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
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
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
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
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
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
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
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
Plate LXXVII. THREE PATTERNS OF MUSLIN LACE
From German Bohemia. Two thicknesses of muslin are used.
Together 7 ft.
18th century
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.
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
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
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
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
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
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
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.
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
No. 3 is a simple plaited lace or gimp
Italian, 16th century
Nos. 4 and 5 are very fine examples of early Italian bobbin laces of 16th century.
Together 23½ yards
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
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
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.
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
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
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.
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
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
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
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
Plate XCVIII. THREE BORDERS OF BOBBIN-MADE EDGING
Together 10 ft. 7 in.
Maltese, 18th century
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
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
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
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
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
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
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
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
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
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
Plate CIX. FOUR BORDERS OF BOBBIN-MADE LACE, CALLED VALENCIENNES LACE, WITH SQUARE MESH RÉSEAU
Together 7 ft.
Yprès, 19th century
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
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
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
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
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
Plate CXV. FOUR PATTERNS OF ITALIAN GOLD AND SILVER BOBBIN-MADE LACE
Probably made at Lucca.
Together 11 ft. 6 in.
17th century
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
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
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
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
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
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
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
O
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
Z
- Zeccatello Lace, 47
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