Chats on Old Lace and Needlework

Early vestiges in Egypt-Lace found in St. Cuthbert's Tomb (685 A.D.)-Drawn Thread and Cutworks-Venetian Lace-Flanders Lace-French Laces-English Lace.

In every other art or craft we can search the history of ages and find some vestiges or beginnings among the earlier civilisations. Possibly owing to the exquisite fragility of Lace, there is a complete absence of data earlier than that of Egypt. The astonishing perfection in art handicrafts of all descriptions which we find in China many hundreds of years before the Christian era shows no vestiges of a manufacture of lace; but, in the tombs of ancient Egypt, garments have been discovered with the edges frayed and twisted into what we may call a primitive lace, and in some of the Coptic embroideries threads have been drawn out at intervals and replaced with those of coloured wools, making an uncouth but striking design. Netting must have been understood, as many of the mummies found at Thebes and elsewhere are discovered wearing a net to hold or bind the hair; and also, a fine network, interspersed with beads, is often discovered laid over the breast, sometimes having delightful little blue porcelain deities strung amongst their meshes.

These early vestiges, however, are in no way representative of the later exquisite fabrics which we now know and recognise as Lace. Far nearer to them, as an art, are the early gold and silver laces of simple design found amongst the tombs of Mycen? and Etruria, and those of a later date-i.e., the laces of gold used to decorate the vestments of the clergy, and the simple but sumptuous gowns of the Middle Ages. Along with the stole and maniple of St. Cuthbert, which are now at Durham Cathedral, was found a piece of detached gold lace, which must have formed a separate trimming. St. Cuthbert died in 685 A.D., and was buried at Lindisfarne, his body being afterwards transferred to Durham to save it from the desecration of the Danes who were ravaging the land. Over the body was a cloth, or sheet, which was worked in cutworks and fringes, showing that even at so early a date initial efforts at lace-making had been attempted.

EARLY ENGLISH SAMPLERS, SHOWING CUT AND DRAWN WORK.

(S.K.M. Collection.)

As far as we can gather, the earliest endeavour at lace-making originated with the drawing of threads in linen fabrics, then dividing the existing threads into strands, and working over them, in various fanciful designs, either with a buttonhole stitch or simply a wrapping stitch. Exactly this method is used at the present day, and is known as hem-stitching and fine-drawing. A later development suggested, apparently, cutting away of some of the threads, their place being supplied with others placed angularly or in circles. Many delightful examples of the work are to be seen in our Old English samplers of the sixteenth and seventeenth centuries, and even so recently as thirty years ago specimens of this primitive and early lace-making were to be seen in the quaint "smock-frock" of the English farm labourer, a garment which, though discarded by the wearer in favour of the shoddy products of the Wakefield looms, is now deemed worthy of a place in the collector's museum.

It required little effort of fancy and skill, by the simple process of evolution and survival of the fittest, to expand this plan of cutting away threads and replacing them with others to doing away entirely with existing and attached threads, and supplying the whole with a pattern of threads laid down on some geometric fashion on a backing of parchment, working over and connecting the patterns together, and afterwards liberating the entire work from the parchment, thereby making what was known at the time as "punto in aria," or working with the needle-point in the air, literally "out of nothing."

Strange as this may appear, this was the origin, in the fifteenth century, of the whole wonderful fabric which afterwards became known as "Point lace," which altered and even revolutionised dress, made life itself beautiful, and supplied the women of Europe with a livelihood gained in an easy, artistic, and delightful manner. It also, however, led to ruinous expenditure in every country, at times requiring special edicts to restrain its extravagance, and even the revival of the old Sumptuary laws to repress it.

The earliest known lace, and by far the most popular with all classes, was "Reticella," which was the first kind evolved on the "punto in aria" principle. Until the discovery of an easy and simple way of decorating the linen ruffs and cuffs of the period these had been quite plain, as many contemporary portraits show. Afterwards the fashion of trimming garments of all descriptions with the pointed wiry edges of Venice became a mania, and led to imitation in almost every country of Europe. The convents turned out an immense quantity, thereby adding enormously to the incomes of their establishments. It is assumed that it is to the nuns of Italy we owe the succeeding elaboration of Reticella, "Needlepoint," the long, placid hours spent in the quiet convent gardens, lending themselves to the refinement and delicacy which this exquisite fabric made necessary. However this may be, it is certain that in a few years the rise and development of Needlepoint lace-making was little short of phenomenal, and every convent was busy making it and teaching their poorer lay sisters the art. Some of the wonderful Old Point of this period is absolutely finer than the naked eye can see, a powerful magnifying glass being necessary to discern how the marvellous "toile" or "gimpe" is made.

ORIGINAL PATTERNS DESIGNED BY VINCIOLA.

Seventeenth Century.

A little later, but still contemporary with the introduction of Venetian lace, a Pillow lace was being made in Flanders, the origin of which is not as yet discovered. It is possible that the fine flax thread grown and manufactured there may, at the time of weaving, have suggested a looser and more ornamental material, but that remains a matter of conjecture. There must, however, have been an interchange of examples, as about this time Pillow-made lace appeared in Italy, and led to the making of the Milanese and Genoese varieties, and Needlepoint motifs appeared amongst the woven network of Flanders.

Lace, under the name of "Lacis," had been known in France from the time of Catherine de Medici, who patronised the manufacturers and used it lavishly. About 1585 she induced Federico di Vinciolo, a lace-maker and designer of Venice, to settle in France, and there the making of Venetian lace was attempted. A mere slavish imitation of the Venetian school resulted, and it was not until the age of the Grande Monarque, Louis XIV., that French lace rivalled that of Venice.

Colbert, the great French Minister, becoming alarmed at the enormous sums spent on Italian lace, determined to put a check to its importation; and, by forbidding its use, establishing lace schools near Alen?on, and bribing Italian workers to come over as organisers and teachers, started the manufacture of lace on an extensive scale, the beautiful fabrics known as Point d'Alen?on, Point d'Argentan, and Point d'Argentella being the result. It is frequently said that the last-named lace came from Genoa or Milan, but most of the present-day authorities agree that this is one of the many fairy tales with which the passing of time has adorned the history of lace.

The persecution of the Protestants when the Huguenots fled to England, bringing with them their arts of silk-weaving and lace-making, led to the introduction of English lace. Devonshire apparently received a contingent of laceworkers quite distinct from those who settled in Buckinghamshire and Bedfordshire, and from the first stages showed far finer methods and designs. With the exception of "Old Honiton," England cannot boast of anything very fine, and even this is merely a meaningless meandering of woven tape-like design for the greater part. The lace of Buckinghamshire ranks, perhaps, lowest in the scale of lace products, its only merit being its extreme durability.

The laces of Ireland are of comparatively recent growth, and though in many instances exquisitely fine, do not as yet show much originality.

ORIGINAL PATTERNS DESIGNED BY VINCIOLA.

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LACE-MAKING

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NEEDLEPOINT RéSEAUX.

No. 1.-Brussels.

No. 2.-Alen?on.

No. 3.-Argentan.

No. 4.-Argentella.

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Needlepoint-Pillow Laces-Charts of various Réseaux-Technical Terms.

Lace-making naturally falls into two classes-the Needlepoint and Pillow varieties. In some laces, more especially of the Belgian class, there is a mixed lace, the "toile" or pattern, being worked with the needle, and the ground, or "réseau," made round it on the pillow and vice versa.

To the first-named class we must assign the Needlepoint laces of Italy and the exquisite handmade laces of France. To the latter order belong the early Macramé lace, called "Punto a Groppo"; the Genoese and Milanese laces of Italy; Mechlin and Brussels of Belgium; Valenciennes, Lille, and Chantilly of France; and the English laces of Honiton, Buckinghamshire, and Bedfordshire.

Pillow lace may be easily distinguished from Point lace, as in the former the ground, or réseau, is made of plaited threads. That of Point lace is composed of threads made by the use of the buttonhole stitch only, or, in the case of Alen?on point, the mesh is worked in a special manner. The later laces, i.e., those made during the last hundred years, have frequently a ground of machine lace, and thus, strictly speaking, are not lace at all, but only embroideries or appliqués. The machine-made ground can be distinguished by sense of touch alone. If we take a piece of hand-made net between the finger and thumb and slightly roll it, it will gather in a soft little roll, with the touch almost of floss silk. The machine-made net is hard, stiff, and wiry, and remains perceptibly so in this test. Also, the mesh of machine-made lace is as regular as though made with a fine machine fret-saw, that of hand-made lace being of varying sizes, and often following the pattern of the lace design.

The accompanying diagram illustrates the various grounds, and will prove an infallible guide in distinguishing the points of difference between Point and Pillow lace.

Various special and technical terms are used in describing the method of making lace. Without burdening the reader too much, a few special terms must be explained.

Brides (literally "bridges").-These are the connections between the various parts of a lace design, both in Needle-point and Bobbin lace. In the former, they are made entirely of a strand or two of thread thrown across, and then buttonholed over, sometimes with tiny loops on the edges, and in Venetian lace often having minute stars worked upon them.

PILLOW RéSEAUX.

No. 1.-Valenciennes.

No. 2.-Brussels.

No. 3.-Lille.

No. 4.-Mechlin.

Beading.-A tiny looped edge used to finish woven or Pillow-made lace.

Bobbins.-One of the essential parts of a Pillow worker's outfit. These are small, elongated bobbins made of ivory, bone, or wood, on which is wound the lace-maker's thread. Sometimes they have been made very ornamental with carving and other decorations, and frequently have "gingles," or a bunch of coloured beads attached to one end. The terms "Bobbin lace" and "Bone lace" are derived from these and are synonymous with "Pillow lace."

Cordonnet.-In most Point laces the design is outlined with a raised cord either worked over closely with buttonhole stitches, or made separately and then stitched down. The Cordonnet is one of the characteristic features of the raised Venetian points and the French laces of Alen?on or Argentan.

Couronnes.-These are decorations of the Cordonnet especially noticeable in the raised Venetian laces, in which sometimes the lace is raised and worked upon no less than four separate times.

Dentelé.-Lace designed in scallop-form, chiefly used for border laces.

Fillings.-This word most easily explains the ordinary terms of "modes" and "à jours." The inner parts of the pattern in Needlepoint and Pillow lace are filled in with various ornamental stitches, showing an amazing variety of design. By these fillings various laces may often be distinguished, as each factory had its favourite "modes."

Grounds.-There are two varieties of grounds, one made with Brides, and the other either with Needlepoint or Pillow network. Other names for these are "Réseaux" and "Fonds." The method of making Needlepoint or woven ground often decides the date and class of the lace.

Guipure.-Literally a tape lace. The name however is applied to all Pillow laces having a tape-like design on them.

Picots.-The little loops used to ornament a plain bride or tie.

VENETIAN ROSE POINT.

(S.K.M Collection.)

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