ornamental details were made separately and then joined by bobbin-made brides3 the modes or fillings are in the style of the cinq trous rseau4 #ab in4 long ,flanders1 late #agth century ,illustration3 ,,plate ,,ci4 ,,three ,,patterns ,,of ,,bobbin-,,made ,,mechlin ,,lace ,the patterns are in the style of the ,point d',angleterre1 but the toil is outlined with a thread cordonnet3 the same quality of thread is used for both toil1 rseau and fillings3 the rseau is peculiar to this beautiful lace4 ,together #f ft4 ,mechlin1 early #ahth century ,illustration3 ,,plate ,,cii4 ,,three ,,borders ,,of ,,bobbin-,,made ,,mechlin ,,lace ,the patterns of the later style of lace are much lighter in effect and gradually become merely a border of small floral ornament4 ,together #i ft4 #h in4 ,mechlin1 late #ahth century ,illustration3 ,,plate ,,ciii4 ,,four ,,specimens ,,of ,,bobbin-,,made ,,lace1 ,,called ,,binche ,,lace ,the same threads are used for the whole width of the lace4 ,together #f ft4 #f in4 ,binche1 late #agth century ,illustration3 ,,plate ,,civ4 ,,three ,,borders ,,of ,,bobbin-,,made ,,lace1 ,,vrai ,r,,seau ,,de ,,bruxelles1 ,,called ,,point ,d',,angleterre4 ,the toil details were made separately and joined on the pillow by a rseau4 ,the fillings are very varied and beautiful4 ,these borders are worked from ,louis ,,xv4 designs4 ,together #h ft4 #h in4 ,brussels1 #agth century ,illustration3 ,,plate ,,cv4 ,,lappet ,,of ,,bobbin-,,made ,,lace1 ,,called ,,point ,d',,angleterre ,leafy1 blossom and other shapes in toil are arranged to form the outer waved edges between which are baskets of flowers1 etc4 ,the toil forms are partially accentuated with a plaited cordonnet4 ,the details of the pattern are made separately on the pillow1 and then joined by a fine rseau1 called vrai rseau de ,bruxelles4 ,the fillings are wonderfully fine4 #d ft4 #aj in4 #c in4 ,brussels1 #ahth century ,illustration3 ,,plate ,,cvi4 ,,two ,,parts ,,of ,a ,,border ,,of ,,bobbin-,,made ,,lace1 ,,called ,,brussels ,,point ,the flowers made separately and almost entirely of a plaited cordonnet are joined on the pillow by a fine vrai rseau de ,bruxelles4 ,the design is in the style of ,louis ,,xvi4 point d',alenon4 ,the reverse of the lace is shown in ,no4 #b4 ,the thread of the rseau can be seen passing behind the patterns4 #e ft4 #c in4 #e in4 ,brussels1 #ahth century ,illustration3 ,,plate ,,cvii4 7#a7 ,a ,,scarf4 7#b7 ,a ,,cap ,no4 #a4 ,a scarf of bobbin-made lace1 called ,antwerp lace1 or ,potten ,kant or ,pot ,lace4 ,the rseau is somewhat similar to that of the point de ,paris1 a variant of the cinq trous4 ,the lace is made on the pillow in strips which are almost imperceptibly joined together4 ,the toil details are outlined with a stout thread cordonnet #ab ft4 #h in4 ,antwerp1 late #ahth century ,no4 #b4 ,a cap of bobbin-made lace1 called ,lille lace4 ,the lace is made on the pillow in strips1 joined together4 ,the rseau is of simply twisted threads4 #aa in4 #aa in4 ,lille1 late #ahth century ,illustration3 ,,plate ,,cviii4 ,,three ,,borders ,,of ,,bobbin-,,made ,,lace1 ,,called ,,valenciennes ,,point ,this early ,valenciennes has a round plaited mesh1 in distinction to that of the later ,valenciennes lace1 which has a square mesh ,together #h ft4 #e in4 ,valenciennes1 #ahth century ,illustration3 ,,plate ,,cix4 ,,four ,,borders ,,of ,,bobbin-,,made ,,lace1 ,,called ,,valenciennes ,,lace1 ,,with ,,square ,,mesh ,r,,seau ,together #g ft4 ,yprs1 #aith century ,illustration3 ,,plate ,,cx4 ,,border ,,of ,,bobbin-,,made ,,lace1 ,,with ,a ,,point ,,de ,,paris ,r,,seau ,an eagle1 with shield1 dogs and stags are repeated in the pattern4 ,the rseau and the toil are both made with the same thread4 #d ft4 #aj in4 #c in4 ,paris1 late #agth century ,illustration3 ,,plate ,,cxi4 ,,flounce ,,for ,a ,,dress1 ,,of ,,bobbin-,,made ,,silk ,,lace ,pattern of repeated heavy flowers in sprays1 forming a waved edge ,made at ,chantilly1 #ahbj-cj ,illustration3 ,,plate ,,cxii4 ,,three ,,borders ,,of ,,bobbin-,,made ,,lace ,,with ,a ,r,,seau ,,of ,,maglia ,,di ,,spagna ,no4 #a is of linen thread with a heavy thread introduced1 not as in some ,flemish laces to outline the pattern1 but to form strong leading lines in it4 ,nos4 #b and #c are bobbin-made silk lace1 a coarser silk thread is introduced4 ,these were the ruffles for a coat sleeve ,together #i ft4 ,spanish1 late #ahth century ,illustration3 ,,plate ,,cxiii4 ,,mantilla ,,or ,,scarf ,,of ,,bobbin-,,made ,,black ,,silk ,,lace ,some of the fillings are of the point de ,paris rseau1 also called fond chant from ,chantilly1 where much of the so-called ,spanish silk lace was made #i ft4 #cj in4 ,bought in ,madrid in #ahdj ,illustration3 ,,plate ,,cxiv4 ,,two ,,examples ,,of ,,bobbin-,,made ,,insertion ,no4 #a4 ,spanish bobbin-made insertion3 the stems are of gold and the flowers of silver #afth century ,no4 #b4 ,genoese bobbin-made insertion of silver with shell pattern edge4 ,together #c ft4 #f in4 #agth century ,illustration3 ,,plate ,,cxv4 ,,four ,,patterns ,,of ,,italian ,,gold ,,and ,,silver ,,bobbin-,,made ,,lace ,probably made at ,lucca4 ,together #aa ft4 #f in4 #agth century ,illustration3 ,,plate ,,cxvi4 ,,two ,,lappets ,,of ,,bobbin-,,made ,,black ,no4 #a4 ,lappet of bobbin-made black ,bedfordshire silk lace ,no4 #b4 ,lappet of bobbin-made black ,brussels silk lace ,together #g ft4 ,about #ahdh ,illustration3 ,,plate ,,cxvii4 ,,two ,,borders ,,of ,,bobbin-,,made ,,lace ,no4 #a4 ,bobbin-made lace4 ,the pattern of leaves is outlined in parts by a stout thread ,no4 #b4 ,a large flower repeated forms the edge4 ,the characteristic very simple rseau is spotted with groups of six small square dots ,together #d ft4 #aj in4 ,bucks1 #ahth century ,illustration3 ,,plate ,,cxviii4 ,,border ,,and ,,cap ,,crown ,,of ,,bobbin-,,made ,,lace ,of ,devonshire make in the style of ,point d',angleterre or ,brussels lace4 ,the toil details are made separately and joined partly by rseau and partly by brides picotes4 ,the upper piece shows the back of the lace1 with the threads from the rseau carried across the toil of the pattern4 ,the convolutions of the toil in the blossoms are considered to be characteristic of ,honiton lace4 #c ft4 #d in4 ,honiton1 #ahth century ,illustration3 ,,plate ,,cxix4 ,,lappet ,,of ,,bobbin-,,made ,,lace ,the toil flowers and leaves1 chiefly rose1 shamrock and thistle1 are joined by an irregular mesh simple rseau made by hand4 ,the original design was perhaps to celebrate the ,union4 #e ft4 #e in4 ,honiton1 about #ahdj ,illustration3 ,,plate ,,cxx4 ,,two ,,borders ,,of ,,appliqu ,,lace1 ,,one ,,with ,a ,,vandyke ,,edge ,,and ,,one ,,with ,a ,,mitred ,,or ,,scalloped ,,edge ,the flowers are of bobbin-made lace with accentuations of plaited cordonnet as in ,point d',angleterre1 and then applied and sewn to machine-made net4 ,together #d ft4 #e in4 ,devonshire 7,honiton7 ,,index ,a ,alb1 #i1 #bc1 #bg1 #cj1 #cc ,alenon1 #aj1 #ae1 #ca1 #cg1 #ej ,alexandria1 #bf ,alva1 ,duke of1 #eb ,angleterre1 #ch ,angoulme1 ,margurite d'1 #ca1 #cb ,antwerp1 #ej ,apparels1 #bd ,appliqu1 #i1 #eb ,argentan1 #ae1 #ci ,argentella1 #i ,arras1 #af1 #ej ,assisi1 #be ,assisi1 ,basilica of1 #bi ,avorio1 punto1 #i1 #ad1 #ca1 #cd1 #ce ,b ,bar ,convent1 ,the1 #dj ,bedfordshire1 #ea ,benedictine ,order1 #bd ,bible of ,st4 ,martial1 #bc ,bibliothque ,nationale1 #bc1 #bd ,binche1 #ch1 #di ,blonde1 #af1 #ea ,bobbin ,lace1 ,classification of1 #d ,bock1 ,dr4 ,franz1 #bh1 #ec ,bone point1 #i ,boniface ,,viii41 #bg1 #bh ,braun1 ,s4 ,j41 ,father1 #ec ,british ,museum1 #ba ,brussels1 #af1 #ci1 #dg1 #ea ,buckingham1 #af1 #ej1 #ea ,burano1 #cg ,buratto1 #d1 #aj1 #ca ,buttonhole stitch1 #aj1 #bh ,byssus1 #bh ,c ,camisia1 #ce ,carrickmacross1 #da ,cartiglia1 #bg ,catacombs1 #bf ,catherine de ,marcq1 #ch ,ceylon1 #de1 #dg ,chalice cover1 #cd ,chantilly1 #af1 #ea ,charlemagne1 #bc ,charles ,,ii41 #ch ,church vestments1 #bb ,clare1 ,saint1 #be ,colbert1 #ch ,cole1 ,mr4 ,alan1 #ec ,copes1 #bb ,coptic design1 #d1 #ba1 #be ,coraline point1 #ce ,corporal border1 #cd ,cotta1 #aj ,crypt of ,st4 ,peter's1 #bi ,d ,dalmatia1 #de ,dalmatic1 #bb ,darned work1 #ci ,denmark1 #ci ,dentelle1 #bc1 #cd ,dentelle de chasse1 #ea ,devonshire lace1 #eb ,dreger1 ,dr4 ,moritz1 #ec ,duccio di ,buoninsegna1 #cj ,dugdale's ,history1 #bb ,dutch lace1 #dj ,e ,egyptians1 #bf ,english ,nuns ,rule1 #bb ,entrelacs1 #be ,f ,festone1 ,punto a1 #ad1 #bh ,flanders1 #af1 #dh1 #ea ,florence lace1 #cb ,fogliami1 ,punto tagliato a1 #cf ,fortescue1 ,dr4 ,adrian1 #bg ,france1 ,point de1 #cg ,francis ,i41 ,king1 #cb ,francis1 ,saint1 #be1 #bg1 #cb ,g ,gammadion ,symbol1 #ba1 #bb1 #bf1 #bg1 #ca ,gayet1 ,mr4 ,a41 #be1 #cj ,genoa1 #ac1 #df1 #dg1 #ea ,german lace1 #ca1 #cd1 #dj ,giotto1 #bi ,gnostic definition1 #be ,gouda lace1 #dj ,gozo1 #df ,greek work1 #ba1 #be ,gregory ,v41 #bg ,grottaferrata1 #bg ,h ,hair lace1 #dj ,heraldic lace1 #cj1 #ca1 #ce1 #dh1 #ej ,hermitage1 ,petersburg1 #ba ,hexagonal meshes1 #ci ,holy or ,hollie lace1 #dj ,honiton1 #dg1 #eb ,i ,ilg1 ,dr41 #ec ,irish lace1 #da ,ivory stitch1 #aa1 #cd ,l ,lace-making1 ,revival of1 #d ,lace ,pattern ,books1 #ba ,lacis1 #d1 #aa1 #bb1 #bc1 #cj1 #ca ,lateran1 ,st4 ,john1 #bi ,leipzig1 #dj ,le ,puy1 #dg ,lille1 #af1 #ej1 #eb ,limerick1 #dj ,lorenzetti1 #cj ,louis ,,xiv41 #ch ,louis ,,xvi41 #ch ,louvre1 #bi ,lucca1 #ea ,m ,macram1 #ab1 #cc ,madeira1 #dg ,madrid1 #ea ,malta1 #de1 #df1 #dh ,manila ,lace1 #dj ,manuscripts1 illuminated1 #bc ,marie ,antoinette1 ,queen1 #ci ,marot1 ,clment1 #cb ,martial1 ,saint1 #bc ,mary ,stuart1 ,queen1 #dj ,mechlin1 #af1 #di1 #eb ,mezza ,mandolina1 #ce ,michael1 ,saint1 #cb ,milan1 #dg1 #dh ,modano1 #d1 #ab1 #bb1 #cj ,moresco1 #ab ,n ,navarre1 ,queen of1 #ca ,needle-point1 ,classification of1 #e ,nilos1 ,saint1 #bg ,o ,opus sfilatorum1 #bb ,oriental design1 #ba ,otho ,,iii41 #bg ,p ,palliser1 ,mrs4 ,bury1 #eb1 #ec ,paris1 #af1 #cg1 #ej ,passemens1 #bd ,paten ,cover1 #cg ,peter1 ,saint1 #cd ,pizzi1 #bd1 #cd ,point rseau1 #ae1 #cg1 #di ,point de gaze1 #ci ,point de neige1 #ac1 #ag ,pollen1 ,mr4 ,john ,hungerford1 #ec ,polygonal ,design1 #be1 #bg1 #cj ,portugal1 #ci1 #dg ,potten ,kant1 #ej ,punto in aria1 #e1 #ad1 #cc ,pyx ,veil1 #d ,r ,ragusa1 #ab ,rammendo1 ,punto a1 #ac1 #ca ,ravenna1 #cj ,reale1 ,punto1 #ae1 #be1 #cc ,renaissance1 #ce ,reticello1 #e1 #ag1 #bc1 #bi1 #ca1 #cc ,ricci ,signora ,elisa1 #ec ,riccio ,punto1 #ae1 #ca ,rilievo1 ,punto in1 #ae ,rock1 ,dr4 ,daniel1 #bf1 #bg1 #ec ,rosepoint1 #ag1 #cf ,rufinus1 #bf ,russia1 #de ,rustafjaell1 ,mr41 #ba ,s ,sabina1 ,saint1 #bd ,sardinia1 #de ,sedan1 #cg ,seguin1 ,mr41 #eb1 #ec ,sem de larmes1 #ch ,sens ,cathedral1 #bd ,serapis1 #bf ,sicily1 #ba1 #de ,sistine ,chapel1 #bg ,socrates1 #bf ,spain1 #af1 #ba1 #cg1 #de1 #ea ,stuora1 ,punto a1 #ac1 #bh1 #cb ,swaddling ,band1 #cc ,syon ,cope1 #bb ,t ,tela ,tirata1 #e1 #ag1 #bc1 #be ,templars1 #bb ,tnder ,lace1 #ci ,treccia1 ,punto1 #ad1 #bh ,trolle ,kant1 #dh1 #eb ,tudor ,rose1 #ca ,tuscan ,lace1 #dg ,v ,valenciennes1 #af1 #di1 #ej ,valetta1 #df ,vatican ,treasury1 #bb1 #bg ,venice ,lace1 #cf1 #de ,verhaagen1 ,mr41 #ec ,victoria and ,albert ,museum1 #bc1 #cj ,visconti1 #ce ,y ,yprs1 #af1 #ej ,z ,zeccatello ,lace1 #dg ,,printed ,,by ,,ballantyne ,,and ,,company ,,limited1 ,,at ,,the ,,ballantyne ,,press1 ,,tavistock ,,street ,,covent ,,garden ,,london 99 99 99 99 99 ,transcriber's ,notes3 ,the following list shows the corrections made to the text4 ,the first line shows the text as originally printed1 the second line the corrected version4 ,,ix4 ,five enlarged ,varieties of ,rseaux ,,ix4 ,five ,enlarged ,varieties of ,rseaux ,,xxvi4 ,pyx ,veil of ,tele ,tirata1 or ,drawn ,thread ,work ,,xxvi4 ,pyx ,veil of ,tela ,tirata1 or ,drawn ,thread ,work ,,xxxiii4 ,a ,reticello ,pattern worked in very fine ,punto in ,ario and ,,xxxiii4 ,a ,reticello ,pattern worked in very fine ,punto in ,aria and ,,cxii4 ,three ,borders of ,bobbin-made ,lace1 with a reseau of ,maglia di ,spagna ,,cxii4 ,three ,borders of ,bobbin-made ,lace1 with a rseau of ,maglia di ,spagna often used for lace made with a tape1 but it used for lace made with a tape1 but it round the round rseau4 ,see ,plate #ajh4 round rseau4 ,see ,plate #ajh4 lace1 in which the fond is really of toile1 cut lace1 in which the fond is really of toil1 cut forth by ,rufinus1 ,a4,d4 #cig1 and by ,socrates ,a4,d4 #ddj4 forth by ,rufinus1 ,a4,d4 #cig1 and by ,socrates ,b4,c4 #ddj4 probably fine punto in aria worked in points1 as ,plate #cj1 but it probably fine punto in aria worked in points1 as in ,plate #cj1 but it called ,tonder muslin lace made in ,denmark in the eighteenth called ,tnder muslin lace made in ,denmark in the eighteenth for caps2 it is caled ,gouda lace2 the fillings are very well for caps2 it is called ,gouda lace2 the fillings are very well ,illustration3 ,,plate ,,xxvi4 ,,pyx ,,veil ,,of ,,tele ,,tirata1 ,,or ,,drawn ,,thread ,,work ,illustration3 ,,plate ,,xxvi4 ,,pyx ,,veil ,,of ,,tela ,,tirata1 ,,or ,,drawn ,,thread ,,work ,one is part of a circula panel or roundel1 and the ,one is part of a circular panel or roundel1 and the ,illustration3 ,,plate ,,lxiv4 ,,beautiful ,,lappet ,,of ,,needle-,,point ,,lace ,a ,illustration3 ,,plate ,,lxiv4 ,,beautiful ,,lappet ,,of ,,needle-,,point ,,lace parts the toil result from the passing of very evenly darned threads at parts of the toil result from the passing of very evenly darned threads at ,called point d' ,argentan1 on account of the make of the ,called point d',argentan1 on account of the make of the ,illustration3 ,,plate ,,xci4 ,,flounce ,,of ,,bobbin-,,made ,,lace ,a ,,brides ,,in ,illustration3 ,,plate ,,xci4 ,,flounce ,,of ,,bobbin-,,made ,,lace ,,brides ,,in ,ypres1 #aith century ,yprs1 #aith century ,illustration3 ,,cxx4 ,,two ,,borders ,,of ,,appliqu ,,lace1 ,,one ,,with ,a ,illustration3 ,,plate ,,cxx4 ,,two ,,borders ,,of ,,appliqu ,,lace1 ,,one ,,with ,a ,angoulme1 ,marguerite d'1 #ca1 #cb ,angoulme1 ,margurite d'1 #ca1 #cb ,marot1 ,clement1 #cb ,marot1 ,clment1 #cb ,point a rseau1 #ae1 #cg1 #di ,point rseau1 #ae1 #cg1 #di ,sguin1 ,mr41 #eb1 #ec ,seguin1 ,mr41 #eb1 #ec