diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-02-05 19:00:23 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-02-05 19:00:23 -0800 |
| commit | 5555aaceb807796fc18fdadc4c04331d2f210c99 (patch) | |
| tree | 9b127173307b61adaa34a31abfea61f7406dc6ee /old/51863-0.txt | |
| parent | e89800bb7bed17fe8595724cb144eb13c3f01680 (diff) | |
Diffstat (limited to 'old/51863-0.txt')
| -rw-r--r-- | old/51863-0.txt | 4209 |
1 files changed, 0 insertions, 4209 deletions
diff --git a/old/51863-0.txt b/old/51863-0.txt deleted file mode 100644 index e275018..0000000 --- a/old/51863-0.txt +++ /dev/null @@ -1,4209 +0,0 @@ -Project Gutenberg's Seven Centuries of Lace, by Mrs. John Hungerford Pollen - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Seven Centuries of Lace - -Author: Mrs. John Hungerford Pollen - -Release Date: April 26, 2016 [EBook #51863] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK SEVEN CENTURIES OF LACE *** - - - - -Produced by Chris Curnow, Constanze Hofmann and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - -[Transcriber's Notes: - -Inconsistencies in spelling (for example "fogliami" vs. "foliami") have -generally been preserved as originally printed. All corrections made to -the text are listed at the end of this ebook.] - - - - - SEVEN - CENTURIES - OF LACE - - _BY_ - - MRS. JOHN HUNGERFORD POLLEN - WITH A PREFACE BY ALAN COLE, C.B. - AND 120 FULL-PAGE ILLUSTRATIONS - - NEW YORK: THE MACMILLAN COMPANY - LONDON: WILLIAM HEINEMANN - MCMVIII - - - - - _Printed in England_ - - - - -PREFACE - - -DEAR MRS. POLLEN,--Having examined the admirable photographs to your -lace collection, and the letterpress which you have written to accompany -them, with a view to meet your wish that I should make revisions and -suchlike where I thought necessary, please allow me in the first place -to thank you for having entrusted me with what has been a very congenial -work, and to say that I really have but few suggestions to offer. Such -as they are, they amount to little more than amplifying, and slightly -modifying here and there, what you have written. - -Your glossary of terms used in describing lace and cognate work is very -full, 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-making. - -Upon the introductory part of your attractive letterpress you also asked -me to freely express an opinion, giving it such a shape as to make it -suitable for use as a preface to your work. I now do this with -considerable diffidence, notwithstanding that during a good many years I -have had a large number of specimens of lace before me, including -probably some of the finest ever made. You had the initial advantage of -inheriting lace of incontestable origin and antiquity, and also of -finding specimens in different countries where facts and traditions of -their manufacture could be ascertained on the spot. - -For so long a period as that from, say, the sixteenth to the eighteenth -centuries, men derived as much satisfaction in acquiring and wearing -laces as women then did. But _autres temps, autres mœurs_, and -closely as our sex may at one time have run yours in the appreciation of -lace, yours has outstripped and beaten ours. This, of course, is as it -should be, for skill in all forms of needlework and dainty thread-work -has practically been the monopoly of women from the time of Penelope -forwards, notwithstanding the strict observance of the rule laid down by -St. Benedict that the members of his Order should be expert in the use -of both pen and needle (as they were for centuries); or the records of -the seventeenth century, that boys attended lace-making schools in -Devonshire, and that English tailors and labouring men often made good -saleable lace in their leisure time during the eighteenth century. - -With your suggestion that many sorts of white thread ornamental work, -from which a development of needle-made and bobbin-made laces can be -traced, are of earlier date than the sixteenth century, I entirely -agree; and in corroboration of this, various public collections, within -comparatively recent times, 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 stuora." This last-named stitch is virtually -the stitch used in tapestry-making, and it often appears on a small -scale in intricate, drawn and whipped thread Persian linen embroidery, -the practice of which is assuredly of great age. 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 embroiderers; but it is interesting to note they are not -identical in character with that of buttonhole stitching, which plays so -important a part in lace-making. - -The essential feature of the fabric now recognised as lace lies in its -being wrought independently of any visible foundation such as linen or -net; it is essentially a textile ornamentation depending upon special -design, which can be rendered, so far as needle-point lace is concerned, -by variations of the buttonhole stitch--the "punto a festone" in Italy, -and "point noué" in France--which is distinctively a looping, and not a -whipping or weaving, stitch; and so far as bobbin-made lace is -concerned, by twisting and plaiting threads together. - -The genesis of ornamental design for such laces is, I fancy, pretty well -established through the classification of kindred designs, beginning -with those involving simple abstract and geometric forms; these are -gradually succeeded by others with conventional and more varied devices, -suggesting plant and animal life; and these followed by others in which -definitely realistic renderings of actual things are aimed at. Thus, -very broadly, we have three typical groups, and of the first your -photographs Nos. 3, 6, 7, with 29, 30, and 86, give examples; of the -second group there are examples in photographs Nos. 11, 12, 16, 17, &c.; -and the third group is illustrated by Nos. 36 and 37, 90 to 93, and 116. - -The sixteenth-century Italian pattern books are mainly concerned with -designs for lace of the first group as distinct from embroidery on linen -or net. The period of the second group is established by the laces one -finds represented in paintings by such painters as Vandyck, Rembrandt, -Gonzales Coques, Mignard, and Hyacinthe Rigaud, whilst the generality of -the designs in the third group is safely attributable to designers -employed towards the end of the seventeenth century, and during the -eighteenth by the Royal or State subsidised manufactories of France, -about which several local records, quoted by Mademoiselle Despierre in -her book on the Points d'Alençon, are particularly interesting. Laces of -rather indeterminate design, such as those which we call peasant laces, -have, as a rule, a quaint treatment of pattern, the origin of which is, -I think, almost invariably to be referred to some carefully designed -prototype; but the charm of such peasant laces lies chiefly in the -goodness of their texture combined with a distortion of forms, which -arises from the workers' naïveté in misunderstanding the parent design. -The really valuable work was that of sympathetic and skilled workers, -done directly from well-designed patterns. - -Now the origin of needle-point and bobbin-made laces is, I think, -Occidental, or European, and not Oriental; and the three broadly -indicated pattern groups are accompanied by three equally recognisable -sorts of texture. The first of them is comparatively stiff and wiry; the -second more lissom and inclined to tapiness; and the third, still more -lissom, becoming gauzy and filmy in quality. Delicate, filmy laces, -common to the eighteenth century, could not, therefore, I think, have -been dreamt of in the sixteenth century; neither at that time was there -a conception of the tapey, and at times linen-like, laces made in the -early part and middle of the seventeenth century. Hence we seem able to -rely upon an apparent procession of design types, running concurrently -with an equally apparent procession of qualities of texture. By keeping -in mind these combined successions of pattern and texture one is enabled -not only to classify laces, but also to account for later survivals of -old types, as well as for the approximate dates when old and new types -severally have arisen. - -It is evident that the French word "dentelle," which is a comprehensive -term for laces, came from the "dents," or tooth-shaped borders and edges -of lace made soon after the beginning of the sixteenth century. At the -same time, there had been during two centuries earlier, a fashion of -jagging or cutting into points or scallops the borders of cloth silk and -velvet costumes, gowns, hoods, and long sleeves. But when the notably -increased use of linen shirts, with cuffs and small collars just showing -beyond the outer garments occurred in the sixteenth century, white and -coloured thread purlings and taut fringings or edgings were made for -them, and so came to be called "points," "dents" and "punti" as the cut -borders of cloth costumes had been. The latter fashion gradually -obscured the former, and thus the terms "point," "dent," and "punto" -were almost solely applied to ornamentation in real lace or in lace-like -fabrics. In still later times, as you notice, point lace is generally -understood to be the designation of needle-point lace, or "dentelle à -l'aiguille," as distinct from the "dentelle au fuseau," bobbin or -pillow-made lace. - -I have been tempted to touch upon this matter of lace points, vandykes, -and scallops because the border of the alb, said to have been worn by -Pope Boniface VIII., consists of scallops of bobbin-made thread-work, -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 century. On the -other hand, the ornamental thread-work done in "punto di treccia" and -"punto a stuora," which fills large and small squares and remarkable -five-sided figures, seems to have some Saracenic or Moorish character, -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 alb. - -Whatever may be the result of further inquiries concerning the tradition -of Pope Boniface having worn this alb, and therefore establishing its -date as being late thirteenth century, I hope that you will retain it as -an illustration in your book. - -Whilst the majority of your photographs are from generally well-known -varieties of lace, those from the earlier drawn thread-works and darning -upon different makes of square mesh, net, or grounds of radiating, -intertwisted threads, are particularly interesting--and the entire -series, accompanied by your descriptions, forms a most valuable -encyclopædia of designs and textures to be seen in laces and cognate -fabrics. - - Believe me to be, - Yours very truly, - ALAN S. COLE. - - - - -CONTENTS - - - PAGE - - PREFACE BY MR. A. COLE v - - INTRODUCTION 3 - - GLOSSARY 9 - - NEEDLEPOINT LACE 21 - - BOBBIN-MADE LACE 43 - - INDEX 55 - - - - -LIST OF PLATES - - - PLATE - - I. The Alb, preserved at Assisi, said to have been worn by St. - Francis - - II. The Alb which is said to have been worn by Pope Boniface, - A.D. 1298 - - III. (1) Detail of the Alb of Pope Boniface VIII. - (2) Detail of the Assisi Alb - - IV. Three Pieces of Needlework from Egypto-Roman or Coptic Tombs - of the Second and Third Centuries - - V. (1) A Piece of Bobbin-made Lace - (2) Darned Work with White Linen Thread - (3) Portion of a Mummy Cloth - - VI. Two Examples of Italian Tela Tirata and Punto Reale - - VII. An Example of Early Lacis or Sfilatura - - VIII. Seven Enlarged Stitches used in Lacis and Linen Lace - - IX. Five Enlarged Varieties of Réseaux - - X. Seven Enlarged Varieties of Réseaux - - XI. Border of Lacis or darned Square Mesh Net Punto a Tela or - Linen-Stitch - - XII. Border of Square Mesh Lacis - - XIII. Two Examples of Lacis Work - - XIV. Part of a Quilt - - XV. Lacis Table-Cover - - XVI. No. 1. Vandyke Border of Lacis - No. 2. Part of a Quilt of Squares of Lacis - - XVII. Border of Lacis with the Twisted Mesh called Buratto - - XVIII. Two Borders of Lacis called Buratto - - XIX. Band of Tela Tirata or Drawn Work - - XX. Part of a Cover of Tela Tirata or Drawn Work - - XXI. Band or Flounce of Tela Tirata or Drawn Work - - XXII. An Infant's Swaddling Band or "Fascia" of Tela Tirata - - XXIII. Band of a Variety of Tela Tirata - - XXIV. Linen Cloth with Border - - XXV. Two Bands - - XXVI. Pyx Veil of Tela Tirata, or Drawn Thread Work - - XXVII. A Portion of the Pyx Cloth, to show both sides of the work - - XXVIII. Three Cloths, Fringed - - XXIX. Two Borders - - XXX. Two Borders - - XXXI. Two Examples - - XXXII. Chalice Cover of Reticello and Punto in Aria - - XXXIII. A Reticello Pattern worked in very fine Punto in Aria and - Punto Avorio - - XXXIV. Scalloped Border of a Corporal of Flat Needle-Point Lace, - called Punto in Aria - - XXXV. A Cloth with Insertion and Border of Punto in Aria - - XXXVI. Needle-Point Border of Flat Needle-Point Lace, called Punto - in Aria - - XXXVII. Ornament for the Neck of an Alb of Punto in Aria - - XXXVIII. Border and Edging - - XXXIX. A Lady's Camisia or Shirt - - XL. Bed-Cover of Cut Linen Lace (Tela Tagliata a Foliami and - Punto a Festone) - - XLI. Rabat of Flat Needle-Point Lace à Brides - - XLII. Part of a Dress Trimming of very fine Needle-Point, called - Rose-Point - - XLIII. Parts of a Collar of Needle-Point, called Rose-Point or Point - de Venise - - XLIV. Stomacher (for a Dress) of Needle-Point, called Rose-Point or - Point de Venise - - XLV. Part of a Flounce of Needle-Point, called Rose-Point or Point - de Venise - - XLVI. Part of a Beautiful Flounce of Delicate Needle-Point of Raised - or Rose-Point Lace, known as Point de Venise - - XLVII. Portion of XLVI., actual size - - XLVIII. Paten Cover of Needle-Point Raised, or Rose-Point Lace, very - similar in style and gracefulness to that of No. XXXIII. - - XLIX. A Portion of XLVIII., magnified to show the stitches - - L. Three Borders of Delicate Needle-Point Raised, or - Rose-Point Lace - - LI. Deep Flounce of Needle-Point Lace à Brides Picotées, usually - called Point de France - - LII. Portion of LI., enlarged - - LIII. Border of Needle-Point Raised Lace, called Spanish Rose-Point - - LIV. Two Specimens of Needle-Point Raised Lace, called Spanish - Rose-Point - - LV. Two Examples of Needle-Point Lace - - LVI. Cap of Needle-Point Lace à Réseau - - LVII. A Border of Needle-Point Lace, Venetian Point à Réseau - - LVIII. Two Examples of Venetian Point à Réseau - - LIX. A Border of Needle-Point Lace, possibly Venetian, though the - style is French - - LX. Two Patterns Needle-Point Lace à Réseau, called Point D'Alençon - - LXI. Two Borders of Needle-Point Lace à Réseau, called Point - D'Alençon - - LXII. Four Borders of Needle-Point Lace à Réseau, called Point - D'Alençon - - LXIII. Cap-Border of Needle-Point Lace à Réseau, called Point - D'Alençon - - LXIV. Beautiful Lappet of Needle-Point Lace à Réseau, called Point - D'Alençon - - LXV. Three Patterns of Needle-Point Lace à Réseau, called Point - D'Alençon - - LXVI. Two Patterns of Needle-Point Lace à Réseau, called Point - D'Alençon - - LXVII. Cape of Needle-Point called Point D'Alençon - - LXVIII. Two Borders of Needle-Point Lace - - LXIX. Lappet of Needle-Point Lace, called Point D'Argentan - - LXX. Three Specimens of Needle-Point Lace - - LXXI. Lappet of Needle-Point Lace - - LXXII. Part of a Scarf - - LXXIII. Flounce of Machine-made Net with Pattern darned on it - - LXXIV. Part of Full-Size Cotta of Net with Large Flower Pattern - darned in Silk into it - - LXXV. A Specimen of the Embroidered Muslin Work called Tönder Lace - - LXXVI. Two Specimens of the Embroidered Muslin Work called Tönder Lace - - LXXVII. Three Patterns of Muslin Lace - - LXXVIII. Four Patterns of Dutch Linen Lace - - LXXIX. (1) Manila Lace - (2 and 3) Lace Worked in Needle-Point - - LXXX. (1) Infant's Baptism Cap - (2) A Cap Border - - LXXXI. Three Specimens of Early Irish Needle-Point Lace - - LXXXII. Specimen of Knotted and Twisted String or Thread Work, called - Macramé - - LXXXIII. Flounce - - LXXXIV. Two Patterns of Bobbin-made Lace - - LXXXV. Four Bobbin-made Laces (reduced in size) - - LXXXVI. Four Bobbin-made Laces (reduced in size) - - LXXXVII. Bobbin-made Lace - - LXXXVIII. Five Bobbin-made Laces - - LXXXIX. Six Specimens of Lace made before 1850 - - XC. Two Borders of Bobbin-made Lace à Brides - - XCI. Flounce of Bobbin-made Lace à Brides, in which the Toilé is - well developed - - XCII. Flounce of Bobbin-made Lace - - XCIII. Lace as XCII., actual size - - XCIV. Flounce of Bobbin-made Lace - - XCV. Part of a Flounce for an Alb, of Bobbin-made Lace à Réseau - - XCVI. Flounce for an Alb of Bobbin-made Lace à Réseau - - XCVII. Two Borders of Bobbin-made Lace - - XCVIII. Three Borders of Bobbin-made Edging - - XCIX. Bobbin-made Lace à Réseau - - C. Cap of Bobbin-made Lace, called Point de Flandre à Bride - Picotées - - CI. Three Patterns of Bobbin-made Mechlin Lace - - CII. Three Borders of Bobbin-made Mechlin Lace - - CIII. Four Specimens of Bobbin-made Lace called Binche Lace - - CIV. Three Borders of Bobbin-made Lace à Vrai Réseau de Bruxelles, - called Point D'Angleterre - - CV. Lappet of Bobbin-made Lace, called Point D'Angleterre - - CVI. Two Parts of a Border of Bobbin-made Lace, called Brussels - Point - - CVII. (1) A Scarf - (2) A Cap - - CVIII. Three Borders of Bobbin-made Lace, called Valenciennes Point - - CIX. Four Borders of Bobbin-made Lace, called Valenciennes Lace, - with Square Mesh Réseau - - CX. Border of Bobbin-made Lace, with a Point de Paris Réseau - - CXI. Flounce for a Dress, of Bobbin-made Silk Lace - - CXII. Three Borders of Bobbin-made Lace, with a réseau of Maglia di - Spagna - - CXIII. Mantilla or Scarf of Bobbin-made Black Silk Lace - - CXIV. Two Examples of Bobbin-made Insertions - - CXV. Four Patterns of Italian Gold and Silver Bobbin-made Lace - - CXVI. Two Lappets of Bobbin-made Black - - CXVII. Two Borders of Bobbin-made Lace - - CXVIII. Border, Cap, and Crown of Bobbin-made Lace - - CXIX. Lappet of Bobbin-made Lace - - CXX. Two Borders of Appliqué Lace, one with a vandyke edge and one - with a mitred or scalloped edge - - - - -INTRODUCTION - - -The idea of giving, by means of photography, full-sized reproductions of -my specimens of ancient needle and bobbin-made lace, originated from a -desire to avoid unfolding these delicate fabrics when my friends wished -to see them. By arranging carefully that several of the photographs -should give the exact size of each stitch of the work, seeing and -handling the originals have been rendered practically unnecessary. -Though many books on lace exist giving most valuable historic, artistic -and technical data, none with which I am acquainted give the practical -information I have found most desired, that is to say, full-sized -representations of the pieces of lace. I therefore think that such -reproductions of my specimens may have a wider interest than I had -originally imagined, and accordingly I have now prepared them for -general publication. - -It is impossible to judge of lace from a mere picture of pretty and -artistic drapery, or from portraits of great personages wearing lace -collars or dress trimmings. Lace in pictures has, in the first place, -been interpreted by the painter, and no pencil or brush can show more -than the general effect. The stitches in the toilé, or ground of -needle-point lace, amount sometimes to several thousand in every square -inch; and the almost incredible fineness of the twists in the réseau of -pillow laces makes identification very difficult, unless it is founded -on observation of actual portions of the fabric. It can hardly be -contested that, apart from some generally accepted deductions as to -design and time of execution, the chief means of judging lace correctly -lies in studying the toilé or clothing, and the groundwork of meshes or -réseau. To assist in this, many of the examples of my lace in their -actual size, and in some cases greatly enlarged photographs, are given. - -I have illustrated and described only fabrics which, if not in my -possession, have actually come under my observation, such as the two -ancient albs of Eastern design, which, although hitherto unnoticed by -Italian writers on lace, may, I think, claim to have formed a very -interesting link between the Coptic or Egypto-Roman design, and that of -the early Italian lace. To aid in a judgment on this point, I also -illustrate some designs from early Coptic tombs. - -The pre-Reformation "Pyx Veil" of needle-point linen work or tela tirata -remains the property of the parish of Hessett in Suffolk. It is a -supremely interesting object and unique, as far as I know, in the way it -is worked. I therefore give two illustrations of it among the early -sixteenth-century linen laces. - -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 -years. Italy, France, and Great Britain have already some hundreds of -lace centres, while, from Denmark to Madagascar, Sweden to Ceylon, I -have specimens of most excellent and praiseworthy industries. That -these, as well as the very beautiful fabrics made now by lace machines, -may prosper, 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 success. - -I classify lace as needle-point and bobbin-point. Numerous varieties -occur in each, but I will only mention the three chief divisions I make -in each class. - -The three chief kinds of needle-point, "Trine ad Ago," are: - - 1. Lacis (or Modano) and Buratto work. (_See_ Plates 8, 11, 17.) I - include also under Lacis those varieties which are called in - Italy Sfilature, as the ancient specimens are, I find, usually - worked on a foundation of knotted lacis. _See_ Plate 7. - - 2. Linen lace, comprising reticello work and tela tirata. _See_ - Plates 14, 19, 25. - - 3. Punto in aria--of which all later needle-point laces are - varieties. _See_ Plates 31 and 32. - -The three chief ways of making bobbin-lace, "Trine a fuselli," are: - - 1. A tape, sometimes plain, sometimes ornamented, is made on the - pillow. This tape is placed and arranged as wished and joined up - on the pillow, but it is not cut or finished off, but continues - to form the pattern until the lace is completed. _See_ Plates 83 - and 84. - - 2. Complete sprays or patterns are made on the pillow and finished - off; these are afterwards joined by brides or by a réseau. _See_ - Plates 90 and 91. - - 3. The bobbins first used, continue and complete both pattern and - ground of the whole length of the lace. _See_ Plate 97. - -I here give a Glossary, the result of inquiries tabulated during a stay -in Italy some years ago. I cannot find any authoritative translation of -the technical terms used to describe ancient lace, so I give my -interpretations for what they are worth. - - - - -GLOSSARY - - - À JOURS or MODES _See_ Fillings. - - ALB The long linen robe (worn under the chasuble - by priests at the altar) which is sometimes - enriched with a border of lace, as well as - with lace on the cuffs. - - APPLIQUÉ When the ornamentation made separately is - fixed and sewn by hand to a complete ground - of bobbin or machine-made net. - - ARGENTELLA A name given sometimes to lace made with - either fillings or a complete background of - the réseau called rosacé. This very pretty - work occurs in both Venetian and French - needle-point of the eighteenth century. (_See_ - Plate 60.) But it is a mistake to use the - word as denoting a distinct make of lace. - - AVORIO _Ivory._ _See_ PUNTI. - - BOBBIN-MADE LACE _See_ PILLOW-LACE. - - BONE POINT _See_ CORDONNET. This term was also applied - to early bobbin-made lace made in England - with bone bobbins. - - BRIDES, or BARS Ties or loops between the edges of details, - forming the pattern, and connecting them - together. Brides are often adorned with - picots, or little knots, and are then called - brides picotées, when they have no picots - they are brides claires. Brides occur both in - needlepoint and in bobbin-made lace. - - BUTTON-HOLE STITCH _See_ PUNTO A FESTONE. - - BURATTO Lacis, with a twisted instead of a knotted - foundation. - - CLOTHING _See also_ FOND and TOILÉ. - - CORDONNET One or more threads used to outline or define - the forms composing patterns of lace. The - cordonnet in the heavier Venetian and Spanish - point is usually substantial and bold, and in - parts gradually swelling and diminishing to - form reliefs on the lace, which then suggests - an effect of carved bone or ivory. This gave - rise to one of the meanings of the term, bone - point. These relief portions were often enriched - by rows or tiers of picots. In Alençon - lace a horsehair instead of a stout thread was - sometimes used as a foundation for the cordonnet, - which was closely over-cast with - button-hole stitches. - - COTTA The short white linen robe worn by servers - and at times by priests. This, like the alb, - is sometimes trimmed with lace. - - FILET _See_ LACIS. - - FILLINGS These are termed in French modes or à jours, - and are the ornamental work (made either - by needle or by bobbins) introduced into any - enclosed place in the toilé, or elsewhere in - the lace. - - FOND _See also_ CLOTHING and TOILÉ. The word - fond, or foundation, denotes the close parts - in either needle-point or pillow lace, which - were made first, and then joined together by - bars or brides, or by a réseau. In some - laces the whole work proceeds concurrently. - - FUSELLI Bobbins. - - GROPPO A knot. - - GUIPURE A term long used for any lace of a heavyish - texture made without réseau. It is now - often used for lace made with a tape, but - it applies more correctly, perhaps, to gimp - work. - - IVORY STITCH Or PUNTO-AVORIO. So called because the - effect when closely worked makes a surface - like ivory, as it is quite without the slight rib - which shows in punto a festone, which is the - stitch usually found in the various punti in - aria. _See_ No. 6, Plate 8. - - LACIS OR LASSIS Derived from Latin _laqueus_, a noose, in - English, Lace. A foundation of net, or filet, - with a pattern darned into it. The net for - the Italian lacis, called punto a maglia quadra, - as well as for the French filet or lacis, was - made very much as fish-nets are now - made; the darning-stitch was called punto - a rammendo. - - In Buratto lacis, sometimes called punto - di Ragusa, the twisted network was made by - passing the foundation threads forwards and - backwards in a frame. (_See_ No. 3, Plate 8.) - The name Buratto comes from the sieves - made in this way in Italy for sifting grain - and meal. - - MACRAMÉ Derived from the Arabic. It is a hand-made, - knotted fringe, called Moresco in Spain. - - MAGLIA Mesh. - - MEZZO PUNTO A description of lace in which the pattern - is formed with a braid or tape, and the brides - and fillings are of needle-point work. _See_ - Plate 55. - - MODANO A general name in Italy for lacis work with - square mesh. - - MODES _See_ Fillings. - - PICOTS Loops or knots added to brides, or, indeed, - to any part of the lace, for its enrichment. - - PILLOW LACE Lace made with bobbins on a pillow; this - lace is called in Italian trine a fuselli, or - sometimes merletti a piombini, as in making - the coarser lace the workers attach pieces of - lead to the bobbins. - - POINT LACE Strictly speaking, should always mean needle-made - lace, 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 qualification. - - POINT DE NEIGE A name sometimes given to fine Venice - needle-point lace, with many small raised - flowers and clusters of picots--which give the - effect almost of snowflakes. _See_ Plate 50. - - PUNTO A stitch. - - PUNTI In the earliest needle-point lace-work on linen - or net the punti, or stitches, were as follows: - - PUNTO A RAMMENDO (sometimes called PUNTO DI GENOA). Darning - or ladder stitch. This is the stitch used - in lacis work. _See_ enlarged stitch Nos. 1 - and 3 of Plate 8. - - PUNTO A STUORA Matting stitch. This stitch is used to make - the centres of geometrical patterns in lacis and - reticello work. It looks like the centre of a - round mat or basket. _See_ enlarged stitch, - No. 1, Plate 8. - - PUNTO TAGLIATO Work on cut linen. - - PUNTO A TELA Linen or cloth stitch. - - PUNTO TIRATO Work on linen, which is begun by pulling - threads from the linen without cutting it. - _See_ TELA TIRATA, enlarged stitch, No. 5, - Plate 8. - - PUNTO TRECCIA Or tress stitch--so called from the threads - of linen being left loose, and only caught here - and there by a few stitches, so looking like - a tress of hair. _See_ Plate 8, and top border - of No. 2, Plate 29. Treccia also means - plait. - - Later stitches were: - - PUNTO AVORIO _See_ IVORY STITCH, enlarged stitch, No. 6, - Plate 8. - - PUNTO IN ARIA Needle-point lace worked without any foundation - of net or linen, hence the term, aria--in - the air. _See_ Plate 31. - - PUNTO A FESTONE Buttonhole stitch: in French point noué. - 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 - lace. The buttonhole or looped stitch is - used in constructing the toilé, or fond, and - also to cover the cordonnet and brides of - needle-point lace. Until the advent of the - réseau this stitch was almost the only one - used in Venetian needle-point. _See_ enlarged - lace Plate 49, and Plate 52. - - PUNTO RICCIO Literally curled stitch: this is a variety of - punto scritto, but the name will easily be - understood on looking at the specimens--as - they are adorned with the tendril-like curls, - which gives the name to this stitch. _See_ - No. 3, Plate 28. - - PUNTO REALE This is really an embroiderer's stitch, and in - English called satin stitch; in linen lace it is - usually associated with punto tirato. - - PUNTO IN RILIEVO Raised or rose stitch. - - PUNTO SCRITTO Literally writing stitch, as this stitch is used - for marking names and generally for outlining - work. In English it would be called short - stitch. - - QUADRO A square (as in punto a maglia quadra, or - square mesh net). - - RÉSEAU Term used for what may be called the mesh - background of both needle and bobbin-made - lace. The réseau connects the toilé, or more - solid parts of the patterns together by filling - the spaces between them with fine meshes, the - make of which is very varied especially in the - pillow laces. - - The two réseaux of Alençon needle-point - are shown in No. 1, Plate 9, and the réseau à - feston of Argentan is shown in No. 3, Plate 9, - the réseau of the Venice point à réseau in - No. 2, Plate 9. The needle-point réseau of - the Brussels lace is No. 4, Plate 9; and the - bobbin-made Brussels, now called vrai réseau, - is No. 5, Plate 9. The réseaux of the bobbin - laces are shown on Plate 10. - - NO. 1 The maglia di Spagna, or Spanish mesh; - this was also much used for fine silk laces or - ruffles. _See_ Plate 112. - - NO. 2 The réseau called sometimes point de Paris, - and also fond chant; it was used for Paris - pillow-made laces, as well as at Chantilly for - silk Blonde laces. It also occurs in pillow - laces from Italy and Flanders. - - NO. 3 The réseau of early Valenciennes, called the - round réseau. _See_ Plate 108. - - NO. 4 Réseau of Mechlin lace. In this two sides of - each mesh are of plaited threads, the other - four of twisted threads. - - NO. 5 Réseau called cinq trous, characteristic of - much Flemish lace. _See_ Plates 99 and 100. - - NO. 6 Réseau of later Valenciennes, called square - réseau, and of late years almost the only - réseau used in Yprès lace. _See_ Plate 109. - - NO. 7 Réseau of Buckingham lace. This also - corresponds with the réseau used in Lille - and Arras pillow laces. _See_ Plate 107. - - RETICELLO The word is derived from rete, a net, and is - usually descriptive of the patterns in which - repeated squares, with wheel or star devices - and such-like, depending upon the diagonals - of each square, are the prevailing features. - In needle-point lace these openwork patterns - are usually of buttonhole stitching. The - squares are partly cut out of the linen - material, the threads not cut are sewn over - with punto a rammendo forming a frame for - the rest of the work. (Plate 29.) The - reticello pattern is also carried out in early - bobbin-made lace. _See_ Plate 86. - - ROSALINE A modern Italian name for the fine Venetian - point called point de neige. _See_ Plate 50. - - ROSE-POINT Any needle-point with raised work on it. - This raised work may be sometimes suggestive - of recurrent blossoms, but the word - "rose" in this connection is technical, and - merely means raised. - - SFILATURA Drawn thread work. A variety of lacis. _See_ - No. 1, Plate 28. - - TELA TIRATA Or drawn work. The linen is sometimes - "drawn," that is to say, threads of both warp - and woof are removed from the entire piece to - be worked, only leaving three or four threads - each way. The pattern is then darned in so - as to appear like the original linen. I believe - the identical threads drawn out are sometimes - used for this. The remaining threads are - then sewn over to form the background of - small squares. (_See_ No. 5, Plate 8.) A - second way is only to draw threads from the - background, cutting some of the cross threads, - and leaving the original linen to form the - pattern, as in No. 4, Plate 8. - - TOILÉ Is the clothing, "fond," or closer texture in - the pattern of both needle- and bobbin-made - lace. Toilé is so called because it resembles - toile or linen. The various details of the toilé - in needle-point lace are usually outlined by a - buttonhole stitch cordonnet, or sometimes - merely by a single thread, and are then fitted - to each other to form a complete design. - This fitting together of the several parts is - well exemplified in No. 40, Venetian cut linen - lace, in which the fond is really of toilé, cut - and joined by brides. In all the other - specimens the toilé is wholly of needle-point - work. In the earlier needle-point laces brides - were used, but in later ones the whole background - usually consists of a réseau. - - TOMBOLO Lace pillow. - - TRINA Lace. TRINE AD AGO, needle-made laces; - TRINE A FUSELLI, bobbin-made laces--Italian - terms in present use. - - - - -SEVEN CENTURIES OF LACE - - -Many books giving patterns for lace-making were produced in the -sixteenth century, but few of them afford any technical instruction in -the art, and all assume that lace was already in demand throughout -Europe. We need not therefore take these interesting little books into -consideration in determining the antiquity of lace, although they are of -great assistance on the question of design, as they constantly show by -introducing the gammadion and other symbols, the survival of the -Oriental tradition.[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 centuries, and preserved in our own and -Continental museums. - - [A] Eyn neu Kunstlichbuch, &c. Metre piere quinty Cologne, 1527. - -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 Mr. R. de Rustafjaell. The threads purposely left -loose in the weaving are held by punto a rammendo worked in white linen -thread. A background of coloured worsted is afterwards added,[B] (_See_ -Plate 4.) It is interesting to compare the towel, NO. 1 in Plate 28, -which in my opinion has probably been worked in the same way, that is, -the weaver has omitted the woof threads, leaving only the warp threads -to be drawn together by needlework. The bobbin-lace found in the same -tomb is illustrated in Plate 5. - - [B] Darning stitch exists in the British Museum on a piece of - material woven from flax, and found in an Egyptian tomb. And chain - stitch is seen on a fragment of Greek work of the fourth century, - B.C., at the Hermitage, St. Petersburg. - -The first mention of lace-making in Europe that I know of is an old rule -of the thirteenth century for English nuns, cautioning them against -devoting too much time to lace and ornamental work to the detriment of -work for the poor.[C] - - [C] "Ne makie none purses ... ne _laz_ bute leave, auh schepied, and - seouwed, and amended cherche clodes, and poure monne clodes." - - "Do not make no purses ... nor _lace_, without leave, but shape and - sew, and mend, church-vestments and poor people's clothes." - - "The Ancren Riwle" (The Nun's Rule), p. 420, h. A.D. 1210. Morton's - edition, Old English, 1853. - -This _laz_ or lace was doubtless lacis. This lacis or network, now -called modano in Italy, was the earliest foundation for the work of -needle-made lace "trine ad ago." We find in the Appendix to Dugdale's -History of St. Paul's mention of work of "albo filo nodato" knotted -white thread. This was noted at a Visitation made in 1295.[D] But pieces -of this opus sfilatorium have also been found in Egyptian tombs. Early -specimens often have the gammadion or symbol of the cross. _See_ Plate -4. - - [D] Dugdale, "St. Paul's," p. 316. - -A roll of the possessions of the Templars after their suppression in -1312 includes an inventory of the goods of Temple Church. One item of -this is "one net which is called _Espinum_ to cover Lectern, 2_s._"[E] -We must look to the specimens existing from early times in Europe, and -to contemporary testimony, whether of painting or sculpture, to enable -us to fix the date of these interesting productions of human -industry--the early lacis and linen laces. Embroidery on silk, in which -many of the lace stitches were used, has a very early record. - - [E] "Norfolk Archæology," vol. v. (Norwich 1859), p. 91. - -Here we need only cite the many magnificent examples of embroidered -Church vestments, chasubles, copes, &c., so freely produced from the -thirteenth century onwards, of which the wonderful Dalmatic of the ninth -century in the Vatican Treasury, the Syon Cope of the thirteenth -century in the Victoria and Albert Museum, together with others, are to -this date in excellent and almost perfect condition. - -Now, 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 -silk, it must be allowed that while such a wealth of decoration was -lavished on the latter, adornment of the former was not likely to have -been omitted. I am, therefore, of opinion that much of the lacis, tela -tirata, and reticello work generally ascribed to the fifteenth and -sixteenth centuries, may more correctly be considered to be earlier in -date. 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 ages, the washerwoman. As silk and gold embroidery -could not be washed, it survived. 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-lived, and it must be remembered that -lace in early times was chiefly made for Church purposes. - -After consulting illuminated manuscripts of the eighth and ninth -centuries, 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 periods. St. Mark, in a Gospel (now in the Bibliothèque -Nationale, Paris) said to have been written for Charlemagne, wears an -alb which appears to me to be of this kind. Also in the Bibliothèque -Nationale, Paris, is a twelfth-century Bible, called the Bible of St. -Martial, in which the Bishop is pictured wearing a highly ornamental alb -under his gothic-shaped chasuble. He grasps his pastoral staff in one -hand, and with the other he receives the precious Book.[F] - - [F] Vol. viii., Plate 245, of Bastard's "Peintures et Ornements des - MSS." Paris, 1832-69. - -On the question of design, as indicating the date of lacework, I am of -opinion that the early geometric character of primitive design was -sooner modified than is generally thought to be the case. - -We find, for instance, in an eighth-century "Gospel" in the Bibliothèque -Nationale of Paris, a scroll ornament painted with vine leaves, grapes, -&c. - -Why should not this have inspired a laceworker of the same period to -attempt a similar design? At a little later date a "Sacramentaire" has -most realistic flowers and leaves ornamenting the initials in the -Manuscript. These beautiful works of art were executed by religious -persons and monks, probably of the Benedictine Order. A great part of -the lace made at the same time was undoubtedly the work of nuns. What -more likely than that mutual assistance was given to carry out the -principal aim of both--the ornamentation and glory of the Sacred -Scriptures, and the services of the Church? - -Many of the earlier albs are decorated with passemens or apparels, which -are squares or oblongs of ornamental work often enriched with gold -thread. These were sewn on the lower part of the front of the alb and on -the cuff of the sleeve. The alb preserved at the Cathedral of Sens, and -said to have been worn by St. Thomas of Canterbury, is ornamented in -this way. In some of the old books of patterns for lace, the -straight-edged laces are all called passemens, and only the pointed ones -dentelles, or pizzi. - -Later the apparels gave place to ornament worked on the linen itself, -and often forming a continuous band of decoration more or less wide -round the edge. A tombstone on the floor of the church of St. Sabina in -Rome has a recumbent figure with an alb decorated with a band of this -kind. The inscription denotes that the figure represents a German abbot, -named Egidius Varnsprach; the date is 1312. Later still, lace of all -kinds was merely sewn on to the alb as a flounce, in the way usually -adopted at the present time. - -As far as I am aware, only two complete albs of early linen lace exist. -They are both of very fine texture, the thread of the linen having been -spun with great care and the weaving very closely done. The oldest is -the alb, Plate 1, which is said to have been woven and ornamented by -St. Clare of Assisi and her nuns, and is still preserved in the -monastery of that place. The tradition is that it was worn by St. -Francis of Assisi. I was fortunately able to examine it closely and to -obtain details of the lacework, which is worked on the linen itself in -tela tirata and punto reale. Symbolic animals and chimeras are -introduced, but the polygonal character of the design is preserved -throughout, and establishes, I consider, its Coptic derivation. - -To confirm this, I need only instance the fact that these, and other -earliest known specimens of lacis and linen lace existing, 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 onwards. -These designs, simple and formal as they appear, are really full of -meaning. Mr. Albert Gayet has pointed out, in his history of Coptic art, -that the law of polygonal evolution only completed in the eleventh -century the course it had steadfastly pursued from the beginning. He -continues: "It seems a far cry from the early Greek tradition to this -time. But the Coptic artist was never in sympathy with the Greek -striving towards realism. He wished to express, not the image itself, -but the impression conveyed by the image. He preferred the thought to -the concrete form. The divine idea, which to the Greek must mean a -precise representation, he prefers to render quite otherwise. The -fidelity of the Coptic artist to this polygony renders it the key to all -his art. His first efforts are blunders, but he is not discouraged, he -continues without hesitation to follow his ideal. He finds in the -philosophy of the polygon the impression he wishes to convey of the -ideal and the invisible. His composition, according to the Gnostic -definition, has its secret side, hidden under the emblem shown, while -the emblem shown has also a hidden side. Then by the superposition of -_entrelacs_, or strap-work, he conveys the idea of evolution, or things -(mysteries) turning and repeating themselves indefinitely, but always in -an inflexible circle." For example, a number of star-centred octagons, -formed by a network of lines, 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 found. "Everywhere, even in the most closely -packed work, this symbol can be found; the most abstract geometrical -combinations are still subject to the same system. Polygony places -everywhere and always the sign of the Faith."[G] - - [G] Gayet, A., "L'art Copte." Paris, 1902. - -I must also make a quotation from the learned Dr. Rock, which, though -written nearly forty years ago, is so apposite while considering this -beautiful lacework from Assisi and its Eastern derivation. - -Strengthening our idea that the old Egyptians had borrowed the cross as -a spell against evil, and a symbol of eternal life, is a passage set -forth by Rufinus, A.D. 397, and by Socrates B.C. 440. - -"On demolishing at Alexandria a temple dedicated to Serapis, were -observed several stones sculptured with letters called hieroglyphics, -which showed the figures of a cross. Certain Gentile inhabitants of the -city who had lately been converted to the Christian faith, initiated in -the method of interpreting these enigmatic characters, declared that the -figure of the cross was considered as the symbol of future life."[H] - - [H] "Hist. Eccles.," lib. v., c. 17. - -"We know that modifications of the form of the cross have been found on -monuments already discovered; others may turn up with the so-called -'gammadion' found upon Egyptian stuff of such an early date. The -recurrence of the gammadion upon Christian monuments is curious. It is -shown in the catacombs, and in numerous later instances. Christianity -widened the meaning of this symbol and made it teach the doctrine of the -Atonement of Calvary, and that Christ is our corner-stone. In the -thirteenth century it was taken to be an apt memorial of His five wounds -and, remembering the stigmata of St. Francis of Assisi, this gammadion -became the favourite device of such as bore that Saint's name."[I] - - [I] Dr. Rock, "Introduction to Textile Fabrics at South Kensington - Museum" (Chapman and Hall, 1870), p. cxxxix. - -No less than twenty varieties of these polygonal ornaments, many of them -introducing the gammadion, are to be found in the lacework of the Assisi -alb. _See_ Plate 3. - -The tradition mentioned by Dr. Rock of the device of the gammadion being -identified with St. Francis may, I think, have originated in the -circumstance of his having worn this alb. In Plate 6 I give two examples -of early Italian punto reale of the same kind although very inferior in -variety and in workmanship, but in most of these early "cartiglia," as -this work is called in Italy, the polygonal idea is still predominant. - -The other complete alb is also of linen lace, and is said to have been -worn by Pope Boniface VIII. in 1298. (_See_ Plate 2.) It is preserved in -the Treasury of the Sistine Chapel in the Vatican, where I had an -opportunity of examining it closely and of obtaining the technical -details I give. As to its possible history I may note that St. Nilos and -his monks were driven from the East by the Saracens at the end of the -tenth century, and came to Italy, where they were welcomed by Pope -Gregory V. He established them in the monastery a few miles from Rome, -where their successors still worship with their Eastern rites. The -famous alb may have been brought by these very monks or those who -followed them from the East.[J] - - [J] "The Pope, Gregory V. (996-999), and the Western Emperor, Otho - III. (993-1002), who was then also at Rome, went out to meet the - strangers beyond the walls, and received them with all possible - honour and respect. And out there in the Campagna, at Grottaferrata, - St. Nilos at last built a home for his monks, and there he died. - Grottaferrata has stood unchanged till now, no Pope has tried to - destroy or Latinise it; after ten centuries, its monks sing out - their Greek office in the very heart of the Latin Patriarchate, - while outside the Latin olives shelter its Byzantine walls."--"The - Orthodox Eastern Church," Adrian Fortescue, D.D. London, 1907. - -Then, as now, specimens of the world's treasures of art and handicraft -arrived in Rome from all parts of the known world. I see no difficulty -in recognising the antiquity of this alb. That the great Pope Boniface -VIII. wore it is only a tradition, and no evidence is afforded or -vouched for by the authorities at the Vatican. One evidence of its -origin should not be overlooked which is the material, which I believe -to be the real Byssus, or fine handspun linen from the plant _Linum -usitatissimum_ not at that time available in Europe. Dr. Bock remarks -that this Byssus was much sought for in early Christian times under the -name of Byssus of Alexandria.[K] The linen of the Assisi alb is of the -same texture, which I can only describe as crisp and wiry, -notwithstanding that in many parts it is much worn; on handling the -linen it reminded one at once of the linen of Egyptian mummy cloths, and -the Italian curators of both albs, while I must say profoundly -indifferent as to the questions of design and execution, which -interested me most, were all quite certain that they had known no linen -texture resembling it in Italy. It was impossible not to call to mind in -this connection, "Fine linen with broidered work from Egypt was that -which thou spreadest forth to be thy sail."[L] The linen of the alb of -Pope Boniface is slightly finer than that of the Assisi alb, and is -heavily worked with lace ornaments of an Eastern character. The repeated -geometrical patterns, or rosettes symmetrically grouped in squares, are -worked by the needle in punto a rammendo (_see_ Plate 3), and the -curious stitch called punto treccia, or tress-work, is introduced, as -well as the punto a stuora, or matting stitch. It may be observed that -in such early lacework the punto a festone, or buttonhole stitch, is -never, or very rarely found, though afterwards it became almost the only -stitch used in all needle-point, until the advent of the réseau. - - [K] Dr. Franz Bock, "Die textilen Byssus," Aachen, 1895. - - [L] Ezechiel, xxvii. 7. - -In the alb of Pope Boniface there is no buttonhole stitch--the ornaments -in squares called quadri were inserted in the linen of the alb, and were -surrounded by rows of punto tirato worked in the linen itself. The -flounce and insertions, or "falsature," of pillow-made lace were -evidently added at a later date. - -It is interesting to see in the fresco by Giotto (1276-1337), preserved -in St. John Lateran, that Pope Boniface VIII. is supported by two -ecclesiastics, one of whom is wearing an alb with what appears to be -lace on the sleeve. - -The tomb of the same pope, and of others of about the same date, afford -still more cogent evidence. In the Crypt of St. Peter's, Rome, Pope -Boniface VIII. is represented in full pontifical vestments lying on a -bier which is draped with a richly ornamental pall; 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 -century." The Pope wears an alb with an ornamental border which is -repeated on the sleeves. - -The fact is, of course, acknowledged that linen cloth was used for -bed-linen, towels, and other articles. For albs, linen, and linen only, -was ordered by the rubric; therefore, if one sees an alb represented, -whether by painting or sculpture, the intention to represent linen is -implied. And, if ornamented, the intention to represent linen lace is -clear in many instances, although the painter or sculptor cannot, of -course, give us a facsimile as satisfying as the photographs we have -here. - -I will here refer to the well-known pictures by Giotto and his school. -One in the Louvre, of the birth of St. John the Baptist, has most -unmistakable lacework on the linen of the bed, and on the long towel -gracefully depicted as hanging from the shoulder of one of the -attendants. - -A fresco, also by Giotto, in the Basilica of Assisi, represents the -figure of the Divine Infant in a shirt with reticello ornament. - -Duccio di Buoninsegna (1260-1340) and Lorenzetti (1276-1348) may be -mentioned among many others, as in their paintings linen cloths are -rendered with unmistakable needle-point ornament. It is quite clear that -these laces were in general use before the fourteenth century, although -it is not surprising that few specimens remain to us. - -The pattern of the lacis, or sfilatura, in Plate No. 7, is geometrical, -with an Eastern tendency, as in Pope Boniface's alb. It is singularly -like the dresses of saints in some of the Ravenna mosaics, and the more -ancient stitches can be seen in the specimen given, but there is no -buttonhole stitch. - -In describing the design of this piece of old lacis, I am again tempted -to quote M. Gayet's description of lace found in the Coptic tomb. He -says: "It is lace as it is made to-day. All the threads of the réseau -are drawn together to one point, and the meshes start from the centre -like rays crossing and recrossing and thus forming various patterns." -The pieces of network from these Coptic tombs, preserved in the Victoria -and Albert Museum fully justify this description, and no doubt the -Eastern tradition can be traced in Plate 7. - -As we have seen, the ornament of the earliest laces was simple, or -quasi-simple, in design; but even then the craving to represent life -often appears. The band down the front of the Assisi alb, for example, -has a row of stags thoroughly subservient to the distinctly polygonal -idea. - -In Plate 11 a portion of an early lacis or modano border is represented. -Conventional peacocks and numerous smaller birds are added to the -central design of I.H.S. in Gothic letters--quaint little angels are at -the ends of some of the rays. The inscription has so far found no -interpreter. - -The altar-cloth in Plate 12 may possibly have been made for Richard II.; -his two wives were both French, and this piece has the stag, which was -the royal device. - -No. 1 of Plate 13 is an interesting border of Sicilian lacis, the design -Eastern, introducing the gammadion, the netting is all made obliquely. -Two stitches are used for the pattern, the punto a rammendo and also the -punto scritto. A vandyked border of punto avorio is added. - -In Plate 14 the squares of lacis or modano are alternated with linen -worked with reticello. The design in each square is different. - -The effect of the gold thread added to the pattern worked in punto a -tela, or linen-stitch, in Plate 15, is very good, and there is much -variety in the execution of this piece. - -No. 1 of Plate 16 is lacis of possibly German work with a design of -vine-leaves and grapes worked in punto a tela. No. 2 is a vandyked -border of English lacis with a pattern of large and small blossoms--the -larger ones resemble Tudor roses. Both these pieces have the punto -riccio introduced. - -Plate 17 is a specimen of lacis called buratto in Italy, as the netting -is twisted and not knotted. The pattern is punto a rammendo, worked with -very coarse thread, but the result is satisfactory. This piece must be -early sixteenth-century work. - -The two examples of buratto work in the following plate, Plate 18, are -much more finely worked with punto a rammendo. The narrow border is -probably the earliest. - -Alençon has certainly more romantic associations than any other -lace-producing town. For the making of lace at Alençon did not begin -only with the establishment of that industry in 1660, of which I shall -speak later. More than a century before that date Marguérite -d'Angoulême, Duchess of Alençon, and afterwards Queen of Navarre, while -living at her castle of Alençon, worked and caused to be worked, -beautiful ornaments for albs and other articles for use at the altar of -St. Leonard's, her parish church. Some of these are preserved in the -Alençon Museum; a specimen of early lacis is especially interesting, -worked in squares with radiating threads, and the centres worked with -punto a stuora as in Plate 17. The specimen of lacis, with gold thread -introduced similar to that in Plate 15, may very likely be the very -piece alluded to by Clément Marot in his odes to Queen Marguérite. She -died in 1549. - - "Elle adonnait son courage - A faire maint bel ouvrage - Dessus la toile et encore a - Joindre la soie et or." - "Vous d'un pareil exercice - Mariez par artifice - Dessus la toile a maint tract - L'or et la soie en pourtract." - -Another interesting record of this Queen is to be found in a manuscript -of the expenses of "Madame Marguérite," sister of the King (Francis I.). -"For 60 yards fine Florence lace for her collars."[M] This lace was -probably fine punto in aria worked in points, as in Plate 30, but it -may, of course, also have been bobbin-made lace similar to the edging in -Plate 29. - - [M] Manuscript in "Bibliothèque Nationale." MS. FF2, 10,394. - -The earliest example of tela tirata here is a piece representing St. -Francis of Assisi and events of his life, Plate 19. Under the saint's -feet is an inscription imperfectly rendered by the pious worker. St. -Michael is above, and still higher is the Madonna and many emblems or -perhaps fancies of the worker. This lace may have been worked in Assisi -itself in the thirteenth or fourteenth century. - -Another early specimen has a man in armour with a helmet of -thirteenth-century shape. _See_ Plate 20. - -Another piece, Plate 21, which is very fine and was no doubt worked for -a wedding, represents a bride and bridegroom standing dressed in -sixteenth-century costume and surrounded by attendants. Below is a -hawking party with dogs. - -The infant's swaddling band, Plate 22, is interesting, as these bands -are no longer ornamented. - -The specimen of tela tirata No. 1, in Plate 25, is of singular make, the -whole piece to be worked being prepared by drawing threads at regular -intervals. These same threads are then darned in with a needle to form -the pattern. In this specimen a small piece has been unpicked to show -the way the threads were drawn before beginning the work. This method -has, I believe, not hitherto been noticed, as the plan of cutting -threads and leaving the pattern in the linen is more usual; but, of -course, no cut threads at all remaining in the work rendered it more -even and durable, and so justified the extra trouble. - -No. 2 of Plate 25, is a piece of tela tirata with punto reale similar, -though coarser in make, to the work on the Assisi alb. - -Three specimens of sixteenth-century linen work, Plate 28, are reduced -in size; one is on a huckaback with a fine macramé fringe. The drawn -work of this piece is beautifully done. The cloth in the centre is -worked in punto riccio and has a border of punto avorio and a curious -fringe. The third is cut and worked in punto riccio and reticello, and -has a border of bobbin-made lace. - -In Plate 29 we have two examples of reticello, the linen almost entirely -cut away and hidden by the different stitches. The punto a stuora is -still used for the centres, as we have seen in the earlier laces, and -the punto a festone appears for the first time. 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 7; then comes an insertion of -reticello, and finally a border of Venetian bobbin-lace (merletto a -fuselli). This is early fifteenth-century work. - -We now come to the third division made in needle-point lace--the punto -in aria, which may be said to be the starting-point of all subsequent -needle-point laces. No linen or netting being used the worker had to -construct her lace--in aria--out of nothing, and a splendid opening it -gave, as we shall now see, for invention and for execution. This punto -in aria, worked into points, was extensively used for personal -adornment: these points gave the name of pizzi to lace, a name which -still survives in Italy as comprehensive of all lace, as the name -dentelle is in France. The first examples I give here are the two -dentated (or vandyked) borders of Plate 31. - -The chalice cover, Plate 32, is a very interesting combination of -reticello and punto in aria; the lines of the cut-linen foundation are -carried across and form a lattice behind the punto in aria devices. The -beautifully worked waved pattern circling round the design may be -intended to represent St. Peter's chains: the Saint stands with the -Scriptures in one hand and the Keys in the other, and has a winged -cherub on each side; the edge is of punto in aria. - -The reticello pattern of Plate 33 is beautifully rendered in punto -avorio and punto in aria. This piece, unlike the specimens given before, -has no linen foundation, and therefore is classed as punto in aria and -not as reticello or cutwork. - -The corporal border of Plate 34, of very conventional floral pattern is, -I think, undoubtedly of German early seventeenth-century work. - -The border of the Venetian cloth in Plate 35, is a very fine specimen of -punto in aria. The two insertions, of which one is given, are alike. -They have strange winged and tailed animals alternating with scrolls and -vases. The vandyked border is a wonderful piece of work containing -altogether forty-eight small figures, and, as is often the case in -Venetian work, the figures, birds and animals have tiny black glass -beads for eyes. The animals have loops of fine buttonhole stitch to -denote manes. - -A very interesting and beautiful piece of punto in aria is Plate 36. The -design is still reminiscent of the East; the flowing interlaced -flower-stems, with animals introduced, have quite a Persian effect. But -the beautiful rendering of the pendant flowers, and the true love knots, -as well as the heraldic device of the Visconti (the crowned serpent) -mark the elegance and freedom of the Renaissance. It was, no doubt, made -in Venice in the late sixteenth century. - -The punto in aria trimming for the neck of an alb, Plate 37, is a very -remarkable piece, and the execution full of interest. The work is -entirely without foundation. The figures are clothed with mantles of -very beautifully worked network, called in Italy mezza mandolina. The -edges of the mantles are worked in punto avorio. Realism is attempted by -representing the features in relief, and little black beads are added to -the eyes. - -A curious border of the Venetian rose-point is No. 1, Plate 38, worked -entirely in punto a festone. Birds and serpents occur, and the thick -cordonnet which outlines the pattern is also used to denote the scales -of the serpents and the feathers of the birds, tiny black beads mark the -eyes as in Plate 37. The edging is of very fine punto avorio. A specimen -of the so-called coraline Venice needle-point is also on this Plate. - -In Plate 39 we have a very interesting specimen of needle-point as -applied to personal use--a lady's camisia, or shirt, of the sixteenth -century. The linen has a square hole cut for the head, and this opening -is beautifully worked in punto in aria. The sleeves are ornamental with -oblique bands of cut-work, and the seams everywhere worked with drawn -stitches and insertions of punto avorio. The handwoven linen is in good -condition, although the garment must have been much worn, as the cuffs -have been replaced by bobbin-made frills, trine a fuselli. It is -doubtful whether three hundred years hence any linen garment worn at the -present time will survive. - -From the beginning of the sixteenth century the fashion began of -working portions of the lace separately, and joining them together by -brides, and modes or fillings were also introduced, into the pattern. -Later, from about 1630, the réseau ground was introduced, covering the -whole space between the patterns; the patterns themselves also changed, -and from being geometric and conventional became more and more -realistic. The stately lace of Venice, however, may be said to have -always preserved its conventional tradition, whether in the heavy rose -or raised point or the delicate point à réseau. - -Venice obtained her pre-eminence of lace-making in the sixteenth -century. The flat point is probably the earliest distinctive lace; but -this was soon enriched by work upon work, stitch upon stitch, which gave -the name of rose-point or punto in rilievo. 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 -bone, and to it applies the title of punto tagliato a fogliami. The -brides are sometimes quite plain, but later are adorned with picots. - -We now come to the period when lace, so long only made for church -purposes, was very extensively made and used by lay persons for their -personal adornment, and for furnishing purposes. The bed cover Plate 40 -was, no doubt, one of many made for a household of simple tastes; the -coarse linen is cut into a fine flowing pattern edged with buttonhole -stitch, and ornamented with various fillings. But in houses of greater -pretension the use of the richest rose-point became lavish, not only on -the dress of the mistress, the collar of the master, but on table covers -and hangings of every kind. Examples of this splendid lace are given in -No. 42 and following plates. No. 44 has, perhaps, the finest toilé; but -the design of No. 45 is very beautiful. No. 46 is a flounce for an alb -of very fine scroll design with brides picotées and occasional raised -work; the beauty of the pattern is better seen in the enlargement, Plate -47. The paten cover, No. 48, and the enlargement of it, No. 49, give a -complete idea of the style and execution of this lace. - -The design of the flounce, No. 51, is of the style usually associated -with point de France, the stitches and brides picotées are identical in -workmanship with the Venetian point. It was probably made at Alençon, -Sedan, 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 century. - -The specimens of Spanish rose-point, Nos. 53 and 54, show the stately -and elaborate design, rather overloaded with ornament, which is -characteristic of this lace. - -The Venetian point à réseau was made from about 1650 in Venice and -Burano. The cap shown in No. 56 has a beautiful flowing design of a -scroll with flowers and leaves, and brides connecting some portions of -the design. The main ground is of small mesh réseau worked the length of -the lace, which is often the case in Venetian work, though I have never -seen it in Alençon lace, the réseau being, as far as I know, usually -worked across the lace by the early French workers. (Later, the réseau -of the Alençon lace was worked obliquely, as can be seen by examining -Plate 67, and the specimens I have seen of modern Alençon are also -worked in this way.) - -Plates 59 and 60 show interesting specimens of this very rare Venetian -lace. No. 2, in the latter plate, is probably a specimen worked in -France. - -The ground of No. 59 is of brides picotées arranged into hexagonal -meshes, a ground which is chiefly associated with the point de France, -and this specimen was no doubt from Alençon. - -About 1660 important centres of lace-making were developed and -subsidised in France by the Government at Alençon, Paris, Sedan, and -other places, and the French needle-point then made was scarcely to be -distinguished from the Venetian. This was to be expected, as the first -workers of lace of this kind in France were imported from Venice. In a -letter to Colbert, the minister of Louis XIV., dated 1665, Catherine de -Marcq writes, "I am starting for Alençon with four Venetian lace -workers."[N] - - [N] Bibliothèque Nationale, "Lettres à Colbert," vol. 132, fo. 14 - bis. - -As our King Charles II. revived his father's edict against foreign lace -at about the same time (1662), it would almost seem a concerted action -to check the Italian and Flemish superiority in the fabrication of the -finest lace, whether needle- or bobbin-made. But although the French -were successful in part in rivalling the Venetian needle-point, the -finest bobbin-lace of Flanders was never approached by the English -workers, and now, of course, can never be equalled, as the secret of the -thread used in the finest laces, such as Angleterre, Binche, etc., is -lost. - -Nothing was too ambitious for the Venetian or French designers of the -seventeenth century. Coats of arms under canopies, scriptural or -classical figures, wreaths and vases of flowers, were frequently worked -into the same design for a piece of lace. The subsequent changes of -design which took place in the Alençon lace are most interesting to -note, the patterns gradually losing their Venetian character. In No. 61 -vases and pots of flowers are introduced, and the floral patterns of the -specimens which follow become more and more realistic in drawing. - -Towards the end of the reign of Louis XVI. enormous quantities of lace -were required for the new fashion of frills and flounces, and the change -in design is much marked by the adoption of borders of very light -effect, the réseau ground being spotted with little sprigs, slender -riband devices, and dots or pois, whence the term semé de larmes. (_See_ -Plate 66.) In the numerous specimens shown, the changing fashion can be -marked, until in Plates 64 to 67 the Venetian character of the designs -of Alençon needle-point has quite disappeared. The patterns are -practically designed for borders only; and the réseau is, as I have -said, spotted with tiny sprigs, or dots. The expression semé de larmes -is said to have arisen in allusion to the misfortunes of Queen Marie -Antoinette, by whom much lace of this style was worn. - -In needle-point made at Argentan we find a style and design such as we -should expect from its close neighbourhood to Alençon. The sole -peculiarity of the Argentan workers was that, not content with the -almost incredible toil involved in the lace of Alençon, they actually -worked the whole réseau of their lace over in buttonhole stitch, thus -making those compactly stitched hexagonal meshes which are distinctive -of this wonderful fabric. The Argentan réseau was sometimes introduced -into lace made at Alençon and elsewhere. The specimens, Nos. 68 and 69, -are representative of this rare lace. - -The two specimens--one of silk and one of linen thread, Nos. 1 to 2, -Plate 70--I consider to be Portuguese, from the curious though rather -handsome and effective jumble of design which is often found in Spanish -and Portuguese work. - -The Brussels needle-point of No. 3, Plate 70, and Plate 71 and Plate 72, -must seem poor and thin when compared to the preceding laces. But it is -very beautiful in its own delicate style, and has been called the -laciest of laces. The réseau is very fragile, hence the name sometimes -given of point de gaze. The designs shown have not the complete realism -aimed at in the Brussels lace of the present day, but have a charm of -their own which I confess attracts me more than all the brilliant -improvements of the last sixty years. - -The two specimens of darned work on bobbin net, Plates 73 and 74, -especially the latter, are remarkable for the beauty and variety of the -work. - -Plate 75 and Plate 76 have specimens of the beautiful and intricate work -called Tönder muslin lace made in Denmark in the eighteenth -century. The following, Plate 77, is lace of the same kind but made in -South Germany. I obtained these pieces in Leipzig forty years ago. - -Number 2, in Plate 76, has a design and fillings which almost recall -those in the finest Alençon laces of the late seventeenth century. - -Plate 78 has four specimens of eighteenth-century Dutch linen lace made -for caps; it is called Gouda lace; the fillings are very well -done. - -In the Manila fibre lace, Plate 79, No. 1, the ground is entirely worked -over by the needle into small squares, giving the appearance of network. -This is done in the same way as the earlier tela tirata, the threads -drawn together and sewn with wonderful regularity, without any thread -being cut. - -The two specimens of needle-point, Plate 79, Nos. 2 and 3, made entirely -of human hair, are rather difficult to render in a photograph. They are -evidently copied from Venetian patterns, and the various shades of hair -used have a very pretty effect, while the execution of such fine work in -so fragile a material must have demanded extreme skill and deftness of -hand. They were made about 1800, at the Bar Convent, York. - -A very interesting piece of old English needle-point work is No. 80, a -cap of Holy, or Hollie, work. A close réseau is worked by using a stitch -very similar to buttonhole stitch, and the effect is of a texture very -like the cambric it adorns. The pattern is made by missing stitches, -forming small holes. - -Hollie lace was chiefly used to decorate infants' caps, etc., for -baptism, and the pot with flower, reminiscent of the Annunciation, the -Holy Dove, etc., were devices frequently introduced into the patterns. -Collars of this work are mentioned in Queen Mary Stuart's inventories. - -Number 2, Plate 80, is a specimen of Limerick run lace. - -Three pieces of Irish needle-lace, Nos. 1 and 2 of Plate 81, are -praiseworthy as very early specimens of this industry. The designs are -nondescript, but many of the stitches are well executed. A bobbin-made -tape is introduced in No. 1. No. 3 is the so-called Carrickmacross lace; -a muslin and machine net foundation is neatly outlined by fine whipped -stitches; and buttonhole-stitch brides picotées are used to join the -patterns after the background is cut away. This lace was first made -after the famine of 1846. - - - - -BOBBIN-MADE LACE - - -The earliest bobbin lace was made by using the same threads for the -whole of the lace, thus, when the pattern had been pricked out and the -requisite number of bobbins charged with thread, the plaiting and -twisting the threads into lace was begun. - -The starlike effect in the old Malta laces was very simply made by -taking fourteen bobbins to work a strip of the required length; this was -then joined up as required into a pattern of more or less regular and -starlike form, partly, no doubt, to imitate the older geometric designs. -The same bobbins were used throughout. _See_ Plate 83. - -The same style of making is more beautifully carried out in the two -patterns of Plate 84. The lace in No. 1 is unfortunately very much worn, -but the way the bobbin-made strip is arranged to make flowerlike forms -is very ingenious; the ground is completely covered and yet nothing is -awkward or crowded. No. 2 is also a very fine example of this simple -bobbin work. I consider both to be early Venetian. - -Number 1 of Plate 85 is a typical pattern of the lace which, originally -no doubt inspired by the East has become universal under the name of -"peasant" lace. We find it in Russia, Hungary, Dalmatia, Spain, Sicily, -Sardinia, in fact wherever lace was made at all, this pattern with -slight variations is supreme. Ceylon and India produce very similar -lace, as also does South America. I have therefore made no special -reference to these peasant laces, as although quite satisfactory from -the point of view of utility, they are only otherwise interesting as the -product of an industry much to be encouraged. - -Numbers 2, 3 and 4, on Plate 85, may be considered as showing a -transition state, as in all three there is an attempt to add a -background to the toile or tapelike pattern. - -Number 4 is a specimen of old Maltese lace now no longer made. - -Number 1 in Plate 86 is of reticello pattern and a very successful -imitation of the needle-point linen lace. - -Number 2 is a fine example of the same style worked into points or -pizzi, and is probably Venetian. - -Numbers 3, 4 and 5, are examples of Genoese plaited lace. - -Number 5 is especially notable as recalling the Eastern tradition. - -Plate 87 shows two specimens of Genoese lace. No. 2 is what is sometimes -called collar lace, and sometimes Vandyke lace, from the very general -use of it in portraits by that great painter. No. 1 is Genoese fringed -lace. In both the starlike groups of little "grains of corn," as they -are called, are characteristic of Genoese lace, as they are now -considered to be of Maltese. But the Genoese patterns were only -introduced into Malta and Gozo about sixty or seventy years ago. One can -but be glad of the success of an industry so profitable to the -industrious peasantry of those islands, but it is impossible not to -regret the total disappearance of the old style of lace-making. The old -patterns are not in demand for the modern market, which is chiefly -French, and the lace is principally made with silk imported from France. - -I find that it is often supposed that no specimens exist of ancient -Maltese lace. It is, however, well known there that lace was made in -Malta and Gozo at all events as early as about 1640. The early flounce -(Plate 80) was bought in Valetta more than fifty years ago, and -inquiries made convince me that it was made, as my Maltese informant -expressed it, "before the time of Lascaris." The Maltese often use the -expression "time of Lascaris" or of "Carafa," "Manoel," etc., to date -anything. These were the names of different Grand Masters before the -islanders invited English occupation in 1800. There is no doubt that the -disturbance caused by the French occupation affected lace-making so that -it fell into abeyance, but before that time great quantities of these -simple, strong and useful laces were made, principally, of course for -church use. The narrower edgings (Plate 98) were used for the fine white -lawn head-dresses worn with the beautiful national gala dresses, now -only preserved by the great Maltese families as relics of the past. - -Number 1, Plate 88, is a very curious early pattern called gotico in -Italy. - -Numbers 2 and 3 are Sicilian peasant laces. - -Number 4, Tuscan peasant lace called piedi di gallini (fowls' feet). - -Number 5 is a Tuscan peasant lace called zeccatello. - -Plate 89 illustrates six peasant laces from Russia, Madeira, Portugal, -Ceylon, and Le Puy, made before 1850. - -In the Genoese laces in Plates 90 and 91 we have examples of what may be -called the second manner of bobbin lace. The patterns of conventional -sprays and flowers are made on the pillow separately, and afterwards -joined by brides picotées, also bobbin-made. In the lace made in this -second manner, in which many laces were made at successive periods in -Milan, Genoa, Brussels and Honiton, the threads forming the connecting -brides, and later the réseau, can be detected by looking on the reverse -of the lace, as they are seen passing behind the patterns. An example of -this carrying threads across is shown in the Honiton lace, Plate 118. - -Plate 92 represents one of the finest examples I have seen of Genoese -bobbin lace, trine a fuselli. The design is of gracefully arranged -scrolls and flowers, and includes five birds which are introduced in the -most spirited manner. The several tapey shapes, made separately and -joined by brides, form the complete design or pattern, the fillings -between them are very good, and include the starlike work characteristic -of Genoa. This illustration is on a reduced scale in order to show the -pattern of the lace. Plate 93 represents the exact size of the same -lace. - -Plate 94 is a flounce of Milanese bobbin lace, trine a fuselli. The -pattern is of scrolls and flowers, a heraldic crowned eagle and small -birds, with various fillings in the spaces enclosed. A very strong -réseau connects the whole. - -Plate 95, a flounce of the same lace, has a very beautiful flowing -design of scrolls, with a background of the characteristic réseau of -Milanese work. - -The Milanese alb flounce (Plate 96) is a very fine piece of much later -date. The spaces enclosed by the toilé or tapey parts are filled by -bobbin-made fillings or à jours, of various designs, a very strong and -evenly made réseau connects the whole. - -The two specimens of Italian lace, Plate 97, are of very elegant design; -they also have the fond chant pattern of réseau. This style of lace was -made both in North and South Italy up to sixty or seventy years ago, but -coarser thread was then introduced with disastrous effect. - -In the narrow Maltese lace of Plate 98 we have in No. 1 the réseau -called mariage; this lace, and Nos. 2 and 3, were made in Malta about -1780. - -Turning now to the bobbin-made lace of Flanders, I begin with No. 1 on -Plate 99, which has no less than three characteristic lengths joined to -form one border. The straight edge, the rather abrupt design, and the -réseau cinq trous, indicate a Flemish make of lace. The pattern No. 2 -has the clear whiter thread outline. This lace is sometimes called -Trolle Kant. - -The cap, Plate 100, is of later date; the réseau cinq trous, worked with -a very opened out effect, can be observed in the fillings. - -The early Mechlin lace resembles in design the point d'Angleterre, and, -indeed, also the Alençon lace of the same date. It is most interesting -to compare, say, the Mechlin, Plate 101, with the d'Angleterre, Plate -104, and the Venise à réseau of Plate 57. Yet the makings of the three -laces are absolutely different--the Venice entirely by needle; the -Angleterre is made in two different stages of bobbin work; the Mechlin, -as is always the case, was made in the third manner, the threads -originally started on the bobbins carrying the work to a finish, and -ingeniously sufficing for toilé, réseau, and fillings. Later, Mechlin, -for reasons already stated, became a mere border, as shown in Plate 102. -It is no longer made. This is also the case with Binche lace (Plate -103). A very beautiful fond de neige, used sometimes as a ground and -sometimes as a filling or à jours, distinguishes this lace. The work is -very fine and close, the edge is usually straight. It is sometimes -called fausses Valenciennes. - -Brussels gives its name to a variety of beautiful laces. The most -renowned is the point d'Angleterre, made in great quantities during the -later part of the seventeenth century for the English market. The -designs, as on Plate 104, recall those of the Venise à réseau and of -Alençon of the same period; the beautiful flowing garlands, the waved -edge with varied fillings, the brides picotées forming the hexagonal -réseau, will bear comparison with the Venice lace of Plate 57, and the -Alençon of Plate 63. This truly wonderful point d'Angleterre has a very -fine toilé; the flowers and scrolls were first made on the pillow and -then joined by the réseau (vrai Bruxelles), long used for the highest -class of all Brussels bobbin-made laces. Lace of this fineness is no -longer made since the fine handspun thread cannot be obtained. - -Brussels lace followed the fashion which, as we have seen, obtained in -France. In the late eighteenth century only a border was necessary, as -lace was worn in a profusion of flounces and frills; and Plate 106 shows -a border very similar in design to the Alençon of the same date. The -delicate flowers and leaves are joined by the fine réseau mentioned -above--namely Brussels vrai réseau, a title employed to distinguish it -from machine-made net. This last was introduced during the first quarter -of the nineteenth century, and soon gave a different character to -Brussels lace, when the flowers made on the pillow were sewn (appliqué) -to a simple net made sometimes by hand, but more often by machine. - -In the Antwerp lace scarf, No. 1, Plate 107, the fond chant or point de -Paris réseau is used, and here we have an example of Potten Kant, or pot -lace, so-called because in early times the subject of the Annunciation, -with the pots of lilies usually added, was introduced into the designs -for it. The indication of flower-pots certainly occurs in many pieces, -though not in mine, and no piece exists, as far as I know, with figures. - -The cap of Lille lace, No. 2, Plate 107, has the simple twisted thread -réseau characteristic of this and of Arras lace. It is not to be -distinguished from the réseau often used in Buckingham lace. - -We must again notice how similar the design in the fine old Valenciennes -of Plate 108 is to that of Alençon needle-point of the same date. The -réseau is closely plaited, and the toilé of the beautiful patterns -compact and clear in definition. No outline or cordonnet is used in -Valenciennes lace. The early lace has what is called the round réseau, -the later Valenciennes made at Yprès has a square réseau (Plate 109). -This latter lace is still made, but has not the charm of the -eighteenth-century lace. - -The lace (Plate 110) was probably made in Paris. It is very curious, -with heraldic device of an eagle with a shield; dogs also, and stags, -are introduced. It may have been made for a wedding about 1690. This -lace is often described in the inventories of old families in France as -dentelle de chasse. - -The Blonde lace (Plate 111) was made in Chantilly for a wedding in 1820. - -Plate 112 gives three specimens of bobbin-made lace, with the so-called -maglia di Spagna, or Spanish mesh. No. 1 is of linen thread, with a -coarser thread introduced; but one should remark that this thread is not -used to outline the pattern as in Flemish lace. I have not met this -réseau in any Flemish lace. Nos. 2 and 3 are bobbin-made silk lace, and -were ruffles for a Court dress-coat. - -The black mantilla, Plate 113, has the fond chant réseau used as a -filling, and, although bought in Madrid in 1840, it may have been made -in France. - -The difficulty of working the materials of gold and silver lace is so -great that absolute regularity of either pattern or réseau is -impossible. This, however, in my opinion, only renders these rare laces -more interesting. Both metals are used in the characteristic specimen of -sixteenth-century Spanish lace, No. 1 in Plate 114. - -Number 2 is a silver seventeenth-century lace from Genoa, the edge is a -shell pattern, and several thicknesses of the metal-covered silk thread -are used. Plate 115 has four patterns of seventeenth-century gold and -silver lace made in Italy, probably at Lucca. - -The Brussels lappet, made in 1849, Plate 116, was then considered one of -the finest ever made, the pattern is pretty and realistic, and -foreshadows the style since prevalent. - -The Bedfordshire lappet, on the same plate, is far inferior in -execution, but was made by a cottager at about the same time and has -done good service. - -Two patterns of Buckinghamshire lace, Plate 117, made about 1790, show -more even workmanship than is generally seen in this lace. No. 2 has a -likeness to the Mechlin and Lille lace of the same date; No. 1 is more -like the Flemish Trolle Kant, and was, in fact, called Trolly lace. It -will be observed that the fillings have the six-pointed star, or fond -chant réseau, so prevalent in pillow lace. - -There is a tradition that the art of bobbin-made lace was imported into -Devonshire by emigrants from the Netherlands, flying from the tyranny of -the Duke of Alva. Mr. Seguin, in his learned book, contends that the -troubles in Flanders had completely destroyed the lace industry before -Philip II. of Spain sent the notorious Duke of Alva there. I believe, -however, both that lace-making existed before that time in England, and -that the emigration had a beneficial effect on all English industry, -although not an initial one. - -I have given both the right and wrong side of the Honiton lace -cap-border in Plate 118, to show the threads of the connecting réseau, -passing behind the patterns, the thread making the brides picotées also -passes in the same manner. - -Plate 119 shows a remarkably fine specimen of Honiton bobbin lace. The -flowers are made separately in this specimen, and are afterwards joined -by twisted brides claires made with a needle. The design is of birds, -butterflies, and the rose, shamrock, and thistle. It was, perhaps, made -to commemorate the Union. - -Plate 120 is of Honiton sprays applied to machine-made net. - -Space does not admit of any attempt to give a complete Bibliography. I -find that a mere list of books that I have consulted at different times -would be too long. I will therefore only mention that the works of the -following authors would be very valuable to those intending to pursue -this subject. - -A fairly complete list of Italian and German pattern-books will be found -in Mrs. Bury Palliser's "History of Lace." And the works of Mr. Alan -Cole, Dr. Franz Bock, Father Braun, S.J., Dr. Moritz Dreger and Dr. Ilg -of Vienna, Dr. Daniel Rock, Mons. Seguin, and Mr. Verhaagen have all -been especially useful; and while preparing this for the press I have -seen with great delight the splendid book of illustrations of Italian -needle lace compiled by Signora Elisa Ricci. - -In concluding these remarks, I must say that I owe the first idea of -writing on this subject to my learned and accomplished husband, Mr. John -Hungerford Pollen. Much information was given me in long bygone days by -Dr. Daniel Rock, and by another old friend, Mrs. Bury Palliser, who gave -me one of my first specimens in 1862. - -At the present time I owe many thanks for advice and supervision to Mr. -Alan Cole, whose knowledge of lace is unsurpassed. - - - - -PLATES - - -[Illustration: PLATE I. THE ALB, PRESERVED AT ASSISI, SAID TO HAVE BEEN -WORN BY ST. FRANCIS] - -[Illustration: PLATE II. THE ALB WHICH IS SAID TO HAVE BEEN WORN BY POPE -BONIFACE, A.D. 1298] - -[Illustration: - - PLATE III. (1) DETAIL OF THE ALB OF POPE BONIFACE VIII. - (2) DETAIL OF THE ASSISI ALB.] - -[Illustration: PLATE IV. THREE PIECES OF NEEDLEWORK FROM EGYPTO-ROMAN OR -COPTIC TOMBS OF THE SECOND AND THIRD CENTURIES - - One is part of a circular panel or roundel, and the other two are - parts of girdles. The gammadion or symbol of the cross can be traced - in all three: and the polygonal character of the design is similar - to that of the Assisi alb] - -[Illustration: PLATE V. (1) A PIECE OF BOBBIN-MADE LACE. (2) DARNED WORK -WITH WHITE LINEN THREAD. (3) PORTION OF A MUMMY CLOTH - - No. 1 is a piece of bobbin-made lace, found in the Coptic tombs in - 1903, and now in the Cluny Museum in Paris. Bobbins were found at - the same time. I do not think this fabric was made on a lace - pillow, but that a sort of frame with pegs was used to keep the - bobbins separate - - No. 2 is darned work with linen white thread, very similar to the - Italian towel No. 1 in Plate XXVIII.; the background is afterwards - darned in with coloured wool. This is also from a Coptic tomb of - the third century - - No. 3 is a portion of a mummy cloth of the Eighteenth Dynasty, 1700 - B.C. The linen is very strong and of a wiry nature] - -[Illustration: PLATE VI. TWO EXAMPLES OF ITALIAN TELA TIRATA AND PUNTO -REALE - - Chosen as showing similarity to the work of the Assisi alb. - Together 13 ft. 7 in. long - - _Italian. 16th century_] - -[Illustration: PLATE VII. AN EXAMPLE OF EARLY LACIS OR SFILATURA - - Chosen as showing similarity to the work of the alb of Pope - Boniface. The square mesh netting has centres worked in matting - stitch, punto a stuora; threads radiate from these centres and - darning stitch and punto di treccia are both used to form various - patterns, some cruciform - - 7 ft. 9 in. × 10 in. - - _Sicilian, 15th century_] - -[Illustration: PLATE VIII. SEVEN ENLARGED STITCHES USED IN LACIS AND -LINEN LACE - - No. 1. Early lacis work, showing the punto a stuora and punto di - treccia - - No. 2. Lacis with square knotted mesh and pattern darned with punto - a tela. In this specimen gold thread has been run round the pattern - - No. 3. Lacis with a twisted mesh, darned with punto a rammendo; - this style is called Buratto in Italy - - No. 4. Tela tirata. The threads are only partly drawn, and the - pattern left in the linen, some threads being cut - - No. 5. Tela tirata. In this style some threads of both warp and - woof in the whole piece of linen are drawn: the missing threads of - the pattern are then darned in again; the background is then sewn - over as in the other style. No threads at all are cut, which makes - it more even and durable - - No. 6. Punto avorio. The needle-made knots make a very even surface - resembling ivory - - No. 7. English needle-point, called Hollie or Holy Work, a stitch - which resembles the Alençon réseau in the working, as after - completing a row the thread is passed back so as always to begin at - the same point] - -[Illustration: PLATE IX. FIVE ENLARGED VARIETIES OF RÉSEAUX - - No. 1. Small and large réseaux of Point d'Alençon - - No. 2. Point de Venise à réseau - - No. 3. Point d'Argentan. - - No. 4. Brussels needle-made réseau - - No. 5. Brussels bobbin-made réseau] - -[Illustration: PLATE X. SEVEN ENLARGED VARIETIES OF RÉSEAUX - - No. 1. Bobbin-made Maglia di Spagna - - No. 2. Bobbin-made Fond chant or Point de Paris - - No. 3. Round mesh bobbin-made Valenciennes - - No. 4. Bobbin-made Mechlin - - No. 5. Cinq trous réseau - - No. 6. Bobbin-made square mesh Valenciennes - - No. 7. Lille, Arras, or Buckingham réseau] - -[Illustration: PLATE XI. BORDER OF LACIS OR DARNED SQUARE MESH NET. -PUNTO A TELA OR LINEN-STITCH - - With religious inscriptions: a fanciful peacock and the letters - I.H.S. surrounded by a glory of flames and by little angular angels - - 4 ft. 10 in. × 2 ft. 10 in. - - _Italian, 15th century_] - -[Illustration: PLATE XII. BORDER OF SQUARE MESH LACIS - -Intended probably for an altar-cloth with a design of ornamental -hexagonal compartments worked in linen stitch, in each of which are -various devices, I.H.S. in a heart-shape above two heraldic lions, -elsewhere a stag, pairs of birds, symmetrical devices of leaf and -blossom, etc. - -6 ft. × 10 in. - - _French, 15th century_] - -[Illustration: PLATE XIII. TWO EXAMPLES OF LACIS WORK - -No. 1. Lacis with gammadion, or early Christian symbol. 4 ft. - -No. 2. Lacis cover, containing 39 squares of different patterns darned -with punto a tela or linen stitch. The border is of bobbin-made lace. 2 -ft. 1 in. × 21 in. - - _Italian, 15th century_] - -[Illustration: PLATE XIV. 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-work. - -3 ft. 8 in. × 2 ft. 4 in. - - _Italian, 15th century_] - -[Illustration: PLATE XV. LACIS TABLE-COVER - -Of square mesh net worked in linen stitch with bold and graceful -scrolls, leaves, etc., amidst which are cartouches of foliated shields -bearing a heraldic lion in the centre. The pattern is outlined and -enriched with gold thread, and the cartouches have a variety of -stitches. It has a bobbin-made vandyke edging of lace (merletti a -fuselli) with gold thread introduced into it. - -5 ft. 6 in. × 22 in. - - _Italian, 16th century_] - -[Illustration: PLATE XVI. (1) VANDYKE BORDER OF LACIS. (2) PART OF A -QUILT OF SQUARES OF LACIS - -No. 1. Vandyke border of lacis knotted square mesh net darned in linen -stitch with repeated large and small blossoms; the larger ones resemble -Tudor roses. 4 ft. - - _English, 16th century_ - -No. 2. Part of a quilt of squares of lacis, the one shown has a pattern -of a vine: alternating with rectangles of linen decorated with small -cut-work. 3 ft. 3 in. × 2 ft. - - _German, 16th century_ - -The pattern in both pieces is outlined and partly worked with punto -riccio] - -[Illustration: PLATE XVII. BORDER OF LACIS WITH THE TWISTED MESH CALLED -BURATTO - -The design is worked in punto a rammendo with numerous armed men and -animals. - -5 ft. 9 in. - - _Italian, 15th century_] - -[Illustration: PLATE XVIII. 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 design. - -Together 4 ft. 7 in. - - _Italian, 16th century_] - -[Illustration: Plate XIX. BAND OF TELA TIRATA OR DRAWN WORK - -The pattern left in the linen represents a variety of sacred and other -subjects. A king and a queen between whom is an angel: St. Michael -engaging Satan: St. Rafael holding Tobit by the hand, etc. The -photograph shows a portion, representing St. Francis receiving the -Stigmata; below are the words: S. Francisca. ora pr., above to his left -a church - -6 ft. 7 in. × 12½ in. - - _Italian, early 14th century_] - -[Illustration: PLATE XX. PART OF A COVER OF TELA TIRATA OR DRAWN WORK - -The pattern left in the linen includes a man in armour, about to slay a -curious beast; elsewhere are archaic birds. 3 ft. 2 in. × 21 in. - - _Italian, early 14th century_] - -[Illustration: PLATE XXI. BAND OR FLOUNCE OF TELA TIRATA OR DRAWN WORK - -The pattern includes various figures, a wedding-party above two lions -flanking a flower-pot: a hawking-party below - -6 ft. 1 in. × 14 in. - - _Italian, about 1540_] - -[Illustration: PLATE XXII. AN INFANT'S SWADDLING BAND OR "FASCIA" OF -TELA TIRATA - -The pattern is of a conventional stem and leaf design. The edging on the -sides is of bobbin-made lace of two patterns - -3 ft. × 6 in. - - _Sicilian, 16th century_] - -[Illustration: PLATE XXIII. BAND OF A VARIETY OF TELA TIRATA - -With a darned pattern in heavy thread of female figures alternating with -birds; the vandyked edging is of punto avorio - -10 ft. 6 in. × 5½ in. - - _Sardinia, 16th century_] - -[Illustration: PLATE XXIV. LINEN CLOTH WITH BORDER - -Of tela tirata worked with looped and knotted stitches and reticello: -the geometrical pattern is repeated without variation - -25 in. × 17 in. - - _Italian, 15th century_] - -[Illustration: PLATE XXV. TWO BANDS - -No. 1. Band of a variety of tela tirata or drawn-work: pattern a scroll -with a flower: there are no cut threads in this work. 3 ft. 8 in. - -No. 2. Band of punto reale and tela tirata with a bobbin-made edging. 4 -ft. 11 in. - - _Italian, 17th century_] - -[Illustration: PLATE XXVI. PYX VEIL OF TELA TIRATA, OR DRAWN THREAD WORK - -This interesting piece is a survival from pre-reformation times. It is 2 -ft. 4 in. square and has no cut threads in it. The pattern is made by -drawing 12 threads both of warp and woof and leaving small squares of 12 -threads. The loose threads are then most ingeniously whipped over, -forming a star-like pattern between the squares. The worker has passed -her needle behind the squares 8 times so as to form a star at the back -of each square, the corners have wooden balls gilt: and a silk fringe -surrounds the whole] - -[Illustration: PLATE XXVII. A PORTION OF THE PYX CLOTH, TO SHOW BOTH -SIDES OF THE WORK] - -[Illustration: PLATE XXVIII. THREE CLOTHS, FRINGED - -No. 1 has a geometric effect worked on the drawn foundation: this style -is called sfilatura in Italy; the knotted fringe is of macramé. 4 ft. × -2 ft. - -No. 2 has a design of birds and scrolls in punto riccio, a border worked -in punto avorio, and a curious hand-made fringe. 6 ft. 6 in. × 2 ft. - -No. 3 is ornamented with reticello and punto riccio and has a -bobbin-made edging and fringe. 3 ft. 6 in. × 2 ft.] - -[Illustration: PLATE XXIX. TWO BORDERS - -No. 1. Border of reticello or needle-point cut-work: the geometrical -rosettes are repeated with very slight internal alteration. 9½ in. - -No. 2 is a curious piece consisting of two borders and an edging; the -upper border is a mixture of punto a festone, punto di treccia and punto -a stuora work. The vandyke edge is of bobbin-work (merletti a fuselli). -2 ft. 8 in. - - _Italian, 15th century_] - -[Illustration: PLATE XXX. TWO BORDERS - -Of needle-point on linen, called reticello or cut-work. The pointed -edgings of both pieces are bobbin-made lace, sometimes called plaited -lace - -Together 9 ft. 2 in. × 4 in. - - _Italian, 16th century_] - -[Illustration: PLATE XXXI. TWO EXAMPLES - -Of dentated or vandyke edgings of needle-point called punto in aria, -because it is made independently of any foundation. - -Together 4 ft. 8 in. - - _Italian, about 1550_] - -[Illustration: PLATE XXXII. CHALICE COVER OF RETICELLO AND PUNTO IN ARIA -In the centre is the figure of St. Peter with the Bible in his right -hand and the Keys in his left. Two winged cherubs hold portions of a -long chain pattern which encircles the details of conventional foliage -and flowers. A lattice of reticello work supports the punto in aria -devices. The linen can be seen at the sides, which have an edge of punto -in aria. - -13½ in. × 7½ in. - - _17th century_] - -[Illustration: PLATE XXXIII. A RETICELLO PATTERN WORKED IN VERY FINE -PUNTO IN ARIA AND PUNTO AVORIO - -A pointed edge is also finely worked in punto avorio. - -5 ft. 8 in. - - _Italian, 17th century_] - -[Illustration: PLATE XXXIV. SCALLOPED BORDER OF A CORPORAL OF FLAT -NEEDLE-POINT LACE, CALLED PUNTO IN ARIA - -In which the repeating conventional semi-floral forms are connected by -small brides. - -6 ft. - - _German, early 17th century_] - -[Illustration: PLATE XXXV. A CLOTH WITH INSERTION AND BORDER OF PUNTO IN -ARIA - -The border has a figure in each vandyke, either a lady with two birds or -a siren; the insertion has strange winged and tailed animals supporting -vases of flowers: all the figures, birds and animals have tiny black -beads for eyes. - -6 ft. 4 in. × 3 ft. - - _Italian, 16th century_] - -[Illustration: PLATE XXXVI. NEEDLE-POINT BORDER OF FLAT NEEDLE-POINT -LACE, 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 stags, -hounds, peacocks and other animals: the Visconti crest--a crowned -serpent--is introduced, and the stems sometimes twist into true lovers' -knots. This piece was probably made for a wedding. - -4 ft. 3 in. × 5½ in. - - _Venetian, 16th century_] - -[Illustration: PLATE XXXVII. ORNAMENT FOR THE NECK OF AN ALB OF PUNTO IN -ARIA - -The Madonna, in a robe sprinkled with stars and crowned, is seated on -clouds, her foot resting on the head of a cherub. The three persons of -the Trinity are above. Cherubs and conventional flowers are introduced -into the background: the robes are worked apart from the figures in a -lacis stitch called mezza mandolina. Small glass beads are added to the -eyes. - -18 in. × 6½ in. - - _16th century_] - -[Illustration: PLATE XXXVIII. BORDER AND EDGING - -No. 1. Border of needle-point lace, called punto in relievo or -rose-point. Birds and serpents occur in the design and each portion of -the pattern is outlined by a thick cordonnet worked in buttonhole -stitch, punto à festone. This thick cordonnet is also used to denote the -scales of the serpent and to accentuate the features of the birds, the -narrow braid at the top of the lace is bobbin-made, the edging is of -very fine needle-point called punto avorio. - -11 in. × 3½ in. - - _Italian, 16th century_ - -No. 2. Edging of flat needle-point lace à brides. The pattern is a -somewhat confused rendering of a continuous scrolling stem type; the -brides irregularly introduced have pronounced picots; and this feature -has given rise to the title of coraline lace, on account of its -suggestion of coral forms. - - _Venetian, about 1660_] - -[Illustration: PLATE XXXIX. A LADY'S CAMISIA OR SHIRT - -The back and front are in one piece with a square opening for the head: -this is worked all round with a fine insertion and vandyked edge of -punto in aria: the sleeves have oblique insertions of reticello work. In -the cuffs bobbin-made lace has replaced the original work - - _Italian, 16th century_] - -[Illustration: PLATE XL. BED-COVER OF CUT LINEN LACE (TELA TAGLIATA A -FOLIAMI AND PUNTO A FESTONE) - -The pattern is of bold flowing scrolls, cut in linen, edged by -buttonhole stitch, and joined by brides: a few modes are introduced into -the blossom forms, the edging is of bobbin-made lace (merletto a -fuselli). - -7 ft. 6 in. × 4 ft. 8 in. - - _Venetian, 17th century_] - -[Illustration: PLATE XLI. RABAT OF FLAT NEEDLE-POINT LACE À BRIDES - -The pattern is of well-balanced scrolls and conventional flowers -enriched with a few simple modes and joined by brides variously picotées - -11½ in. × 7½ in. - - _Venetian, about 1640_] - -[Illustration: PLATE XLII. PART OF A DRESS TRIMMING OF VERY FINE -NEEDLE-POINT, CALLED ROSE-POINT (PUNTO TAGLIATO A FOLIAMI) - -The pattern wrought chiefly in close toilé consists of scrolls and -conventional flowers joined by very few brides. Intermixed with the -toilé are variations of simple modes. - -31 in. × 10 in. - - _Venetian, about 1640_] - -[Illustration: PLATE XLIII. PARTS OF A COLLAR OF NEEDLE-POINT, CALLED -ROSE-POINT, OR POINT DE VENISE (PUNTO TAGLIATO A FOLIAMI) - -Pattern of continuous scrolls and conventional flowers frequently -enriched on their raised cordonnets with picots and joined by brides -picotées - -5 ft. 9 in. × 3½ in. - - _Venetian, 17th century_] - -[Illustration: PLATE XLIV. STOMACHER (FOR A DRESS) OF NEEDLE-POINT, -CALLED ROSE-POINT, OR POINT DE VENISE - -(PUNTO TAGLIATO A FOLIAMI) - -Pattern of conventional flowers joined by brides picotées: the clothing -or toilé of these flowers is of very close work - -10 in. long. - - _Venetian, 17th century_] - -[Illustration: PLATE XLV. PART OF A FLOUNCE OF NEEDLE-POINT, CALLED -ROSE-POINT, OR POINT DE VENISE - -(PUNTO TAGLIATO A FOLIAMI) - -A splendid scroll occurs in the pattern here shown which is rich with -conventional flowers and double brides picotées - -17 in. × 9½ in. - - _Venetian, 17th century_] - -[Illustration: PLATE XLVI. PART OF A BEAUTIFUL FLOUNCE OF DELICATE -NEEDLE-POINT OF RAISED OR ROSE-POINT LACE, KNOWN AS POINT DE VENISE - -The pattern consists of well-balanced elegantly scrolling devices, -terminating in conventional leaves and flowers with occasional raised -work on them, and is set in a ground of brides picotées arranged in -hexagons. The style of many features in the design is French (Louis -XIV.) and the specimen seems to be of Franco-Venetian origin - -17½ in. × 19½ in. - - _Venice, 17th century_] - -[Illustration: PLATE XLVII. PORTION OF XLVI. ACTUAL SIZE] - -[Illustration: PLATE XLVIII. PATEN COVER OF NEEDLE-POINT RAISED, OR -ROSE-POINT LACE, VERY SIMILAR IN STYLE AND GRACEFULNESS TO THAT OF No. -XXXIII. - -The pattern consists of slender scrolls, with flowers enriched with -massings or galleries of picots surrounding the letters I.H.S. at the -centre - -6½ in. square. - - _Venetian, about 1670_] - -[Illustration: PLATE XLIX. A PORTION OF XLVIII., MAGNIFIED TO SHOW THE -STITCHES] - -[Illustration: PLATE L. 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 rosettes. It is also called rosaline in Italy. -Some authorities claim this style as French, and it is one that may be -fairly termed _Franco-Venetian, about 1670-80_ - -Together 4 ft. 8 in. × 2 in.] - -[Illustration: PLATE LI. DEEP FLOUNCE OF NEEDLE-POINT LACE À BRIDES -PICOTÉES, USUALLY CALLED POINT DE FRANCE - -This handsome design, in the rendering of which the play of contrast as -between toilé and simple modes is a salient feature, is composed of -semi-realistic leaf, fruit and flower forms arranged symmetrically in -groups which are repeated alternately through the whole length of the -flounce. Accentuations of raised cordonnet are occasionally introduced. - -9 ft. 2 in. × 13½ in. - - _French (Alençon or Sedan), about 1690_] - -[Illustration: PLATE LII. PORTION OF LI., ENLARGED] - -[Illustration: PLATE LIII. BORDER OF NEEDLE-POINT RAISED LACE, CALLED -SPANISH ROSE-POINT - -The fond or toilé of this lace is partly made of bobbin-made tape; on -this is raised work, and gimps as well as buttonhole-stitched cordonnets -of different dimensions outline and accentuate the rounded serrations -and inner portions of the conventional foliage forms, into which are -introduced many varieties of modes. - -4 ft. 6½ in. - - _Spanish, 17th century_] - -[Illustration: PLATE LIV. TWO SPECIMENS OF NEEDLE-POINT RAISED LACE, -CALLED SPANISH ROSE-POINT - -(SLIGHTLY REDUCED IN SIZE) - -This fond is partly of bobbin-made tape: on this is raised work of gimp -and various cordonnets buttonhole stitched and edged with loops. These -latter, from their sort of caterpillar effect, originate the fanciful -name sometimes given of caterpillar point - - _Spanish, 17th century_] - -[Illustration: PLATE LV. TWO EXAMPLES OF NEEDLE-POINT LACE - -No. 1 is of silk needle-point lace with cordonnet, buttonholed in -different sizes. This is a small portion, actual size, of the lace used -to embellish the Jewish talith or silk mantle or scarf worn at prayers. - - _Venetian, 17th century_ - -No. 2. Border of needle-point lace sometimes called mezzo-punto, as fine -bobbin-made tape or braid is used to outline the pattern, two or three -varieties of needle fillings are wrought within the tape forms. 19 in. - - _17th century_] - -[Illustration: PLATE LVI. CAP OF NEEDLE-POINT LACE À RÉSEAU - -The design consists of a waved open ornamental riband device crossing a -spray of conventional flowers. This lace may be distinguished from -Alençon 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 ground, point -de Venise à réseau. The style of the design is borrowed from the French -of the latter part of the 17th century. - -2 ft. 8 in. × 6 in. - - _Venetian, late 17th century_] - -[Illustration: PLATE LVII. A BORDER OF NEEDLE-POINT LACE, VENETIAN POINT -À RÉSEAU - -The leading masses of the pattern undulate, and between the undulations -are either conventional leaves or flowers filled in with simple diaper -modes and more openly arranged brides picotées. - -3 ft. 5 in. - - _Venetian, late 17th century_] - -[Illustration: PLATE LVIII. TWO EXAMPLES OF VENETIAN POINT À RÉSEAU - -No. 1. Needle-point lace usually called Venetian point à réseau. The -pattern entirely covers the lace and is of conventional floral type: the -fillings are very varied. This lace is not Venetian in design, and was -probably made at Sedan. - -6 ft. 5 in. - - _Sedan, early 18th century_ - -No. 2 is a beautiful fragment, actual size, of Venetian point à réseau. - - _Venice, late 17th century_] - -[Illustration: PLATE LIX. A BORDER OF NEEDLE-POINT LACE, POSSIBLY -VENETIAN, THOUGH THE STYLE IS FRENCH - -The pattern is of leafy scrolls and conventional flowers well marked, -enriched with light fillings and outlined with cordonnet of fine -buttonhole stitching. The ground is of buttonholed brides arranged into -hexagons strongly suggestive of Point d'Argentan. - -6 ft. 6 in. - - _(French (?) Alençon or Sedan) late 17th century_] - -[Illustration: PLATE LX. TWO PATTERNS NEEDLE-POINT LACE À RÉSEAU, CALLED -POINT D'ALENÇON - -In No. 1 the pattern is Venetian in style and the fillings and réseau -also mark it as from Burano. In No. 2 the style is more French and it -may be from Alençon: every detail of the patterns is outlined with a -buttonhole-stitch cordonnet. - -Together 9 ft. 6 in. - - _Late 17th century_] - -[Illustration: PLATE LXI. TWO BORDERS OF NEEDLE-POINT LACE A RÉSEAU, -CALLED POINT D'ALENÇON - -In the border small compartments are treated with modes or à jours and -occasional brides picotées: a buttonhole-stitch cordonnet outlines every -detail of the pattern. - -4 ft. 8 in. - - _Alençon, about 1710_] - -[Illustration: PLATE LXII. FOUR BORDERS OF NEEDLE-POINT LACE À RÉSEAU, -CALLED POINT D'ALENÇON - -Together 13 ft. 6 in. - - _Alençon, about 1740_] - -[Illustration: PLATE LXIII. CAP-BORDER OF NEEDLE-POINT LACE À RÉSEAU, -CALLED POINT D'ALENÇON - -The pattern consists of a waved stem serrated, from which spring small -sprays of flowers. The width is graduated and the length is without a -join. The modes or fillings, at intervals along the edge, are of dainty -star and other geometric devices and all particularly characteristic of -French (Alençon) lace. - -3 ft. 4 in. - - _Alençon, middle 18th century_] - -[Illustration: PLATE LXIV. BEAUTIFUL LAPPET OF NEEDLE-POINT LACE À -RÉSEAU, CALLED POINT D'ALENÇON - -The pattern is of tiny wavy stems, having little leaves and peapods, -which recur in the design of the outer border with lattice and honeycomb -fillings enriched with minute picots. - -4 ft. - - _Alençon, late 18th century_] - -[Illustration: PLATE LXV. THREE PATTERNS OF NEEDLE-POINT LACE À RÉSEAU, -CALLED POINT D'ALENÇON - -The ornamental design is mainly confined to the border, the réseau being -sprinkled with dots, called pois or sometimes larmes (hence the -expression semé de larmes). - -Together 7 ft. 6 in. - - _Alençon, late 18th century_] - -[Illustration: PLATE LXVI. TWO PATTERNS OF NEEDLE-POINT LACE À RÉSEAU, -CALLED POINT D'ALENÇON - -The main ornamentation is along the border. The ground is semé de pois -and little sprays, after the style of other such small devices, some of -which gave rise to the term semé de larmes. - -Together 9 ft. 10 in. - - _Alençon, late 18th century_] - -[Illustration: PLATE LXVII. CAPE OF NEEDLE-POINT CALLED POINT D'ALENÇON - -This piece shows two sizes of mesh in the réseaux: the large forms the -main ground, semé de larmes, whilst the finer is introduced as a mode in -the border of pointed leafy forms. - -5 ft. 3 in. × 5½ in.] - -[Illustration: PLATE LXVIII. TWO BORDERS OF NEEDLE-POINT LACE - -Called point d'Argentan, on account of the make of the -big mesh ground. The pattern of the first is similar to that of No. -LXIII.; in the waved garland is a filling of very fine mesh (the Alençon -ground). The pattern of the second is of the semé de pois or de larmes -style and in the edge is a recurrent filling of fine Alençon ground. The -main ground of both pieces is composed of hexagonal meshes worked over -in buttonhole stitch, as in Argentan lace. - -Together 4 ft. 10 in. - - _Argentan. No. 1 about 1750. No. 2 about 1780_] - -[Illustration: PLATE LXIX. LAPPET OF NEEDLE-POINT LACE, CALLED POINT -D'ARGENTAN - -The edge is formed by repeated curved sprays enclosing small spaces -which are filled by a fine Alençon réseau: sprays of flowers also occur -at intervals along the lace. The ground is entirely composed of -hexagonal meshes worked over in button-hole stitch of Point d'Argentan. - -4 ft. 2 in. × 7 in. - - _Argentan, late 18th century_] - -[Illustration: PLATE LXX. THREE SPECIMENS OF NEEDLE-POINT LACE - -No. 1 is of silk lace à réseau and has a quaint stiff pattern of -branches with birds introduced; a stout thread cordonnet outlines most -of the pattern, that of the eye, wing and tail of each bird is -overworked with buttonhole stitch. - - _Probably Portuguese, 18th century_ - -No. 2 is from a floral design treated with occasional buttonhole -cordonnet as in No. 2. - -No. 3. Border of needle-point, called "point de gaze" on account of the -extreme delicacy of the bobbin-made réseau (vrai réseau de Bruxelles): -the pattern is a flowery border with small sprays recurring in the -ground in the style of the Louis XVI. period. - -Together 3 ft. 3 in. - - _Brussels, 18th century_] - -[Illustration: PLATE LXXI. LAPPET OF NEEDLE-POINT LACE - -Called point de gaze on account of the delicacy of the réseau. The -design of scrolls and flowers is chiefly worked in a rather loose toilé, -outlined with a stout thread cordonnet and enriched with various open -modes or fillings. - -3 ft. 3 in. × 4½ in. - - _Brussels, 1830_] - -[Illustration: PLATE LXXII. PART OF A SCARF - -Or veil of light needle-point fine stem floral pattern worked on a -foundation of machine-made net - -6 ft. × 2 ft. - - _Brussels, 1840_] - -[Illustration: PLATE LXXIII. FLOUNCE OF MACHINE-MADE NET WITH PATTERN -DARNED ON IT - -This class of work is now usually called Limerick lace, but it was often -made in England and in many places abroad - -3 ft. × 7 in. - - _Italian, about 1830_] - -[Illustration: PLATE LXXIV. PART OF FULL-SIZE COTTA OF NET WITH LARGE -FLOWER PATTERN DARNED IN SILK INTO IT - -The work is very evenly done - - _French, about 1839_] - -[Illustration: PLATE LXXV. A SPECIMEN OF THE EMBROIDERED MUSLIN WORK -CALLED TÖNDER LACE - -This is formed of two thicknesses of muslin sewn in different patterns -by the needle: in places the second thickness of muslin is cut away when -the needlework is completed. The design is composed of leaf and floral -ornaments gracefully shaped and somewhat French in style - -12 in. × 8 in. - - _Danish, 18th century_] - -[Illustration: PLATE LXXVI. TWO SPECIMENS OF THE EMBROIDERED MUSLIN -WORK, CALLED TÖNDER LACE - -In No. 1 only one thickness of muslin is employed: the thicker looking -parts of the toilé result from the passing of very evenly darned threads at -the back of it - -In No. 2 two thicknesses of muslin are used. The floral forms, much more -slender than in No. 1, are defined with a stout thread cordonnet. - -Together 5 ft. 10 in. - - _Danish, 18th century_] - -[Illustration: PLATE LXXVII. THREE PATTERNS OF MUSLIN LACE - -From German Bohemia. Two thicknesses of muslin are used. - -Together 7 ft. - - _18th century_] - -[Illustration: PLATE LXXVIII. FOUR PATTERNS OF DUTCH LINEN LACE - -The outlines of conventional floral patterns are in chain stitch, and -the fillings very various and finely executed - -Together 8 ft. 9 in. - - _Gouda, 18th century._] - -[Illustration: PLATE LXXIX. (1) MANILA LACE. (2 AND 3) LACE WORKED IN -NEEDLE-POINT - -No. 1. A specimen of needlework called Manila lace, made upon a light -cambric-like stuff woven from fibre of great fineness. The flowers are -embroidered and the whole ground of square meshes is worked by the -needle, in the same way as the tela tirata work - - _Manila, about 1840_ - -Nos. 2 and 3. Lace worked in fine needlepoint stitches with human hair -of different shades--the pattern is evidently copied from the Venetian - - _English, about 1800_] - -[Illustration: PLATE LXXX. (1) INFANT'S BAPTISM CAP. (2) A CAP BORDER - -No. 1. Infant's Baptism cap with insertions of needlepoint lace called -Hollie or Holy point: the design in the crown shows the doves and the -pot with flowers reminiscent of the Annunciation - - _English, 16th century_ - -No. 2. A cap border of Limerick run lace - - _Irish, 19th century_] - -[Illustration: PLATE LXXXI. THREE SPECIMENS OF EARLY IRISH NEEDLE-POINT -LACE - -No. 1 has a tape introduced. No. 3 is the so-called Carrickmacross lace -(first made about 1848) - -Together 6 ft. - - _About 1848_] - -[Illustration: PLATE LXXXII. SPECIMEN OF KNOTTED AND TWISTED STRING OR -THREAD WORK, CALLED MACRAMÉ - -This sort of work is often made by knotting the frayed ends on the edge -of a woven material, or else separately by knotting strings of cords of -linen or silk, the ends of which are fastened to a small cushion or -pillow, but bobbins are not used in this work. - -10 in. × 12 in. - - _Italian, 18th century_] - -[Illustration: PLATE LXXXIII. FLOUNCE - -For an alb of bobbin-made lace, in the making of which a continuous -braid is used to form the pattern. The lace is shaped on its lower edge -into flatly curving scallops or mitres. - -9 ft. 4 in. × 10½ in. - - _Maltese, early 16th century_] - -[Illustration: PLATE LXXXIV. TWO PATTERNS OF BOBBIN-MADE LACE - -No. 1 a design decidedly Eastern. No. 2 has a floral design. Both are -made in the first manner, the pattern entirely carried out with the tape -it was begun with, no brides or réseau being added - -Together 4 ft. 7 in. - - _Venetian, 16th century_] - -[Illustration: PLATE LXXXV. FOUR BOBBIN-MADE LACES (REDUCED IN SIZE) - -No. 1 is peasant lace of the familiar type - -No. 2 a fine insertion to ornament bed-linen, with a conventional floral -design - -No. 3 a similar design in a coarser lace - - _Italian, 16th century_ - -No. 4 is a Maltese lace of the 16th century - -Together 10 ft. 2 in.] - -[Illustration: PLATE LXXXVI. FOUR BOBBIN-MADE LACES (REDUCED IN SIZE) - - No. 1 is a reticello pattern } - No. 2 is a vandyked pattern in so-called plaited lace} _Italian, 16th - No. 3 is a simple plaited lace or gimp } century_ - Nos. 4 and 5 are very fine examples of early Italian bobbin laces of - 16th century. - - Together 23½ yards] - -[Illustration: PLATE LXXXVII. BOBBIN-MADE LACE - -No. 1. Fringed edging of bobbin-made lace. In both pieces the -characteristic little seed shapes are freely used - -No. 2. Scalloped border of bobbin-made lace called collar lace, in which -the ornament is formed chiefly by a continuous narrow toilé or braid. -The same threads are used in the whole width of the lace - -Together 3 ft. 2 in. - - _Genoese, late 16th or early 17th century_] - -[Illustration: PLATE LXXXVIII. FIVE BOBBIN-MADE LACES - -No. 1 a curious early pattern of lace made in Umbria - -Nos. 2 and 3 are Sicilian peasant laces - -No. 4 a lace called in Umbria piedi di gallina - -No. 5 a peasant lace called zeccatello - -Together 10 ft. 4 in. - - _Italian, 16th century_] - -[Illustration: PLATE LXXXIX. SIX SPECIMENS OF LACE MADE BEFORE 1850 - -One each in Russia, Madeira, Portugal, and Ceylon, and two from Le Puy -in France - -Together 14 ft.] - -[Illustration: PLATE XC. TWO BORDERS OF BOBBIN-MADE LACE À 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 one. - -Together, 8 ft. 7 in. × 5 in. - - _Genoese, 17th century_] - -[Illustration: PLATE XCI. FLOUNCE OF BOBBIN-MADE LACE À BRIDES IN -WHICH THE TOILÉ IS WELL DEVELOPED - -The pattern is of large conventional sprays made separately on the -pillow and afterwards joined by bobbin-made knotted brides. - -5 ft. 7 in. × 6 in. - - _Italian, early 17th century_] - -[Illustration: PLATE XCII. FLOUNCE OF BOBBIN-MADE LACE - -The pattern includes birds (an eagle, a peacock, a parrot, a crow, etc.) -set amidst conventional scrolls and flowers. These are all made -separately and joined on the pillow by double and knotted brides - -9 ft. 11 in. × 9 in.] - -[Illustration: PLATE XCIII. - -The lace, as XCII actual size. - - _Genoese, 17th century_] - -[Illustration: PLATE XCIV. FLOUNCE OF BOBBIN-MADE LACE - -The pattern of beautifully arranged scrolls and flowers includes an -eagle with a "marquis" coronet and other small birds: a réseau connects -the whole. - -3 ft. × 12 in. - - _Milanese, 18th century_] - -[Illustration: PLATE XCV. PART OF A FLOUNCE FOR AN ALB, OF BOBBIN-MADE -LACE À RÉSEAU - -The pattern is made separately and arranged to form conventional scrolls -and flowers: a réseau unites the whole. - -16 in. × 8 in. - - _Milanese, 17th century_] - -[Illustration: PLATE XCVI. FLOUNCE FOR AN ALB OF BOBBIN-MADE LACE À -RÉSEAU - -The pattern is of graceful conventional floral and other forms arranged -symmetrically in groups repeating one another. A variety of noticeable -fillings is introduced. This specimen is reduced in size. - -9 ft. 8 in. × 14½ in. - - _Milanese, 18th century_] - -[Illustration: PLATE XCVII. TWO BORDERS OF BOBBIN-MADE LACE - -No. 1. Border of bobbin-made lace. The pattern consists of repeated -groupings of scrolls and pendant forms; the same thread is used -throughout - - _Italian, 17th century_ - -No. 2. Border of bobbin-made lace à réseau. The pattern is composed with -a slender toilé arranged to form continuous scrolls with leafy -offshoots: the réseau ground is of the fond chant type: the same thread -is used throughout. - -Together 11 ft. - - _Italian, 17th century_] - -[Illustration: PLATE XCVIII. THREE BORDERS OF BOBBIN-MADE EDGING - -Together 10 ft. 7 in. - - _Maltese, 18th century_] - -[Illustration: PLATE XCIX. BOBBIN-MADE LACE À RÉSEAU - -No. 1 is made up of three lengths of lace sewn together. The straight -edge indicates perhaps an earlier date for this interesting specimen -than that of the narrower piece. - -Together 5 ft. - - _Flanders, 17th century_] - -[Illustration: PLATE C. CAP OF BOBBIN-MADE LACE, CALLED POINT DE FLANDRE -À BRIDES PICOTÉES - -The ornamental details were made separately and then joined by -bobbin-made brides: the modes or fillings are in the style of the cinq -trous réseau. - -12 in. long - - _Flanders, late 17th century_] - -[Illustration: PLATE CI. THREE PATTERNS OF BOBBIN-MADE MECHLIN LACE - -The patterns are in the style of the Point d'Angleterre, but the toilé -is outlined with a thread cordonnet: the same quality of thread is used -for both toilé, réseau and fillings: the réseau is peculiar to this -beautiful lace. - -Together 6 ft. - - _Mechlin, early 18th century_] - -[Illustration: PLATE CII. 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 ornament. - -Together 9 ft. 8 in. - - _Mechlin, late 18th century_] - -[Illustration: PLATE CIII. FOUR SPECIMENS OF BOBBIN-MADE LACE, CALLED -BINCHE LACE - -The same threads are used for the whole width of the lace. - -Together 6 ft. 6 in. - - _Binche, late 17th century_] - -[Illustration: PLATE CIV. THREE BORDERS OF BOBBIN-MADE LACE, À VRAI -RÉSEAU DE BRUXELLES, CALLED POINT D'ANGLETERRE. - -The toilé details were made separately and joined on the pillow by a -réseau. The fillings are very varied and beautiful. These borders are -worked from Louis XV. designs. - -Together 8 ft. 8 in. - - _Brussels, 17th century_] - -[Illustration: PLATE CV. LAPPET OF BOBBIN-MADE LACE, CALLED POINT -D'ANGLETERRE - -Leafy, blossom and other shapes in toilé are arranged to form the outer -waved edges between which are baskets of flowers, etc. The toilé forms -are partially accentuated with a plaited cordonnet. The details of the -pattern are made separately on the pillow, and then joined by a fine -réseau, called vrai réseau de Bruxelles. The fillings are wonderfully -fine. - -4 ft. 10 in. × 3 in. - - _Brussels, 18th century_] - -[Illustration: PLATE CVI. TWO PARTS OF A BORDER OF BOBBIN-MADE LACE, -CALLED BRUSSELS POINT - -The flowers made separately and almost entirely of a plaited cordonnet -are joined on the pillow by a fine vrai réseau de Bruxelles. The design -is in the style of Louis XVI. point d'Alençon. The reverse of the lace -is shown in No. 2. The thread of the réseau can be seen passing behind -the patterns. - -5 ft. 3 in. × 5 in. - - _Brussels, 18th century_] - -[Illustration: PLATE CVII. (1) A SCARF. (2) A CAP - -No. 1. A scarf of bobbin-made lace, called Antwerp lace, or Potten Kant -or Pot Lace. The réseau is somewhat similar to that of the point de -Paris, a variant of the cinq trous. The lace is made on the pillow in -strips which are almost imperceptibly joined together. The toilé details -are outlined with a stout thread cordonnet - -12 ft. × 8 in. - - _Antwerp, late 18th century_ - -No. 2. A cap of bobbin-made lace, called Lille lace. The lace is made on -the pillow in strips, joined together. The réseau is of simply twisted -threads. - -11 in. × 11 in. - - _Lille, late 18th century_] - -[Illustration: PLATE CVIII. THREE BORDERS OF BOBBIN-MADE LACE, CALLED -VALENCIENNES POINT - -This early Valenciennes has a round plaited mesh, in distinction to that -of the later Valenciennes lace, which has a square mesh - -Together 8 ft. 5 in. - - _Valenciennes, 18th century_] - -[Illustration: PLATE CIX. FOUR BORDERS OF BOBBIN-MADE LACE, CALLED -VALENCIENNES LACE, WITH SQUARE MESH RÉSEAU - -Together 7 ft. - - _Yprès, 19th century_] - -[Illustration: PLATE CX. BORDER OF BOBBIN-MADE LACE, WITH A POINT DE -PARIS RÉSEAU - -An eagle, with shield, dogs and stags are repeated in the pattern. The -réseau and the toilé are both made with the same thread. - -4 ft. 10 in. × 3 in. - - _Paris, late 17th century_] - -[Illustration: PLATE CXI. FLOUNCE FOR A DRESS, OF BOBBIN-MADE SILK LACE - -Pattern of repeated heavy flowers in sprays, forming a waved edge - - _Made at Chantilly, 1820-30_] - -[Illustration: PLATE CXII. THREE BORDERS OF BOBBIN-MADE LACE WITH A -RÉSEAU OF MAGLIA DI SPAGNA - -No. 1 is of linen thread with a heavy thread introduced, not as in some -Flemish laces to outline the pattern, but to form strong leading lines -in it. - -Nos. 2 and 3 are bobbin-made silk lace, a coarser silk thread is -introduced. These were the ruffles for a coat sleeve - -Together 9 ft. - - _Spanish, late 18th century_] - -[Illustration: PLATE CXIII. MANTILLA OR SCARF OF BOBBIN-MADE BLACK SILK -LACE - -Some of the fillings are of the point de Paris réseau, also called fond -chant from Chantilly, where much of the so-called Spanish silk lace was -made - -9 ft. × 30 in. - - _Bought in Madrid in 1840_] - -[Illustration: PLATE CXIV. TWO EXAMPLES OF BOBBIN-MADE INSERTION - -No. 1. Spanish bobbin-made insertion: the stems are of gold and the -flowers of silver - - _16th century_ - -No. 2. Genoese bobbin-made insertion of silver with shell pattern edge. - -Together 3 ft. 6 in. - - _17th century_] - -[Illustration: PLATE CXV. FOUR PATTERNS OF ITALIAN GOLD AND SILVER -BOBBIN-MADE LACE - -Probably made at Lucca. - -Together 11 ft. 6 in. - - _17th century_] - -[Illustration: PLATE CXVI. TWO LAPPETS OF BOBBIN-MADE BLACK - -No. 1. Lappet of bobbin-made black Bedfordshire silk lace - -No. 2. Lappet of bobbin-made black Brussels silk lace - -Together 7 ft. - - _About 1848_] - -[Illustration: PLATE CXVII. TWO BORDERS OF BOBBIN-MADE LACE - -No. 1. Bobbin-made lace. The pattern of leaves is outlined in parts by a -stout thread - -No. 2. A large flower repeated forms the edge. The characteristic very -simple réseau is spotted with groups of six small square dots - -Together 4 ft. 10 in. - - _Bucks, 18th century_] - -[Illustration: PLATE CXVIII. BORDER AND CAP CROWN OF BOBBIN-MADE LACE - -Of Devonshire make in the style of Point d'Angleterre or Brussels lace. -The toilé details are made separately and joined partly by réseau and -partly by brides picotées. The upper piece shows the back of the lace, -with the threads from the réseau carried across the toilé of the -pattern. The convolutions of the toilé in the blossoms are considered to -be characteristic of Honiton lace. - -3 ft. 4 in. - - _Honiton, 18th century_] - -[Illustration: PLATE CXIX. LAPPET OF BOBBIN-MADE LACE - -The toilé flowers and leaves, chiefly rose, shamrock and thistle, are -joined by an irregular mesh simple réseau made by hand. The original -design was perhaps to celebrate the Union. - -5 ft. × 5½ in. - - _Honiton, about 1840_] - -[Illustration: PLATE CXX. TWO BORDERS OF APPLIQUÉ LACE, 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'Angleterre, and then applied and sewn to -machine-made net. - -Together 4 ft. 5 in. - - _Devonshire (Honiton)_] - - - - -INDEX - - - A - - Alb, 9, 23, 27, 30, 33 - - Alençon, 10, 15, 31, 37, 50 - - Alexandria, 26 - - Alva, Duke of, 52 - - Angleterre, 38 - - Angoulême, Marguérite d', 31, 32 - - Antwerp, 50 - - Apparels, 24 - - Appliqué, 9, 52 - - Argentan, 15, 39 - - Argentella, 9 - - Arras, 16, 50 - - Assisi, 25 - - Assisi, Basilica of, 29 - - Avorio, punto, 9, 14, 31, 34, 35 - - - B - - Bar Convent, The, 40 - - Bedfordshire, 51 - - Benedictine Order, 24 - - Bible of St. Martial, 23 - - Bibliothèque Nationale, 23, 24 - - Binche, 38, 49 - - Blonde, 16, 51 - - Bobbin Lace, Classification of, 4 - - Bock, Dr. Franz, 28, 53 - - Bone point, 9 - - Boniface VIII., 27, 28 - - Braun, S. J., Father, 53 - - British Museum, 21 - - Brussels, 16, 39, 47, 51 - - Buckingham, 16, 50, 51 - - Burano, 37 - - Buratto, 4, 10, 31 - - Buttonhole stitch, 10, 28 - - Byssus, 28 - - - C - - Camisia, 35 - - Carrickmacross, 41 - - Cartiglia, 27 - - Catacombs, 26 - - Catherine de Marcq, 38 - - Ceylon, 45, 47 - - Chalice cover, 34 - - Chantilly, 16, 51 - - Charlemagne, 23 - - Charles II., 38 - - Church vestments, 22 - - Clare, Saint, 25 - - Colbert, 38 - - Cole, Mr. Alan, 53 - - Copes, 22 - - Coptic design, 4, 21, 25 - - Coraline point, 35 - - Corporal border, 34 - - Cotta, 10 - - Crypt of St. Peter's, 29 - - - D - - Dalmatia, 45 - - Dalmatic, 22 - - Darned work, 39 - - Denmark, 39 - - Dentelle, 23, 34 - - Dentelle de chasse, 51 - - Devonshire lace, 52 - - Dreger, Dr. Moritz, 53 - - Duccio di Buoninsegna, 30 - - Dugdale's History, 22 - - Dutch lace, 40 - - - E - - Egyptians, 26 - - English Nuns Rule, 22 - - Entrelacs, 25 - - - F - - Festone, Punto a, 14, 28 - - Flanders, 16, 48, 51 - - Florence lace, 32 - - Fogliami, Punto tagliato a, 36 - - Fortescue, Dr. Adrian, 27 - - France, Point de, 37 - - Francis I., King, 32 - - Francis, Saint, 25, 27, 32 - - - G - - Gammadion Symbol, 21, 22, 26, 27, 31 - - Gayet, Mr. A., 25, 30 - - Genoa, 13, 46, 47, 51 - - German lace, 31, 34, 40 - - Giotto, 29 - - Gnostic definition, 25 - - Gouda lace, 40 - - Gozo, 46 - - Greek work, 21, 25 - - Gregory V., 27 - - Grottaferrata, 27 - - - H - - Hair lace, 40 - - Heraldic lace, 30, 31, 35, 48, 50 - - Hermitage, Petersburg, 21 - - Hexagonal meshes, 39 - - Holy or Hollie lace, 40 - - Honiton, 47, 52 - - - I - - Ilg, Dr., 53 - - Irish lace, 41 - - Ivory stitch, 11, 34 - - - L - - Lace-making, Revival of, 4 - - Lace Pattern Books, 21 - - Lacis, 4, 11, 22, 23, 30, 31 - - Lateran, St. John, 29 - - Leipzig, 40 - - Le Puy, 47 - - Lille, 16, 50, 52 - - Limerick, 40 - - Lorenzetti, 30 - - Louis XIV., 38 - - Louis XVI., 38 - - Louvre, 29 - - Lucca, 51 - - - M - - Macramé, 12, 33 - - Madeira, 47 - - Madrid, 51 - - Malta, 45, 46, 48 - - Manila Lace, 40 - - Manuscripts, illuminated, 23 - - Marie Antoinette, Queen, 39 - - Marot, Clément, 32 - - Martial, Saint, 23 - - Mary Stuart, Queen, 40 - - Mechlin, 16, 49, 52 - - Mezza Mandolina, 35 - - Michael, Saint, 32 - - Milan, 47, 48 - - Modano, 4, 12, 22, 30 - - Moresco, 12 - - - N - - Navarre, Queen of, 31 - - Needle-point, Classification of, 5 - - Nilos, Saint, 27 - - - O - - Opus sfilatorum, 22 - - Oriental design, 21 - - Otho III., 27 - - - P - - Palliser, Mrs. Bury, 52, 53 - - Paris, 16, 37, 50 - - Passemens, 24 - - Paten Cover, 37 - - Peter, Saint, 34 - - Pizzi, 24, 34 - - Point à réseau, 15, 37, 49 - - Point de gaze, 39 - - Point de neige, 13, 17 - - Pollen, Mr. John Hungerford, 53 - - Polygonal Design, 25, 27, 30 - - Portugal, 39, 47 - - Potten Kant, 50 - - Punto in aria, 5, 14, 33 - - Pyx Veil, 4 - - - R - - Ragusa, 12 - - Rammendo, Punto a, 13, 31 - - Ravenna, 30 - - Reale, Punto, 15, 25, 33 - - Renaissance, 35 - - Reticello, 5, 17, 23, 29, 31, 33 - - Ricci Signora Elisa, 53 - - Riccio Punto, 15, 31 - - Rilievo, Punto in, 15 - - Rock, Dr. Daniel, 26, 27, 53 - - Rosepoint, 17, 36 - - Rufinus, 26 - - Russia, 45 - - Rustafjaell, Mr., 21 - - - S - - Sabina, Saint, 24 - - Sardinia, 45 - - Sedan, 37 - - Seguin, Mr., 52, 53 - - Semé de larmes, 38 - - Sens Cathedral, 24 - - Serapis, 26 - - Sicily, 21, 45 - - Sistine Chapel, 27 - - Socrates, 26 - - Spain, 16, 21, 37, 45, 51 - - Stuora, Punto a, 13, 28, 32 - - Swaddling Band, 33 - - Syon Cope, 22 - - - T - - Tela Tirata, 5, 17, 23, 25 - - Templars, 22 - - Tönder Lace, 39 - - Treccia, Punto, 14, 28 - - Trolle Kant, 48, 52 - - Tudor Rose, 31 - - Tuscan Lace, 47 - - - V - - Valenciennes, 16, 49, 50 - - Valetta, 46 - - Vatican Treasury, 22, 27 - - Venice Lace, 36, 45 - - Verhaagen, Mr., 53 - - Victoria and Albert Museum, 23, 30 - - Visconti, 35 - - - Y - - Yprès, 16, 50 - - - Z - - Zeccatello Lace, 47 - - - - - PRINTED BY BALLANTYNE AND COMPANY - LIMITED, AT THE BALLANTYNE - PRESS, TAVISTOCK STREET - COVENT GARDEN - LONDON - - - * * * * * - -Transcriber's Notes: - -The following list shows the corrections made to the text. The first line -shows the text as originally printed, the second line the corrected -version. - - IX. Five enlarged Varieties of Réseaux - IX. Five Enlarged Varieties of Réseaux - - XXVI. Pyx Veil of Tele Tirata, or Drawn Thread Work - XXVI. Pyx Veil of Tela Tirata, or Drawn Thread Work - - XXXIII. A Reticello Pattern worked in very fine Punto in Ario and - XXXIII. A Reticello Pattern worked in very fine Punto in Aria and - - CXII. Three Borders of Bobbin-made Lace, with a reseau of Maglia di Spagna - CXII. Three Borders of Bobbin-made Lace, with a réseau of Maglia di Spagna - - often used for lace made with a tape, but it - used for lace made with a tape, but it - - round the round réseau. _See_ Plate 108. - round réseau. _See_ Plate 108. - - lace, in which the fond is really of toile, cut - lace, in which the fond is really of toilé, cut - - forth by Rufinus, A.D. 397, and by Socrates A.D. 440. - forth by Rufinus, A.D. 397, and by Socrates B.C. 440. - - probably fine punto in aria worked in points, as Plate 30, but it - probably fine punto in aria worked in points, as in Plate 30, but it - - called Tonder muslin lace made in Denmark in the eighteenth - called Tönder muslin lace made in Denmark in the eighteenth - - for caps; it is caled Gouda lace; the fillings are very well - for caps; it is called Gouda lace; the fillings are very well - - [Illustration: PLATE XXVI. PYX VEIL OF TELE TIRATA, OR DRAWN THREAD WORK - [Illustration: PLATE XXVI. PYX VEIL OF TELA TIRATA, OR DRAWN THREAD WORK - - One is part of a circula panel or roundel, and the - One is part of a circular panel or roundel, and the - - [Illustration: PLATE LXIV. BEAUTIFUL LAPPET OF NEEDLE-POINT LACE A - [Illustration: PLATE LXIV. BEAUTIFUL LAPPET OF NEEDLE-POINT LACE À - - parts the toilé result from the passing of very evenly darned threads at - parts of the toilé result from the passing of very evenly darned threads at - - Called point d' Argentan, on account of the make of the - Called point d'Argentan, on account of the make of the - - [Illustration: PLATE XCI. FLOUNCE OF BOBBIN-MADE LACE A BRIDES IN - [Illustration: PLATE XCI. FLOUNCE OF BOBBIN-MADE LACE À BRIDES IN - - _Ypres, 19th century_ - _Yprès, 19th century_ - - [Illustration: CXX. TWO BORDERS OF APPLIQUÉ LACE, ONE WITH A - [Illustration: PLATE CXX. TWO BORDERS OF APPLIQUÉ LACE, ONE WITH A - - Angoulême, Marguerite d', 31, 32 - Angoulême, Marguérite d', 31, 32 - - Marot, Clement, 32 - Marot, Clément, 32 - - Point a réseau, 15, 37, 49 - Point à réseau, 15, 37, 49 - - Séguin, Mr., 52, 53 - Seguin, Mr., 52, 53 - - - - - - - - - - - -End of the Project Gutenberg EBook of Seven Centuries of Lace, by -Mrs. John Hungerford Pollen - -*** END OF THIS PROJECT GUTENBERG EBOOK SEVEN CENTURIES OF LACE *** - -***** This file should be named 51863-0.txt or 51863-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/8/6/51863/ - -Produced by Chris Curnow, Constanze Hofmann and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for the eBooks, unless you receive -specific permission. If you do not charge anything for copies of this -eBook, complying with the rules is very easy. You may use this eBook -for nearly any purpose such as creation of derivative works, reports, -performances and research. They may be modified and printed and given -away--you may do practically ANYTHING in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country outside the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm web site -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from both the Project Gutenberg Literary Archive Foundation and The -Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm -trademark. Contact the Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - - - -Section 3. Information about the Project Gutenberg Literary Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - |