initial commit of ebook 26120HEADmain

114 files changed, 19481 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/26120-8.txt b/26120-8.txt
new file mode 100644
index 0000000..4d99897
--- /dev/null
+++ b/26120-8.txt
@@ -0,0 +1,6125 @@
+The Project Gutenberg eBook, Chats on Old Lace and Needlework, by Emily
+Leigh Lowes
+
+
+This eBook is for the use of anyone anywhere 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
+
+
+
+
+
+Title: Chats on Old Lace and Needlework
+
+
+Author: Emily Leigh Lowes
+
+
+
+Release Date: July 24, 2008  [eBook #26120]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK CHATS ON OLD LACE AND NEEDLEWORK***
+
+
+E-text prepared by Susan Skinner and the Project Gutenberg Online
+Distributed Proofreading Team (https://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 26120-h.htm or 26120-h.zip:
+      (https://www.gutenberg.org/dirs/2/6/1/2/26120/26120-h/26120-h.htm)
+      or
+      (https://www.gutenberg.org/dirs/2/6/1/2/26120/26120-h.zip)
+
+
+
+
+
+CHATS ON OLD LACE AND NEEDLEWORK
+
+by
+
+MRS. LOWES
+
+       *       *       *       *       *
+
+BOOKS FOR COLLECTORS
+
+
+_With Frontispieces and many Illustrations Large Crown 8vo, cloth._
+
+CHATS ON ENGLISH CHINA.
+    By Arthur Hayden.
+
+CHATS ON OLD FURNITURE.
+    By Arthur Hayden.
+
+CHATS ON OLD PRINTS.
+  (How to collect and value Old Engravings.)
+    By Arthur Hayden.
+
+CHATS ON COSTUME.
+    By G. Woolliscroft Rhead.
+
+CHATS ON OLD LACE AND NEEDLEWORK.
+    By E. L. Lowes.
+
+CHATS ON ORIENTAL CHINA.
+    By J. F. Blacker.
+
+CHATS ON OLD MINIATURES.
+    By J. J. Foster, F.S.A.
+
+CHATS ON ENGLISH EARTHENWARE.
+    By Arthur Hayden.
+
+CHATS ON AUTOGRAPHS.
+    By A. M. Broadley.
+
+CHATS ON PEWTER.
+    By H. J. L. J. Massé, M.A.
+
+CHATS ON POSTAGE STAMPS.
+    By Fred. J. Melville.
+
+CHATS ON OLD JEWELLERY AND TRINKETS.
+    By MacIver Percival.
+
+CHATS ON COTTAGE AND FARMHOUSE FURNITURE.
+    By Arthur Hayden.
+
+CHATS ON OLD COINS.
+    By Fred. W. Burgess
+
+CHATS ON OLD COPPER AND BRASS.
+    By Fred. W. Burgess.
+
+CHATS ON HOUSEHOLD CURIOS.
+    By Fred. W. Burgess.
+
+CHATS ON OLD SILVER.
+    By Arthur Hayden.
+
+CHATS ON JAPANESE PRINTS.
+    By Arthur Davison Ficke.
+
+CHATS ON MILITARY CURIOS.
+    By Stanley C. Johnson.
+
+CHATS ON OLD CLOCKS AND WATCHES.
+    By Arthur Hayden.
+
+CHATS ON ROYAL COPENHAGEN PORCELAIN.
+    By Arthur Hayden.
+
+LONDON: T. FISHER UNWIN, LTD.
+NEW YORK: F. A. STOKES COMPANY
+
+       *       *       *       *       *
+
+[Illustration: Mary Sidney, Countess of Pembroke.]
+
+
+MARY SIDNEY, COUNTESS OF PEMBROKE.
+
+Born about 1555. Died 1621.
+Buried at Salisbury Cathedral.
+Painted probably by MARC GHEERAEDTS.
+
+    "Underneath this sable hearse
+    Lies the subject of all verse.
+    Sidney's sister, Pembroke's mother.
+    Death! ere thou hast slain another
+    Fair and learn'd and good as she,
+    Time shall throw a dart at thee!"
+
+
+CHATS ON OLD LACE AND NEEDLEWORK
+
+by
+
+MRS. LOWES
+
+With 76 Illustrations
+
+
+
+
+
+
+
+London
+T. Fisher Unwin, Ltd.
+Adelphi Terrace
+
+First Impression         1908
+Second Impression        1912
+Third Impression         1919
+
+[All rights reserved.]
+
+
+
+
+PREFACE
+
+
+This little book has been compiled to emphasise and accentuate the
+distinct awakening of English women and Needlecraft Artists to the
+beauty of the ancient laces and embroideries which we own in the
+magnificent historic collections in our great public Museums.
+
+We are fortunate in possessing in the Victoria and Albert Museum
+monumental specimens of both lace and needlework. Among the sumptuous
+lace collection there are most perfect specimens of the art of
+lace-making, and priceless pieces of historic embroidery made when
+England was first and foremost in the world in the production of
+Ecclesiastical embroidery.
+
+The lace collection particularly, without compare, is illustrative of
+all that is best in this delightful art, being specially rich in
+magnificent pieces that can never be again obtained. These have mostly
+been given, or left as legacies, to the Museum by collectors and
+enthusiasts who have made this fascinating hobby the quest of their
+lives. In addition to the collection formed by the generosity of the
+donors, the authorities have exercised a very catholic judgment in
+selecting the choicest and most illustrative examples of the
+lace-maker's craft.
+
+In the section devoted to embroideries, more particularly English (as it
+is with our own country's needlework I propose to deal), nothing more
+glorious in the Nation's art records can be found than the masterpieces
+of embroidery worked by the great ladies, the abbesses and nuns of the
+Mediæval period. In almost every other branch of art England has been
+equalled, if not excelled, by Continental craftsmen; but in this one
+instance, up to the Reformation, English work was sought after far and
+wide, and as _opus Anglicum_ formed part of church furnishing and
+priestly vestments in every great cathedral in Italy, Spain, and France.
+
+It cannot be too soon realised that, as with old furniture, porcelain,
+and silver, much of the finest embroideries of England, and a vast
+quantity of the ancient laces of Italy, France, and Belgium are being
+slowly but surely carried off to the New World. American dollars are
+doing much to rob not only the Old Country of the fairest flowers of her
+garden, but the Continent of their finest and best examples of the
+genius of the past. The Vanderbilts and the Astors, among others,
+possess immense fortunes in lace, whilst that omnivorous collector Mr.
+J. Pierpont Morgan gives fabulous sums for any fine old relic of
+embroidery. Many pieces of both classes of needlecraft have found a
+permanent home in the Metropolitan Museum of New York, and are lost for
+ever to the English student.
+
+It is, therefore, a pleasant duty to add my little quota of information
+to the study of these fascinating and exquisite branches of fine art
+which so specially appeal to all women by their dainty grace and
+delightful handicraft. I hope I may arouse some little enthusiasm in my
+countrywomen in the study of the past glories of both subjects, and in
+the possibility of once again becoming first and foremost in the latter
+branch.
+
+I beg to acknowledge the pleasure and help I have received from the
+perusal of the late Mrs. Bury Palliser's exhaustive "History of Lace,"
+and Lady Alford's "History of Needlework," and Dr. Rock's invaluable
+books on "Ecclesiastical Embroidery."
+
+EMILY LEIGH LOWES.
+
+HILLCREST,
+BRIXTON HILL,
+S.W.
+
+
+
+
+BIBLIOGRAPHY
+
+
+LACE.
+
+     The History of Lace. 1 vol. Mrs. Bury Palliser. Sampson,
+     Marston & Low. 1865. £2 2s.
+
+     Dentelles and Guipures. 1 vol. E. Lefebure. Grevil. 1888.
+
+     Ancient Needlepoint and Pillow Lace. Alan Sumnerly Cole.
+     London. 1873.
+
+     The Queen Lace Book. London. 1874.
+
+     Of Lace. Alan Sumnerly Cole. 1893.
+
+     Point and Pillow Lace. A. M. Sharp. George Newnes & Co. 7s. 6d.
+
+     Venice and Burano. Ancient and Modern Lace. M. Jesuram. Venice.
+     1883.
+
+     The History of Handmade Lace. Mrs. Jackson. Upcott Gill & Son.
+     1900. 18s.
+
+     Seven Centuries of Lace. Mrs. Hungerford-Pollen. 1st vol.
+     issued 1908.
+
+
+NEEDLEWORK.
+
+     Textile Fabrics. Dr. Daniel Rock. South Kensington Handbook
+     Series. 1876. 1s.
+
+     Needlework as Art. Lady Marion Alford. London. 1886. £4 4s.
+
+     English Embroidery. A.F. Kendrick. George Newnes & Co. 7s. 6d.
+
+     Art in Needlework. Day & Buckle. Batsford. 7s. 6d.
+
+
+
+
+CONTENTS
+
+
+                                                       PAGE
+
+PREFACE                                                   7
+
+BIBLIOGRAPHY                                             10
+
+
+OLD LACE
+
+CHAPTER
+
+   I. A BRIEF HISTORY OF LACE                            21
+
+  II. THE ART OF LACE-MAKING                             33
+
+ III. THE LACES OF ITALY                                 45
+
+  IV. THE LACES OF GENOA AND MILAN                       57
+
+   V. THE LACES OF FRANCE: NEEDLEPOINT                   69
+
+  VI. THE LACES OF FRANCE: PILLOW                        85
+
+ VII. THE LACES OF FLANDERS                              99
+
+VIII. MODERN BRUSSELS AND MECHLIN                       119
+
+  IX. OTHER CONTINENTAL LACES                           131
+
+   X. A SHORT HISTORY OF LACE IN ENGLAND                139
+
+  XI. ENGLISH LACES                                     155
+
+ XII. SCOTCH AND IRISH LACE                             169
+
+XIII. HOW TO IDENTIFY LACE                              179
+
+ XIV. SALE PRICES                                       199
+
+
+NEEDLEWORK
+
+CHAPTER                                                PAGE
+
+   I. OLD ENGLISH EMBROIDERY                            205
+
+  II. THE GREAT PERIOD                                  217
+
+ III. ECCLESIASTICAL EMBROIDERIES AND VESTMENTS         229
+
+  IV. TUDOR EMBROIDERIES                                245
+
+   V. EARLY NEEDLEWORK PICTURES AND ACCESSORIES         253
+
+  VI. STUART CASKETS AND MIRROR                         267
+
+ VII. EMBROIDERED BOOKS AND "BLACK WORK"                275
+
+VIII. STUART PICTURES                                   289
+
+  IX. SAMPLERS                                          305
+
+   X. THE WILLIAM AND MARY EMBROIDERIES                 317
+
+  XI. PICTORIAL NEEDLEWORK OF THE EIGHTEENTH CENTURY    331
+
+ XII. NEEDLEWORK PICTURES OF THE NINETEENTH CENTURY     347
+
+XIII. EMBROIDERY IN COSTUME                             355
+
+ XIV. SALE PRICES                                       365
+
+  XV. CONCLUSION                                        373
+
+
+INDEX--OLD LACE                                         381
+
+       NEEDLEWORK                                       384
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+MARY SIDNEY, COUNTESS OF PEMBROKE            _Frontispiece_
+
+
+OLD LACE                                               PAGE
+
+EGYPTIAN CUT AND DRAWN WORK                              20
+
+OLD ITALIAN "CUTWORKE"                                   20
+
+EARLY ENGLISH SAMPLERS                                   23
+
+ORIGINAL PATTERNS BY VINCIOLA                            27
+
+ORIGINAL DESIGNS OF RETICELLA EDGINGS BY VINCIOLA        31
+
+CHART OF NEEDLEPOINT RÉSEAUX                             36
+
+CHART OF PILLOW RÉSEAUX                                  39
+
+VENETIAN ROSE POINT                                      43
+
+VENETIAN ROSE POINT COLLAR                               48
+
+EXAMPLES OF FLAT VENETIAN POINT                          51
+
+MARIE DE MEDICIS WEARING VENETIAN POINT COLLAR           52
+
+EXAMPLE OF GROS POINT DE VENICE                          55
+
+LOUIS XIII. WEARING GENOESE COLLAR LACE                  60
+
+GENOESE COLLAR LACE                                      63
+
+MILANESE LACE                                            67
+
+OLD ITALIAN AND FRENCH LACES AND CUT AND DRAWN WORK      72
+
+"POINT DE FRANCE"                                        75
+
+POINT D'ALENÇON                                          76
+
+"POINT DE FRANCE" AND D'ARGENTELLA                       79
+
+POINT D'ARGENTAN AND POINT D'ARGENTELLA                  83
+
+VALENCIENNES                                             88
+
+"LILLE"                                                  91
+
+EMPRESS EUGENIE WEARING BLONDE LACE                      95
+
+POINT D'ANGLETERRE                                      102
+
+POINT D'ANGLETERRE LAPPET                               105
+
+BRUSSELS LACE                                           109
+
+BRUSSELS LAPPET                                         113
+
+COMTESSE D'ARTOIS WEARING BRUSSELS LACE                 117
+
+MARIE ANTOINETTE                                        122
+
+MECHLIN LAPPET                                          125
+
+MARIE ANTOINETTE WEARING MECHLIN LACE                   129
+
+"DUCHESSE" LACE                                         135
+
+QUEEN ELIZABETH WEARING VENETIAN POINT RUFF AND CUFFS   141
+
+EDMUND SPENSER: COLLAR TRIMMED WITH RETICELLA           145
+
+RETICELLA FALLING COLLAR                                149
+
+COLLAR OF GROS POINT                                    153
+
+OLD BUCKINGHAM AND EARLY DEVONSHIRE LACES               159
+
+OLD HONITON LACE                                        163
+
+MODERN HONITON LACE                                     167
+
+LIMERICK "FILLINGS"                                     173
+
+CARRICK-MA-CROSS LACE                                   177
+
+RETICELLA WITH GENOA BORDERS                            182
+
+POINT D'ANGLETERRE                                      185
+
+ITALIAN ECCLESIASTICAL LACE                             189
+
+BRUSSELS LAPPET                                         193
+
+"POINT DE GAZE"                                         197
+
+
+NEEDLEWORK
+
+EGYPTIAN EMBROIDERY                                     208
+
+BAYEUX TAPESTRY                                         211
+
+KING HAROLD FROM BAYEUX TAPESTRY                        215
+
+FRAGMENT FROM THE "JESSE" COPE                          221
+
+THE "SYON" COPE                                         225
+
+THE STEEPLE ASTON ALTAR FRONTAL                         232
+
+THE "NEVIL" ALTAR FRONTAL                               235
+
+DIAGRAM SHOWING USE OF VESTMENTS                        239
+
+SET OF ECCLESIASTICAL VESTMENTS                         243
+
+EARLY "PETIT POINT" PICTURE                             256
+
+EARLY "PETIT POINT" PICTURE                             259
+
+STUART GLOVE                                            263
+
+STUART MIRROR FRAME                                     271
+
+STUART BOOK COVER                                       278
+
+QUEEN ELIZABETH'S POCKET-BOOK                           281
+
+"BLACK WORK" CAP                                        285
+
+EMBROIDERY PORTRAIT OF KING CHARLES I.                  293
+
+STUMP-WORK PICTURE                                      297
+
+"PETIT POINT" PICTURE WORKED ON SATIN                   301
+
+A SEVENTEENTH CENTURY "SAMPLER"                         309
+
+EARLY ENGLISH "SAMPLER"                                 313
+
+JACOBEAN HANGINGS                                       319
+
+ENLARGEMENT OF SPRAY FROM HANGINGS                      323
+
+QUEEN ANNE PICTURE                                      327
+
+EARLY GEORGIAN PICTURE                                  334
+
+"THE LAST SUPPER"                                       337
+
+EIGHTEENTH CENTURY SILK EMBROIDERED PICTURE             341
+
+BLACK SILK AND HAIR PICTURE                             345
+
+A "GAINSBOROUGH" PICTURE                                361
+
+
+
+
+I
+
+A BRIEF HISTORY OF LACE
+
+
+[Illustration: EGYPTIAN CUT AND DRAWN WORK.
+
+Found in a tomb in Thebes.]
+
+[Illustration: OLD ITALIAN "CUTWORKE."
+
+(_Author's Collection._)]
+
+
+
+
+CHATS ON OLD LACE
+
+
+
+
+I
+
+A BRIEF HISTORY OF LACE
+
+     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 Mycenæ 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.
+
+[Illustration: 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.
+
+[Illustration: 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
+Alençon, 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'Alençon, 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.
+
+[Illustration: ORIGINAL PATTERNS DESIGNED BY VINCIOLA.]
+
+
+
+
+II
+
+THE ART OF LACE-MAKING
+
+
+[Illustration: NEEDLEPOINT RÉSEAUX.
+
+No. 1.--Brussels.
+No. 2.--Alençon.
+No. 3.--Argentan.
+No. 4.--Argentella.]
+
+
+
+
+II
+
+THE ART OF LACE-MAKING
+
+     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
+versâ_.
+
+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 Alençon 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.
+
+[Illustration: 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 Alençon 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.
+
+[Illustration: VENETIAN ROSE POINT.
+
+(_S.K.M. Collection._)]
+
+
+
+
+III
+
+THE LACES OF ITALY
+
+
+[Illustration: VENETIAN ROSE POINT.
+
+Seventeenth Century. (_Author's Collection._)]
+
+
+
+
+III
+
+THE LACES OF ITALY
+
+_The Venetian Laces_
+
+     Venetian lace--"Rose Point"--"Point de Neige"--"Gros
+     Point"--"Punto Tagliato a Foliami"--The South Kensington
+     Collection.
+
+
+Needlepoint lace is made with needle and thread and principally in
+buttonhole stitches. A traced parchment pattern is procured, the outline
+made with a solitary thread stitched down to the parchment at frequent
+intervals. The thread is then worked over with fine buttonhole stitches;
+the modes or fillings have a fine network of threads stretched across,
+afterwards being buttonholed into a variety of designs. The edges are
+then again worked upon with loops or picots, and in "Rose Point" tiny
+stars or roses are worked on suitable parts of the design, sometimes the
+"roses" or "stars" being three in numbers, one poised upon the other.
+This is known as "Point de Neige" the whole surface of the lace being
+literally sprinkled with tiny stars somewhat representing a fine
+snowfall. The design is then connected with fine "brides," these in
+their turn being dotted and purled with stars and loops. Most of this
+exquisite lace requires a powerful magnifying-glass to discern the
+intricacy of the work.
+
+The finest lace of this variety was produced in the sixteenth century,
+the designs being bold, handsome, and purely Renaissance in type. That
+of the Louis Quatorze period shows the personal influence of his reign,
+frequently having tiny figures worked in the design. A collar in my
+possession has the Indian worshipping the sun (the King's glory was said
+to rival that of the sun) repeated in each scallop. This was a favourite
+design in the magnificent "Point de France" which was made during the
+long reign of Louis, under the management of Colbert.
+
+It is absolutely certain that the laces known as Venetian Point
+originated in Italy. Pattern books still exist showing how the early
+Reticella developed into this magnificent lace. In the National Library
+at the South Kensington Museum, may be seen the very patterns designed
+by Vinciolo, Vicellio, and Isabella Parasole. These publications
+actually came from Venice, and being reproduced in France, Germany,
+Belgium, and England, quickly aroused immense enthusiasm, and
+lace-making spread far and wide, at first all other laces being mere
+imitations of the Venetian.
+
+[Illustration: CORALLINE POINT (VENETIAN).]
+
+[Illustration: POINT PLAT DE VENISE (FLAT VENETIAN).
+
+(_Author's Collection._)]
+
+[Illustration: MARIE DE MEDICIS WEARING THE MEDICIS COLLAR TO DISPLAY
+VENETIAN LACES.]
+
+The chief varieties of the Venetian laces are known as Rose Point, Point
+de Neige, Gros Point de Venise (often erroneously attributed to Spain
+and called Spanish Point), and Point Plat de Venise. A much rarer
+variety is "Venetian point à réseau," which is the flat point worked
+round with a Needlepoint ground or mesh, the network following no proper
+order but being simply worked round the pattern and following its
+curves.
+
+The chief characteristics of Venetian lace are the buttonhole Cordonnet,
+fine or thick according to the style of lace; the wonderful diversities
+of the fillings worked in buttonhole stitches; the elaborate decoration
+of the Cordonnet; and the starry effects of the brides or ties. In the
+flat Venetian Point there is no Cordonnet.
+
+These Italian laces were admired and purchased by all the European
+countries, and the cities of Venice and Florence made enormous fortunes.
+The fashions of the day led to their extensive use, Marie de Medicis
+introducing the Medici collar trimmed with Venetian points specially to
+display them. At a little later period the collar became more falling
+and the heavier "Gros point" was used. Men and women alike wore
+lace-trimmed garments to an excessive degree, the collar and cuff
+trimmings being composed of wide Venetian lace and the silken scarf worn
+across the body being edged with narrower and finer lace.
+
+The principal designs for the Venetian lace of all periods were scrolls
+of flowers conventionalised in the Renaissance taste of the time. The
+generic name for all laces of the finest period is "Punto tagliato a
+foliami." The laces of this time are now almost priceless. They are
+genuine works of art, worked slowly and patiently under the clear light
+of the Italian skies by women who were naturally artistic and beauty
+loving, and who, while working the shining needle and fairy thread in
+and out of the intricacies of the design sang the pretty "Lace Songs"
+which may be heard at the Burano Lace School even now, although 200 or
+300 years old. Many specimens of this exquisite lace are to be found in
+the South Kensington Museum, where the flounce given by Mrs. Bolckow at
+once explains the whole scheme of Venetian lace-making.
+
+Such lace is not to be purchased now except at great price. The piece
+illustrated, see page 55, was only 1-1/8 yards in length, and was sold
+for £145 by one of our leading lacemen. Barely 5 yards of Venetian lace,
+only 2 inches wide and _in rags_, was sold at Debenham & Storr's in
+August, 1907, for £60; and even the smallest collar or a pair of cuffs
+runs well into £10.
+
+Even in the days of its manufacture this lace commanded high prices. In
+the inventory of Queen Elizabeth's gowns we find such entries as--
+
+"To 1 yard Double Italian Cut-worke, 1/4 yd. wide. 55/4.
+
+  " 3 yds. broad needlework lace of Italy, with purls. 50/- per yd."
+
+James II. paid £29 for a cravat.
+
+[Illustration: VERY FINE EXAMPLE OF "GROS POINT DE VENISE."]
+
+
+
+
+IV
+
+THE LACES OF GENOA AND MILAN
+
+
+[Illustration: LOUIS XIII. OF FRANCE, SHOWING VANDYKE LACE COLLAR AND
+NARROWER LACE ON SCARF.]
+
+
+
+
+IV
+
+THE LACES OF GENOA AND MILAN
+
+     Argentella wrongly called Italian--Genoese--Mixed
+     laces--Milanese--Macramé.
+
+
+These are mostly Pillow laces, but fine Point laces were also
+manufactured in these towns. In the first-named town it is said that the
+lace called "Argentella" was made, but this is extremely doubtful, most
+authorities arguing that it was certainly a French lace made at the best
+period.
+
+A very representative lace of Genoa is known as collar lace, very widely
+used for the falling collars of the Vandyke period. It was an
+exceedingly beautiful and decorative lace, and almost indestructible.
+Specimens of this lace can even now easily be secured at a fair price.
+The laces known as "Pillow Guipure" are somewhat open to question, the
+authorities at South Kensington Museum agreeing to differ, and labelling
+most of the specimens "Italian or Flemish." The finer pieces of this
+type of lace may safely be described as "Flemish," as the flax-thread
+grown and made in Flanders was much finer than that grown in the
+Southern Countries.
+
+Much of the Genoa lace was worked in what we term "mixed lace," the
+design being woven on the pillow, and the ground and fillings worked in
+with the needle either in a network or by brides and picots. A much
+inferior kind is made with a woven braid or tape, the turns of the
+pattern being made in twisted or puckered braid, much after the style of
+the handmade Point lace made in England some thirty years ago. This lace
+was known as "Mezzo Punto," though the French were discourteous enough
+to term it "Point de Canaille," as undoubtedly it was an imitation of
+the finer laces made in a loose, poor style.
+
+The lace of Milan is unquestionably the most beautiful of the Pillow
+laces of Italy. While resembling the plaited lace of Genoa, there is
+more individuality about it. Much of this fine lace was worked for
+church vestments and altar cloths. Various heraldic devices are
+frequently introduced, surrounded with elegant scroll designs, the whole
+being filled up with woven réseau, the lines of which are by no means
+regular, but are made to fill in the interstices.
+
+Yet another Italian lace is known as
+
+
+_Punto a Groppo, or Macramé_.
+
+No doubt this was the earliest form of woven lace, and, indeed, it may
+claim an origin as early as the first garments worn by mankind. In the
+earliest remains of antiquity a _fringe_ often decorates the edges of
+garments, curtains, and floor-covering, and seems to be a natural and
+fitting finish to what would otherwise be a hard, straight line. In
+the various Assyrian and Egyptian monuments this is noted again and
+again.
+
+[Illustration: GENOESE LACE.
+
+Sixteenth or Seventeenth Century.
+
+(_S.K.M. Collection._)]
+
+Some of the sixteenth-century pieces which we possess show simply an
+elaboration of the knotted fringe, while much of the later work is
+exceptionally fine. The work is so well known, owing to its revival
+during the last thirty years in a coarse form, that it needs little
+description. Its use, even at its best period, was confined to household
+use, for which purpose it seems particularly adapted.
+
+[Illustration: MILANESE LACE.
+
+(_Author's Collection._)]
+
+
+
+
+V
+
+THE LACES OF FRANCE
+
+
+[Illustration: "CUT-WORKE."]
+
+[Illustration: LACIS.]
+
+[Illustration: OLD ITALIAN AND FRENCH CUT AND DRAWN WORK AND "LACIS."
+
+(_Author's Collection._)]
+
+
+
+
+V
+
+THE LACES OF FRANCE
+
+_The Needlepoint Laces of France_
+
+     Catherine de Medici's collection of "Lacis"--Establishment of
+     lace-making by Colbert--"Point de France"--"Point
+     d'Alençon"--"Point d'Argentan"--Modern reproduction of these at
+     Burano, Italy.
+
+
+France in the sixteenth century, as always, led the van of fashion. Lace
+appears to have been extensively used long before its apotheosis at the
+Court of Louis le Grand, otherwise Louis XIV. Catherine de Medici
+patronised the manufacture of "_Lacis_," which was merely darned
+netting, more or less fine. At this time "Lacis" and "Cut-worke" were
+practically all that was known or used. Bed-hangings, curtains, and
+furniture-coverings were covered with alternate squares of lacis and
+cutwork. Afterwards the Reticella laces of Italy were imported and had
+an immense vogue, but it was not until the artistically glorious time of
+Louis XIV. that an attempt was made to encourage a manufacture of French
+laces.
+
+Colbert, the astute Minister of Louis XIV., became alarmed at the
+immense sums of money which went out of the country to purchase the
+laces of Venice, and, by means of bribing the best workers of the
+Venetian schools, he induced them to settle at L'Onray, near Alençon. In
+1665 he had so far succeeded that lace rivalling that of Venice was
+being produced. The Venetians became alarmed in their turn (as, indeed,
+they had need to be) and issued an edict, ordering the lace-workers to
+return forthwith, or, failing this, the nearest relative would be
+imprisoned for life, and steps would be taken to have the truant
+lace-worker _killed_. If, however, he or she returned, complete
+forgiveness would be extended, and work found them _for life_ at
+handsome remuneration. History does not tell us the result of this
+decree, but it evidently failed to destroy the lace manufacture of
+France.
+
+At first the lace manufactured at Alençon received the name of "Point de
+France," and was absolutely indistinguishable from that of Venice. Its
+magnificence of design, indeed, may be said to have exceeded anything
+before attempted. The introduction of tiny figures was attributable to
+the overwhelming personality of Louis XIV., and was symbolical of his
+magnificent sway and far-reaching influence. In the illustration, page
+55, an especially fine specimen of the lace, Madame de Montespan is seen
+seated under the crown, two small Indians are on either side; a tree
+bearing flags and trophies completes this tribute to the genius of the
+lace-makers and the splendour of the Court.
+
+[Illustration: "POINT DE FRANCE."
+
+(_The property of Lady Kenmare._)]
+
+[Illustration: POINT D'ALENÇON.
+
+(_Author's Collection._)]
+
+The name "Point de France" is given to all lace made from its
+commencement by Colbert's direction until about 1678, when the
+lace-workers, perhaps forgetting the traditions of the Venetian school,
+developed a style of their own and the work became more distinctly
+French, being more delicate, finer in substance, the patterns clearer
+and more defined. The importation also of the finer flax thread from
+Flanders brought the more exquisite Pillow lace of Brussels to the
+notice of the French lace-workers. The French, as a nation, have always
+been foremost in seizing upon new ideas and adapting them to their own
+artistic requirements. In this instance the result was admirable, and it
+gave to the world, not the finest lace, as it was impossible to surpass
+the earliest Venetian Point laces, but certainly the next lace in order
+of merit, "Point d'Alençon." The chief characteristic of the lace is the
+fine, clear ground, the stiff Cordonnet outlining the pattern, and the
+exquisite patterns in the "jours" or fillings.
+
+The cordonnet of Alençon is the only one which has horsehair for its
+foundation. A strand of hair is carefully stitched down to the edges and
+is buttonholed over with the finest thread, and is said, although giving
+the lace quite a character of its own, to have been the cause of much of
+its destruction, as, in washing, the hair contracts and curls. It will
+be noticed also that the ground is worked in strips, _shortways of the
+lace of less than an inch in length_, afterwards being stitched together
+in what is known as "fine joining." So elaborate was the original Point
+d'Alençon that no less than eighteen workers were engaged on one single
+piece. Later the number was reduced to twelve, when the patterns became
+less ornate.
+
+Although the factory of Alençon existed well into the early nineteenth
+century, the style of lace gradually deteriorated, until it is now
+non-existent! The lace made during the long reign of Louis XIV. is
+considered by far the finest and best, showing both grandeur of style
+and pattern and exquisite workmanship. Under Louis XV. the lace was
+equally well made, but the patterns followed the Rococo designs which
+were now introduced into all other decorative work, while in the reign
+of the ill-fated Louis XVI. it went completely out of fashion, Marie
+Antoinette affecting a much simpler style of lace. The Revolution
+finally caused the complete overthrow of Alençon lace, as of all fine
+art work in France. An attempt was made by Napoleon I. to revive it, but
+its glories had passed, and the hands of the workers had lost their
+cunning, the result being known as the worst type of lace, stiff and
+ugly in design and coarse of execution.
+
+
+"_Point d'Argentan._"
+
+This lace is practically the same as Alençon with a variation of ground,
+which, to the uninitiated, appears coarse. A magnifying glass, however,
+will speedily dispel this illusion. The ground in itself is a marvellous
+piece of work, each of the sides of the mesh being covered with ten
+buttonhole stitches. Very frequently a mixed lace of Alençon and
+Argentan is found, the result being very fine.
+
+[Illustration: "POINT DE FRANCE."
+
+(_Author's Collection._)]
+
+[Illustration: POINT D'ARGENTELLA.]
+
+
+_Point d'Argentella._
+
+About this lace most authorities dispute, some stoutly advocating its
+claims to be French lace entirely and others averring that it was made
+_in imitation_ of the Point d'Alençon by the Genoese. Be this as it may,
+the lace known as Point d'Argentella is exceptionally fine even amongst
+other fine laces, and is noted most specially for the fine "jours" which
+form an essential part of the pattern, every effort apparently being
+made to give extra scope for their employment. The specimen illustrated
+shows some of these "jours" having the characteristic mayflower,
+lozenge, and dotted patterns.
+
+Much modern lace of this type is now made at Burano, Italy, where the
+coarse Italian lace formerly made there has been entirely superseded. It
+strongly imitates Alençon and Argentan lace, but is without the raised
+cord which is so typical of these, having the pattern outlined with flat
+buttonhole stitches only. By many connoisseurs this is considered the
+finest lace of this age, being far superior to modern Brussels. It is
+entirely handmade, which cannot be, unfortunately, averred for Brussels,
+as the fine machine-made net, woven from the exquisitely fine thread
+manufactured in Flanders and Belgium, serves as the ground for all
+Brussels lace made at the present time, except when special orders like
+Royal trousseaux are in hand. The lace-makers of Burano, it may be
+added, imitate the finest Venetian Rose Point, Point de Gaze, Alençon,
+ever produced, the prices comparing very favourably with the old work,
+though still very costly.
+
+[Illustration: POINT D'ARGENTAN WITH POINT D'ALENÇON BORDER.
+
+(_S.K.M. Collection._)]
+
+[Illustration: ARGENTELLA LACE, SHOWING THE "PARTRIDGE-EYE" GROUND.
+
+(_S.K.M. Collection._)]
+
+
+
+
+VI
+
+THE PILLOW LACES OF FRANCE
+
+
+[Illustration: EARLY VALENCIENNES.
+
+(_S.K.M. Collection._)]
+
+[Illustration: OLD VALENCIENNES.
+
+(_Author's Collection._)]
+
+
+
+
+VI
+
+THE PILLOW LACES OF FRANCE
+
+     Valenciennes, "Vraie" and "Fausse"--Lille--Chantilly--
+     Blonde--Caen and Brittany.
+
+
+_Valenciennes._
+
+Valenciennes was formerly part of Flanders, being in the province of
+Hainault. It became a French town in 1668 by treaty. Being a Flemish
+town, the lace made there was purely Pillow lace, and in fineness of
+thread and beauty of design it rivalled in its early stages some of the
+fine old Flemish laces, which are more like ornamental cambric than
+anything else.
+
+There are two kinds of Valenciennes lace, known as "Vraie" and "Fausse."
+These names are very misleading, as they merely denote the laces made in
+the town itself, or in the outskirts.
+
+Early Valenciennes can only be distinguished from Flemish laces of the
+same age by the difference in the _ground_. By reference to the little
+chart of lace stitches the distinction will easily be seen, the
+Valenciennes being much closer and thicker in the plait, and having
+four threads on each side of its diamond-shaped mesh. Conventional
+scrolls and flowers were used as designs for the toile, the ground and
+the pattern being made at the same time.
+
+This lace is said to have been worked, like that of Brussels, in dark,
+damp cellars, the moist atmosphere being necessary to prevent the tiny
+thread breaking. The lace-workers became nearly blind, and quite
+useless, long before they reached thirty years of age.
+
+So expensive was the fabric that a pair of ruffles for a gentleman's
+coat would sell for 4,000 livres. Madame du Barri made extravagant use
+of this lovely lace. In her wardrobe accounts are mentioned, in 1771,
+head-dress, throatlets, fichus, and ruffles, "all plissé de Vraie
+Valenciennes." The amount of lace used for a head-dress alone is said to
+have cost 2,400 livres.
+
+The "Vraie Valenciennes" was practically indestructible, earning the
+nickname of the "Eternal Valenciennes" from its durability. The
+well-to-do bourgeoise used to invest her savings in real lace,
+treasuring and wearing it on all best occasions for a lifetime.
+
+The lace-makers of the town itself were so satisfied with their own lace
+that they proudly boasted that if a length commenced in the town of
+Valenciennes were taken and completed _by the same worker, and with the
+same thread_, outside their own damp atmosphere, the exact point of
+difference would be shown in the piece.
+
+[Illustration: "OLD LILLE."
+
+(_Author's Collection._)]
+
+The earliest Valenciennes laces show a closer design than that made
+later, which, by the way, many connoisseurs much prefer. The latter type
+is of clearer ground and more open design. The flowers do not follow the
+large scroll-like pattern of Flanders, but suggest the detached sprays
+and festoons of Alençon and Argentan. In both types there is no cord
+outlining either pattern or edge. All is flat as a piece of fine lawn.
+
+
+_Lille._
+
+By no means a _favourite_ lace at any time, Lille ranks next in merit as
+a hand-made lace. The mesh is clearer and larger than most French or
+Belgian laces, being made by the simple twisting of two threads on four
+sides. The patterns are simple, and are outlined with a loose flax
+thread of silky appearance. The straight edges which characterise Old
+Lille lace certainly did not lend elegance to it. A large manufacture in
+black lace was commenced, and the black silk mantles of the eighteenth
+century were lavishly trimmed with it. It is entirely out of favour at
+this day, however, only the finest white variety being sought after.
+
+Lace is still manufactured at Lille, but the patterns of Mechlin are
+copied, although the tiny square dots, one of the distinguishing points
+of old Lille, are still used.
+
+
+_Chantilly._
+
+The white laces of Chantilly much resemble Lille, having the same fine,
+clear ground and a thick, silky-looking thread outlining the pattern. A
+little lace school was established by the Duchesse de Rohan early in
+the seventeenth century, and for quite a hundred years white laces were
+made, and became popular. Marie Antoinette used this pretty lace as well
+as Valenciennes extensively to trim her favourite lawn dresses and
+fichus when she and the ladies of her Court retired to the Petit Trianon
+to play at being shepherdesses.
+
+About the middle of the eighteenth century Chantilly began to produce
+black silk lace of very fine quality. This is practically the only black
+lace for which there is any market. A Chantilly fan or a Chantilly shawl
+will always find purchasers. The exquisite fineness of its ground, the
+elegance of its floral festoons and bouquets, make it a desirable
+possession. With the Revolution the manufacture of real old black
+Chantilly ceased, and was only revived with the Empire, when, in
+addition to copying the old designs, the manufacture of the famous
+_blonde_ laces was commenced.
+
+
+_French Blonde Lace._
+
+At first these filmy silk laces were made in the natural colour floss
+silk imported from China, hence its name "Blonde." Some of the finest
+specimens are in this colour. Afterwards, when the art of bleaching the
+silk was discovered, it was made in a peculiarly silvery colour, the
+loosely woven silk being worked in patterns on what appears a ground of
+gossamer. Black Blonde was afterwards manufactured, the lace being very
+different to that of nineteenth-century manufacture, the mesh being
+large and open. This was a favourite lace with the Spaniards for
+mantillas, and much prosperity resulted to the little town of Chantilly.
+As with all other laces, the introduction of machinery killed the
+industry as an art, and the only Blonde laces now made are by machine,
+and are quite inartistic and inelegant. Hand-made Chantilly in black
+silk is still manufactured, but it has only a limited output.
+
+[Illustration: "THE EMPRESS EUGENIE" WEARING BLONDE LACE.
+
+(_From a Baxter print._)]
+
+
+_Other French Laces._
+
+Lace has been made in many smaller towns in France, but in no instance
+has it been of sufficient artistic merit to have made a name. Caen
+manufactured Blonde lace in imitation of Chantilly. In Normandy the
+peasant women and girls in the eighteenth century were specially
+diligent, and made praiseworthy imitations of Mechlin, Flemish guipure
+laces, and Brussels, and also introduced the working of gold and silver
+thread and even beads, which was much used in churches. Some really
+exquisite Blonde lace made in this manner was produced at Caen, fine
+pearls were used in the place of beads, and this lace became extremely
+popular in England. The Empress Eugénie was particularly fond of it, and
+in most of the portraits of her at the zenith of her beauty she is seen
+wearing decorated Blonde lace. It is said that this lace so soon soiled
+and spoiled in the making that only women having specially dry hands
+could be employed, and that during the summer months the lace was worked
+in the open air, and in the winter in rooms specially built over
+cow-houses, so that the animals' breath might just sufficiently warm
+the workers in this smokeless atmosphere. Other towns engaged in
+lace-making were Havre, Dieppe (the latter town making a lace resembling
+Valenciennes), Bayeux, which carried on an extensive trade with the
+Southern Islands; Mexico and Spain taking an inferior and heavy Blonde
+lace for mantillas.
+
+In Bretagne so dear is lace to the heart of the French peasant woman
+that every garment is trimmed with lace, often of her own making; and
+along with the provision of a little "dot" for her daughter she makes
+pieces of lace for her wedding dress. A curious custom is noted, that
+the peasant woman often wears this treasured garment only twice, once
+for her wedding and lastly for her funeral!
+
+
+
+
+VII
+
+THE LACES OF FLANDERS
+
+
+[Illustration: POINT D'ANGLETERRE.
+
+Period Louis XIV.
+
+(_Author's Collection._)]
+
+
+
+
+VII
+
+THE LACES OF FLANDERS
+
+     Early Flemish--Brussels lace--Point d'Angleterre--Cost of real
+     Flanders flax thread--Popularity of Brussels lace--Point Gaze.
+
+
+Whether Italy or Flanders first invented both Needlepoint and Pillow
+laces will ever remain a moot point. Both countries claim priority, and
+both appear to have equal right. Italian Needlepoint without doubt
+evolved itself from the old Greek or Reticella laces, that in turn being
+a development of "Cutworke" and drawn thread work. Flanders produces her
+paintings by early artists in which the portraits are adorned with lace
+as early as the fourteenth century. An altar-piece by Quentin Matys,
+dated 1495, shows a girl making Pillow lace, and later, in 1581, an old
+engraving shows another girl busy with her pillow and bobbins. An early
+Flemish poet thus rhapsodises over his countrywomen's handiworks:
+
+    "Of many arts, one surpasses all;
+    The threads woven by the strange power of the hand--
+    Threads, which the dropping of the spider would in vain
+        attempt to imitate,
+    And which Pallas herself would confess she had never known."
+
+Whether Flanders imitated the Italian laces or not, it is unquestioned
+that every other lace-making country imitated _her_. Germany, Sweden,
+France, Russia, and England have, one after the other, adopted her
+method to such an extent that, following the tactics of Venice in 1698,
+she also issued an edict threatening punishment to all who would entice
+her workers away.
+
+So alike are the early laces of Flanders that it is impossible to
+distinguish what is known as Flemish Point, Brussels Point, and Point
+d'Angleterre. The last-named lace is peculiar, inasmuch as it has a
+French appellation, is named "English," and yet is purely Brussels in
+character. Two stories gather round this lace, which accounts for its
+name. One is that the English Government in the time of Charles II.,
+seeing so much money go out of the country, forbade the importation of
+Brussels lace. The English lace merchants, not to be done out of their
+immense profits, smuggled it over in large quantities, and produced it
+as having been made in Devonshire, and sold it under the name of English
+Point. Another legend is that when Colbert, in the reign of Louis XIV.,
+determined to encourage lace-making in his own country, made prohibitive
+the importation of any other lace than France's own manufacture, the
+French Court, which had already become enamoured of Brussels lace,
+therefore had it smuggled into England and thence to France, as
+_English laces_ were at that time too insignificant to come under
+Colbert's ban.
+
+[Illustration: POINT D'ANGLETERRE.
+
+Period of Louis XIV.
+
+(_Author's Collection._)]
+
+Whichever tale we choose to believe is of little consequence. It is
+sufficient to say that fine Point d'Angleterre is simply Brussels of the
+best period when the glorious Renaissance was at its height. It is
+absolutely indistinguishable from Brussels of the same period. The
+specimen lappet, illustrated, shows the "figure" motif which appears in
+"Point de France" and the old "Venetian Point," and which at once dates
+its manufacture.
+
+Practically the term Flanders or Flemish lace can be applied to all the
+laces made in Flanders and Belgium of the earliest periods. It is
+peculiarly fine; the specimen shown is as fine as gossamer, showing a
+total absence of Cordonnet, of course, and not even having the loose
+thread which marks the stems and leaves of Brussels and Angleterre. The
+flax of Flanders was at the time of the great lace industry known and
+imported to all the towns engaged in making it. Italy could procure
+nothing so fine and eminently suitable to the delicate work she made her
+own as this fine thread, grown in Flanders, and spun in dark, damp
+rooms, where only a single ray of light was allowed to enter. The thread
+was so fine, it is said, that it was imperceptible to the naked eye and
+was manipulated by touch only. The cost of this thread was £240 a pound,
+and one pound could be made into lace worth £720! Real Flanders lace
+thread even now, spun with the help of machinery, costs £70, and is
+nothing like so durable as the old threads. When we consider that lace
+to be known as "Old Lace" must be two hundred or three hundred years
+old, we can understand the strength of this fairy thread, which was like
+a spider's web in filminess and yet durable enough to last centuries of
+wear, and remain as a lasting memorial of its beauty.
+
+
+BRUSSELS
+
+The early Flemish laces cannot be traced to any particular town, but
+Brussels early obtained a reputation for the production of the soft,
+elegant laces which are variously known as "Real old Brussels," "Point
+d'Angleterre," "Point d'Aiguille," and "Point de Gaze." Almost every
+woman, although knowing little about lace as an art, knows and easily
+recognises "Brussels." It has ever been the most popular lace, partly
+because its price has never been actually prohibitive, although always
+costly. Choice pieces of Old Brussels, with real ground, rank among the
+laces of France and Venice as pieces of price, but the later period,
+especially the kind known as Brussels applique, is within everybody's
+reach, even if only as a border for a best handkerchief.
+
+[Illustration: "OLD BRUSSELS" (HAND-MADE GROUND).
+
+(_Author's Collection._)]
+
+[Illustration: BRUSSELS LAPPET, MADE IN IMITATION OF ALENÇON AND
+ARGENTAN.]
+
+Lace made at Brussels at all periods has one characteristic that places
+it at once and makes identification easy at a glance. The threads of the
+toilé--that is, the pattern--follows the _curves_, instead of, as in
+other Flanders laces, being straight _up_ and _down_ and _across_, each
+thread being exactly at right angles to the other; Brussels lace also
+has a distinctive edge to its pattern. It has no Cordonnet, but a
+little set of looped stitches worked along the edge of the design,
+afterwards whipped over to keep the edge in place. This is most clearly
+seen in every specimen, and, in conjunction with the curved toilé, at
+once settles the vexed question of the origin of Point d'Angleterre.
+
+The mesh or ground is, again, quite different to other laces. It has
+three varieties of ground--
+
+1. One, mostly used in Point d'Angleterre, being of fine "brides" with
+four or five picots, but this ground is also seen in Venetian and French
+laces.
+
+2. A hand-made ground made of looped buttonhole stitches, which is the
+finest and most gossamer-like of all; and
+
+3. A woven ground made on the pillow with plaited thread, very like
+Mechlin, but under the magnifying glass having two longer sides to its
+hexagonal mesh, and therefore being more open and clear.
+
+The hand, or rather needlepoint, ground was three times more expensive
+than the woven, as it was stronger and more lasting. The special value
+of the "vrai reseau" in our own day is that it can be imperceptibly
+repaired, the broken stitches replaced, whereas in the woven ground the
+point of junction must show.
+
+The needle-made net is so fine that one piece in my possession, though
+measuring 3/4 yard by 8 inches can easily, in its widest part, be
+gathered and passed through a finger ring. At the present day this net
+is not made, and even the fine woven ground is not used except for Royal
+wedding orders or for exhibition purposes. A magnificent piece
+belonging to Messrs. Haywards, of New Bond Street (which cannot be
+photographed, unfortunately, as it is between two sheets of glass, and
+might fall to pieces if taken out), was made for George IV., and not
+delivered, owing no doubt to the usual depleted state of that monarch's
+exchequer. Messrs. Haywards (whose courtesy is as boundless as their
+reputation) are always pleased to show this and their other splendid
+specimen collections to those interested in old lace.
+
+Perhaps no lace is so diversified in style as Brussels. At first it was
+purely Flemish, and almost indistinguishable from it. Then the Venetian
+influence crept in, and elaboration of pattern and the Renaissance
+scrolls and flower work showed itself. At the Louis Quatorze period the
+introduction of the "fairy people," seen at its finest and best in Point
+de France, marks a time of special beauty. Afterwards the influence of
+Alençon was shown (though it never rivalled the exquisite lace of this
+factory), and from that time to the present day these designs have
+remained for use in its best work.
+
+Some of the choicest specimens of old Brussels are shown in the now
+discarded "lappets," which when a lace head-piece and lappets were part
+of every gentlewoman's costume, were actually regulated by Sumptuary
+Laws as to length. The longer the lappets the higher the rank.
+
+[Illustration: BRUSSELS LAPPET.
+
+Eighteenth Century.
+
+(_S.K.M. Collection._)]
+
+The great Napoleon, while reviving the lace-making of Alençon, specially
+admired fine old Brussels, and at the birth of his only son, the little
+"King of Rome," ordered a christening garment covered with the
+Napoleonic "N's," crowns and cherubs. This was sold in 1903 at
+Christie's for £120. At the same sale a Court train realised £140.
+
+In the "Creevy Papers, 1768-1838," mention is made of Lord Charles
+Somerset complaining of not having slept all night, "not having had a
+minute's peace through sleeping in 'Cambrik sheets,' the Brussels lace
+with which the pillows were trimmed tickling his face"! This occurred at
+Wynyards, the seat of the Earl of Londonderry.
+
+Queen Anne followed the extravagant fashion of wearing the costliest
+laces which William III. and Queen Mary carried to such an excess. In
+1710 she paid £151 for 21 yards of fine Brussels edging, and two years
+later the account for Brussels and Mechlin laces amounted to £1,418.
+
+In the succeeding reign the ladies of George I.'s period wore lappets
+and flounces, caps, tuckers, aprons, stomachers, and handkerchiefs, all
+made of Brussels.
+
+In the time of George II. lace was even more worn, but English lace
+began to rival Brussels, not in quality, but as a substitute.
+
+George III. and his wife, Queen Charlotte, were economists of the first
+order, and personal decoration was rigidly tabooed; hence the almost
+total extinction of lace as an article of apparel, while in George IV.'s
+time dress had evolved itself into shimmery silks and lawns, lace being
+merely a trimming, and the enormous head-dress decorated more frequently
+with a band of ribbon.
+
+An exquisite portrait of Louis Philippe's Queen, Marie Amelia, by the
+early Victorian painter Winterhalter (whose paintings are again by the
+revival of fashion coming into favour) shows this fine old _grande dame_
+in black velvet dress covered with three graduated flounces of Brussels
+lace, cap and lappets and "tucker" of the same lace, lace fan, and, sad
+to relate, a scarf of English machine-made net, worked with English run
+embroidery!
+
+Although good Queen Adelaide had a pretty fancy for lace, she wore
+little of it, and it was left to Queen Victoria to revive the glory of
+wearing Brussels to any extent; and she, alas! was sufficiently
+patriotic to encourage home-made products by wearing almost exclusively
+Honiton, which I personally am not good Englishwoman enough to admire
+except at its latest stage (just the past few years), when lace-making,
+as almost every other art work in this country, is emerging from what,
+from an artistic point of view, has been one long Slough of Despond.
+
+[Illustration: COMTESSE D'ARTOIS, WIFE OF ONE OF LOUIS XIV.'S GRANDSONS,
+WEARING FINE BRUSSELS LACE.]
+
+
+
+
+VIII
+
+THE MODERN BRUSSELS LACES AND MECHLIN
+
+
+[Illustration: AN OLD PRINT OF "MARIE ANTOINETTE," SHOWING THE
+SIMPLICITY OF ADORNMENT SHE AFFECTED.
+
+"MECHLIN" LACE.]
+
+
+
+
+VIII
+
+THE MODERN BRUSSELS LACES AND MECHLIN
+
+     Modern Brussels, Point Gaze--Ghent--Duchesse Point--Mechlin
+     (the Queen of Laces).
+
+
+Magnificent laces are still made at Brussels, but almost wholly on a
+machine-made ground, the workers and merchants apparently finding the
+old hand-made ground unprofitable. The machine-made ground is cheap, and
+often of mixed flax and cotton instead of being of purely Flanders flax
+thread, as in the old days. Both quality and colour suffer from this
+admixture, the lace washing badly and wearing worse.
+
+The most common lace is the Point Applique, in which the sprays, groups,
+and borders on the design are made separately by hand on the pillow, and
+are afterwards applied by tiny stitchings to the machine-made net. Some
+qualities are better than others. In the better class the sprays are
+appliqued to the net, which is then cut away and the interstices of the
+design filled in with hand-made modes and brides, making a very pretty
+and showy lace. The best lace made in Brussels now is
+
+
+_Point Gaze_,
+
+in which the finest modern lace is produced. Its chief characteristics
+are its superb designs, repeating many of the fine Renaissance patterns,
+its clear ground, and its use of shading in leaves and flowers, which,
+while it adds much to the sumptuous effect, is possibly too
+naturalistic. This lace is a mixture of hand and machine lace, the
+ground being of the best machine net, the flowers and sprays frequently
+needle made, the various fillings being composed of a variety of
+designs, and the shading often being produced in the needle-darning as
+in modern Ghent and Limerick. Point de Gaze is costly, but it has the
+reputation of appearing "worth its money" to which few other laces of
+the present day can aspire.
+
+Other lace-making towns in Belgium and Flanders are--
+
+
+_Ghent_,
+
+which produces a fine machine-made net, worked and embroidered in exact
+imitation of the earliest Limerick lace. So _real_ is this imitation
+that a fine flounce of 4 yds. 32 in. wide was sold at a London
+auction-room a few months ago, as "real old Limerick," for £60!
+
+Ghent executes vast quantities of hand-made imitations of Valenciennes,
+a good and durable lace, but much more expensive than the machine-made
+varieties which flood the shops as "real Val."
+
+[Illustration: MECHLIN LAPPET.
+
+Eighteenth Century.
+
+(_S.K.M. Collection._)]
+
+Perhaps the only other lace worth mentioning in smaller and later
+varieties is that known as "Duchesse point" or "Bruges," which while
+being a showy, decorative, and cheap lace, is anything but satisfactory
+either in design, manufacture, or wear. It is largely composed of
+cotton, is heavy and cumbrous in design, and after washing becomes thick
+and clumsy. It is pillow-made, the flowers being made on the cushion and
+afterwards united by coarse and few brides.
+
+Almost equal in favour with old Brussels lace was
+
+
+MECHLIN,
+
+which was aptly termed "the Queen of Laces." Old Mechlin was wondrously
+fine, and transparent. It is often spoken of as "Point de Malines"
+which, of course, is entirely wrong, as it is not Point at all--being
+made entirely, all at one time, or in one piece, on the pillow. Much of
+the lace known under the general name of Flemish Point is really Malines
+or Mechlin, the only difference being the fine silvery thread which runs
+all through the designs of real Mechlin. The earliest date of the
+manufacture of Mechlin is unknown, but in 1681, it is recorded, that the
+people of Malines busied themselves with making a white lace known as
+Mechlin. It became a fashionable lace in England in 1699, Queen Mary
+using it considerably and Queen Anne buying it largely, in one instance
+purchasing 83 yards of it for £247.
+
+It has always remained a favourite lace with English royalties, Queen
+Charlotte almost exclusively using it. The other day I discovered in a
+bric-à-brac shop about twenty yards of it, old and discoloured, it is
+true, which came directly from Queen Caroline, the ill-used wife of
+George IV. In the earlier Mechlin, although pillow-made, the
+introduction of the "brides with picots," and also the may-flower
+patterns of Brussels, helped to make it more decorative. The ground or
+réseau was very similar to Brussels hand-made, but the hexagonal mesh is
+shorter, as reference to the diagram of réseaux will show.
+
+The exquisite "lightness" of Mechlin, so specially adapted to
+"quillings" and "pleatings," accounted for its popularity. It was
+specially suitable to the lawns and muslins of the eighteenth century,
+but little of this lace is left owing, no doubt, to its great favour
+except the ubiquitous "lappets," for which it was no doubt "the Queen of
+Lace."
+
+The immediate cause of its extinction was the introduction of Blonde
+laces, and later its final overthrow came from its being the easiest
+lace to reproduce by machinery.
+
+[Illustration: MARIE ANTOINETTE, QUEEN OF LOUIS XVI., SHOWING HOW
+MECHLIN LACE WAS USED.
+
+From an old fashion plate.]
+
+
+
+
+IX
+
+OTHER CONTINENTAL LACES
+
+
+
+
+IX
+
+OTHER CONTINENTAL LACES
+
+     Spanish lace; Gold and silver laces of Spain--German
+     laces--Russian laces--Maltese silk and thread laces.
+
+
+Outside the great lace-making countries of Italy, France, and Flanders,
+little lace was ever made, and that little of less consequence.
+
+
+_Spanish Lace._
+
+Much of the old lace known as "Spanish Point" is not Spanish at all, but
+the best of Italian Rose Point on a large scale, being the variety known
+as Gros Point. It was not extensively used for dress purposes, as
+contemporary portraits show, but Spain being such an ultra-Romanist
+country, vast quantities of it were imported into Spain for church use.
+When Spain fell on unhappy days, in 1830, and the religious houses were
+dissolved, this lace was eagerly bought by connoisseurs and collectors
+and became known as Spanish Point. It is not unlikely that the Italian
+lace was copied by the nuns of the Spanish convents; indeed, at South
+Kensington Museum there is a set of church altar lace which is
+admittedly Spanish work and is a distinct but far off imitation of
+Italian Point.
+
+Spain made gold and silver laces of fine quality and gorgeous design.
+Blonde laces in both cream and black are almost indigenous to the soil,
+and a particular kind of black Blonde, embroidered with colours,
+specially appealed to the colour-loving people.
+
+
+_German Laces._
+
+Perhaps at the present day more lace is made in Germany than at any
+other period. An enormous manufacture of good machine-made lace is
+exported yearly, the variety known as Saxony being both popular and
+cheap.
+
+Germany has no national lace, the clever _hausfraus_ caring more to
+decorate their table and bed-linen than their persons, and using the
+substantial and practical embroideries of the cross-stitch patterns more
+than the elegant frailties of lace trimming. Lacis network darned into
+patterns has always been popular here, as also in Denmark, Sweden, and
+Norway.
+
+[Illustration: DUCHESSE LACE.
+
+Modern.]
+
+
+_Russia._
+
+The Russian laces need little more than a passing note. As in Germany,
+Lacis and Cutworke form the only hand-made lace known, the people
+contenting themselves with these varieties and using coloured threads to
+further decorate them. Their laces may be called merely Russian
+embroideries. Peter the Great did much to found a lace school, but
+only gold laces were made, of a barbaric character. Recently an attempt
+has been made to imitate the Venetian laces, with very fair results, but
+the character is very stiff and mechanical, going back to the primitive
+forms of Reticella rather than the elegancies of Italian Point.
+
+The only other Continental lace requiring note is
+
+
+_Maltese_,
+
+a lace made entirely with bobbins and on a pillow. This lace is of
+ancient make, being known as early as the old Greek laces, which it
+strongly resembles. Its very popularity has killed its use as a fine
+lace, and at the present day it is copied as a cheap useful lace in
+France, England, Ireland, and even India. The old Maltese lace was made
+of the finest flax thread, afterwards a silk variety, which is well
+known, being made in cream. Black lace was also manufactured, and at the
+time of the popularity of black lace as a dress trimming it was much
+used. At the present day the lace is not of the old quality, cotton
+being frequently mixed with the flax threads. There is no demand for it,
+and it is about the most unsaleable lace of the day.
+
+
+
+
+X
+
+A SHORT HISTORY OF LACE IN ENGLAND
+
+
+[Illustration: QUEEN ELIZABETH: RUFF OF VENETIAN POINT.
+
+(_National Portrait Gallery._)]
+
+
+
+
+X
+
+A SHORT HISTORY OF LACE IN ENGLAND
+
+     Early samplers--Lace worn by Queen Elizabeth; by the early
+     Stuarts--Extravagant use of lace in time of Charles
+     II.--William and Mary's lace bill.
+
+
+Even at the risk of being considered utterly unpatriotic, I cannot give
+much more than faint praise to the lace-making of England up to the
+present date, when notable efforts are at last being made to raise the
+poor imitation of the Continental schools to something more in
+accordance with artistic conception of what a great National Art might
+become.
+
+As in all countries, lace-making apparently commenced in its early
+English stages by drawn-thread and cutwork. In many of the charming old
+sixteenth-century English samplers just as exquisite cut-work, and its
+natural successor Reticella, or "punto in aria" is shown, as in the
+finest examples of the Venetian schools. Unfortunately, however, English
+fine lace-making came to a sudden and inexplicable end, although we know
+that any quantity of fine Venetian, exquisite Brussels, or Flemish
+laces, and the wonderful Point de France were being imported into the
+country and lavishly used.
+
+As early as the reign of Edward IV. lace was mentioned as being
+prohibited for importation amongst other items of feminine luxury, such
+as "ribans, fringes of silk and cotton," but it is considered that the
+word "laces" here means only the twisted threads that go to make up a
+lace or tie, commonly ending in tags or points. It must be allowed,
+however, that laces, or more probably "gimps" of gold and silver threads
+were used for trimming both lay and ecclesiastical garments, and in
+Henry VII.'s reign we find that importation of Venetian lace was
+permitted, but this is generally admitted still to refer to gold and
+silver lace, more probably coming from Genoa.
+
+It was not really until the time of bluff King Hal that lace became an
+article of fashion, when during the life of the last of his unfortunate
+queens he permits "the importation of all manner of gold and silver
+fringes, or _otherwise_, with all new 'gentillesses' of what facyion or
+value, for the pleasure of our dearest wyeff the Queen."
+
+Henry himself also began to indulge in all these little elegances of
+fashion, and wore his sleeves embroidered with cutwork, and
+handkerchiefs edged with gold and silver, treating himself liberally to
+"coverpanes" and "shaving-cloths" trimmed with gold lace.
+
+[Illustration: EDMUND SPENSER: COLLAR TRIMMED WITH RETICELLA.
+
+Early period.]
+
+Little mention of white work was made in the inventories of Henry VIII.
+or his Queens, but Cardinal Wolsey seems to have had more than his
+share of cutwork embroideries, judging from contemporary portraits.
+
+In Queen Mary's reign white work began to be more frequently spoken of,
+and in 1556 it is stated that Lady Jane Seymour presented the Queen with
+"a smock of fair white work, Flanders making."
+
+It was not until Queen Elizabeth's time that lace became freely
+mentioned; then suddenly we are introduced to an endless variety of lace
+and trimmings, both of gold and silver, pearl and embroideries, and
+various white work! In some of the old Chronicles mention was made of
+drawn work, cut-work, Crown lace, bone lace for ruffs, Spanish chain,
+parchment, hollow, and diamond lace. Many of these terms cannot be
+understood.
+
+The enormous ruffs worn by Queen Elizabeth were introduced into England
+in the time of her sister Mary. Portraits both of Philip of Spain and
+Queen Mary show ruffs, but not edged with lace. Queen Elizabeth's, on
+the contrary, are both edged with lace and, in some instances, covered
+with it. On her poor old effigy at Westminster Abbey, where her waxen
+image is dressed in her actual garments, the only lace that appears is
+on the enormous ruff, three-quarters of a yard wide, covered with a fine
+lace of the loose network kind. The rest of her garments are trimmed
+with gold and silver lace and _passementerie_.
+
+In the succeeding reign lace of a geometric design shows itself on the
+ruffs of the richest people. Pictures in the National Portrait Gallery
+show many exquisite examples of the beautiful Reticella of Venice, which
+must have been very costly to the purchaser, as twenty-five yards or
+more of this fine lace were required to edge a ruff.
+
+It was in the reign of James I. and his consort, Anne of Denmark, that
+Flanders lace and the expensive Point laces of Italy first became widely
+popular. Then, as now, they were costly--to such an extent that many
+gentlemen sold an estate to buy laces for their adornment.
+
+It was during this reign that we first learn of a lace being made in
+England, as Queen Anne of Denmark on her journey south purchased lace at
+_Winchester_ and _Basing_, but history mentions not what kind of lace it
+was. Apparently only a simple kind of edging was used, made on a pillow.
+
+The enormous ruffs went out of fashion with the death of James I.
+Charles I., in all his portraits, wears the falling collar edged with
+Vandyke lace. It was during this reign that Venetian lace reached its
+apotheosis in England. The dress of the day has never been surpassed,
+though it became much more elaborate and ostentatious in the time of
+Charles II. and William and Mary. Falling collars were specially adapted
+to the display of the handsome laces of Venice. The cuffs of the sleeves
+were likewise trimmed with the same; scarves were worn across the
+breast, trimmed with the narrower Reticella.
+
+[Illustration: SEVENTEENTH CENTURY FALLING COLLAR TRIMMED WITH FINE
+RETICELLA.
+
+(_S.K.M. Collection._)]
+
+During the Commonwealth the laces of Venice suffered a temporary
+eclipse, and the plainer laces of Flanders were freely used. Cromwell
+himself, it is said, did not disdain the use of it. His effigy at
+Westminster was dressed in a fine Holland lace-trimmed shirt, with bands
+and cuffs of the same. This effigy, by the way, was destroyed at the
+Restoration.
+
+Charles II., who during his exile in France had become imbued with the
+extravagant taste of the French Court, gave vast orders for "Points of
+Venice and Flanders," on the plea of providing English lace-workers with
+better patterns and ideas.
+
+The falling collar certainly went out of fashion, but lace was liberally
+used on other parts of the dress. Lace frills of costly Point edged the
+knee-breeches, lace cravats were worn and deep falling cuffs. Charles
+II., in the last year of his reign, spent £20 for a new cravat for his
+brother's birthday.
+
+During James II.'s reign extravagance in lace purchases are still
+mentioned, but it surely reached its culmination in the joint reign of
+William and Mary, when enormous sums were spent by both King and Queen.
+In one year Queen Mary's lace bill amounted to £1,918. New methods of
+using lace were fashioned. A huge head-dress called the "Fontange," with
+upright standing ends of Venetian Point, double hanging ruffles falling
+from elbow sleeves, lace-trimmed aprons, lace tuckers, characterised the
+feminine dress of the day, while the "Steinkirk" cravat and falling
+cuffs of William III.'s day ran up accounts not much less than that of
+his Queen. In 1690 his bill was £1,603, and in 1695 it amounted to
+£2,459!
+
+The effigies of William and Mary in the Abbey, wear the very finest
+Venetian Point laces. None of the other figures wear such costly lace,
+nor in such profusion.
+
+[Illustration: COLLAR IN GROS POINT DE VENISE.
+
+Louis XIV. period.
+
+(_S.K.M. Collection._)]
+
+
+
+
+XI
+
+ENGLISH LACES
+
+
+
+
+XI
+
+ENGLISH LACES
+
+     Queen Anne and Mechlin--Establishment of lace-making in
+     Bedfordshire and Buckinghamshire--Buckingham lace--Wiltshire
+     lace--Devonshire lace--Modern Honiton revival.
+
+
+It was in Queen Anne's time that the earliest really good lace
+manufactured in England appeared. Driven from France by the edict of
+Louis XIV., the refugees found a home in England, and encouraged by
+Queen Anne's fondness for laces other than Venetian, they made and
+taught the English lace-workers, among whom they settled, the art of
+real lace-making, which up to this time had apparently been only half
+understood. Numerous lace schools now sprang up, the counties of
+Bedfordshire, Buckinghamshire, and Northampton specially becoming known.
+Valenciennes and Mechlin were the varieties of laces principally copied;
+a very pretty lace, very reminiscent of Mechlin, being the "Baby lace,"
+which received its name from being so much used to trim babies' caps.
+Although very much like Valenciennes and Mechlin, the laces were much
+coarser both in thread and design than their prototypes. Bedfordshire
+and Northamptonshire did not long retain the art of lace-making, but
+Buckingham lace remained a staple manufacture, and is much esteemed even
+to-day, many connoisseurs considering it far better as a lace than the
+somewhat clumsy laces of Devonshire. The specimen shown is a piece of
+old Buckingham lace closely copying the réseau and sprigs of Lille which
+most lace-lovers consider it excels. The net of Buckinghamshire is an
+exact copy of the Lille mesh, being made of two threads twisted in a
+diamond pattern, the sprays being worked on the pillow at the same time.
+The patterns of the old Buckingham lace are not very varied, the best
+known being what is called "Spider lace," a coarse kind of open mesh
+being worked in the pattern. The principal town engaged in the
+eighteenth century was Newport Pagnel, which was cited as being most
+noted for making Bobbin lace. Old Brussels designs were used, and some
+quaint lace of early Flemish design, was made. The early English run
+lace, which was even so late as fifty years ago very popular, was mostly
+made here. Aylesbury, Buckingham, and High Wycombe also made lace, and
+in the last-named old town cottage lace-making may be seen to this day.
+Very quaint are the old lace bobbins that may be purchased in the
+"antique" shops of these lace-making towns. The lace-workers apparently
+indulged many a pretty fancy in shaping them in a diversity of ways,
+very few bobbins being alike. Some were made of bone, really prettily
+turned, with dotted and pierced patterns on them. Others were
+silver-studded, and again others were banded in silver. The wooden ones
+were always decorated, if possible, each one differently from the
+others, so that the worker might distinguish each thread without looking
+at it. Nearly every bobbin was ended with a bunch of coloured beads
+strung on wire, and a collection of these bobbins, with their "gingles,"
+often yields up a pretty and quaint necklace. One in my possession has a
+quaint bead made of "ancient Roman glass," worth at least ten shillings.
+One wonders how this bit of Roman magnificence had strayed into an
+English cottage home!
+
+[Illustration: "OLD BUCKINGHAM."
+
+(_Author's Collection._)]
+
+[Illustration: EARLY DEVONSHIRE LACE.
+
+(_Author's Collection._)]
+
+Buckinghamshire is the only one of the Midland counties which has
+produced _wide_ lace; the adjoining counties confined themselves to
+edgings at most some 6 inches wide. A flounce in my collection measures
+21 inches, and is of very elegant design, and of fine quality. In
+Wiltshire lace appears to have been made at an early date in the
+eighteenth century, but little lace is left to show its quality. A
+curious piece is said to belong to an old family in Dorset, who vouch
+for the lace having belonged to Queen Charlotte, the wife of George III.
+Like many other traditional "antiques," this is undoubtedly a fairy
+story, as it claims to have been made in commemoration of the defeat of
+the Spanish Armada, _at contemporary times_. It is exceedingly handsome,
+showing one of Philip's ships, very suggestively surrounded by big sea
+fish and apparently resting on the rocky bottom of the ocean. In the
+next panel Tilbury Fort is portrayed, and another ship, one of England's
+glory, proudly rules the waves. The design is undoubtedly English, and
+most probably it was made in commemoration of the historic event--but
+the lace is Point d'Argentan, and was most likely manufactured specially
+for Queen Charlotte.
+
+Lyme Regis at one time rivalled Honiton, the laces of both towns being
+equally prized. Queen Charlotte wore a "head and lappets" made here when
+she first came to England, and afterwards she ordered a splendid lace
+dress to be made. When, however, Queen Victoria, in her wish to
+encourage the English makers, sent an order for her marriage lace, not
+sufficient workers were found to produce it.
+
+
+DEVONSHIRE LACE.
+
+As early as 1614 the lace-makers of Devonshire were known. The influx of
+refugees from Flanders in the Midlands and southern counties undoubtedly
+established lace-making in both parts of the kingdom. Many of the
+Honiton lace-workers married these refugees, and to this day the people
+are of mixed descent. Quaint names of Flemish extraction appear over the
+shop doors.
+
+In the early days both men, women, and children seem to have pursued the
+art of lace-making, boys learning and working at it until the age of
+sixteen, when they were either apprenticed to some trade or went to
+sea.
+
+[Illustration: OLD HONITON (NEEDLEPOINT GROUND).]
+
+[Illustration: OLD HONITON.
+
+(_Author's Collection._)]
+
+Most of the old Devonshire laces bear distinct likeness to the fine
+Flemish lace, only the clumsiness of the design or the coarse
+workmanship differentiating them. It has, however, one special feature
+which gave it the name "Trolly lace," as, unlike the perfectly flat lace
+of Flanders, it has a coarse thread or "trolly" outlining its patterns,
+and being made of English thread, it was coarse and not very durable.
+
+
+_Honiton_
+
+has always easily ranked first amongst our British laces, although by
+many not considered equal to fine Bucks. Like the Midland lace, it has
+been always made with Flanders thread, and therefore has maintained its
+popularity because of its _wear_ and its _colour_. The early Honiton
+workers copied "Brussels" lace, but because of their inability to
+produce an artistic design it has never been anything but a _poor_ copy.
+Even when the Brussels influence was most direct the flowers and sprays
+were placed inartistically, while the scroll copies of the early Flemish
+schools can only be termed the imitative handiwork of a child.
+
+The most prized specimens of old Honiton are those with hand-made
+ground, made of Flanders flax. Very little of this real ground Honiton
+lace is left. Queen Victoria did much to make Honiton lace _the_ lace of
+the land; but although a regular trade has been established, and much
+good work accomplished, Honiton of the past will never be regarded on
+the same plane as the laces of Venice, France, and Brussels. Even in its
+best variety it lacks the exquisite filmy touch of Brussels, the dainty
+grace of Alençon, and the magnificence of Point de France and Venetian
+Point. The Honiton laces made since the introduction of machine-made net
+is especially poor. Flower sprigs and sprays are made separately on the
+pillow, and afterwards applied to the machine-made ground. These are, as
+a rule, flowers and foliage treated naturalistically, and are heavy and
+close in design. These are often very sparingly applied over a wide
+expanse of net in order to make as much lace with as little trouble as
+possible. This is very different to the work of the old Honiton
+lace-worker, who made every inch of it herself--first the sprays and
+scrolls, then worked the ground round it, and received, it is said, from
+the middleman (who purchased it for the town market) as many shillings
+as would cover the lace offered for sale.
+
+We are glad to say, however, that very praiseworthy efforts are being
+made to introduce better methods and more artistic designs in the many
+lace schools which are being formed in various parts of Devon. Mrs.
+Fowler, of Honiton, one of the oldest lace-makers in this centre, making
+exquisite lace, the technique leaving nothing to be desired, and also
+showing praiseworthy effort in shaking off the trammels of the
+traditional designs.
+
+[Illustration: MODERN HONITON, MADE BY MRS. FOWLER.]
+
+
+
+
+XII
+
+SCOTCH AND IRISH LACES
+
+
+
+
+XII
+
+SCOTCH AND IRISH LACES
+
+     Hamilton lace--Mary Queen of Scots--Modern lace-making in
+     Ireland--Limerick lace--Carrick-ma-cross--Irish
+     crotchet--Convent laces.
+
+
+Scotch lace can hardly be said to exist. At one time a coarse kind of
+network lace called "Hamilton lace" was made, and considerable money was
+obtained by it, but it never had a fashion, and deservedly so. Since the
+introduction of machinery, however, there has been considerable trade,
+and a tambour lace is made for flounces, scarfs, &c. The more artistic
+class of work made by Scotswomen is that of embroidering fine muslin,
+and some really exquisite work is made by the common people in their
+homes.
+
+Much mention is often made of Mary Queen of Scots and her embroideries
+and laces. It must be remembered that she married firstly the Dauphin of
+France, and while at the French Court imbibed the taste for elegant
+apparel and costly lace trimmings. There is no record that she ever wore
+lace of her own country's manufacture, and, although English writers
+often quote the lace made by her fair hands, really the needlework made
+by Queen Mary at Fotheringay was embroidery.
+
+
+_Irish Laces._
+
+The early lace of Ireland was the usual cut and drawn work, and it was
+not until the earlier part of the nineteenth century that lace-making
+actually became a craft. In the eighteenth century many brave attempts
+were made to commence lace schools, and the best work was done in the
+convents, where really fine work was executed by the nuns, the patterns
+having been sent from Italy. It was not until 1829 that the manufacture
+of Limerick lace was first instituted. This really is not lace at all,
+as it is merely chain-stitch worked in patterns on machine-made net.
+
+This pretty so-called lace was first made at Limerick by an Oxford man,
+who established a school there, taking with him twenty-four girls as
+teachers. It quickly became very popular, in the early "fifties" every
+woman of either high or low degree possessing herself of at least a lace
+collar or fichu of Limerick lace.
+
+In 1855 more than 1,500 workers were employed, but decidedly the best
+lace of the manufacture belongs to the time prior to this date. The
+quality of the net ground has also deteriorated, or perhaps the best net
+has not been purchased.
+
+[Illustration: LIMERICK "FILLINGS."]
+
+Very dainty little sprays and flowers are produced in the fine chain or
+tambour stitch, the hearts of the flowers or the centres of the scallops
+being worked over in an endless variety of extra stitches, as will be
+seen in the illustration.
+
+Another variety of lace is Carrick-ma-cross, which was contemporary with
+Limerick. This is merely embroidery again, but has more claim to the
+title of lace, as the tiny little flowers and scrolls are connected with
+brides made of buttonhole stitch ornamented with picots. This is really
+a very handsome lace, its only drawback being that it will not _wash_.
+The fine lawn of which it is made is buttonholed round and then cut
+away. This, in cleaning or washing, _contracts_ and leaves the
+buttonhole edging, and in a few cleanings it is a mass of unmendable
+rags.
+
+Slightly more serviceable is another variety of Carrick-ma-cross, on
+which the lawn is appliquéd to a machine-made net, the pattern outlined
+with buttonhole stitches, and the surplus lawn cut away, leaving the
+network as a grounding, various pretty stitchings filling up the
+necessary spaces.
+
+Yet another kind of lace is made, and is really the only real lace that
+Ireland can claim. This is the Irish crotchet, which in its finer
+varieties is a close imitation of Venetian Point, but made with fine
+thread and with a crotchet needle. Some of the best is really worth
+purchasing, but it is costly, realising as much as five guineas per
+yard. A very delicate "Tatting" also comes from the Emerald Isle, and in
+comparing English and Irish laces one is inevitably struck with the
+reflection that there is more "artistry" in the production of Irish
+laces and embroidery than in England with all her advantages. The
+temperamental differences of the two races are distinctly shown in this,
+perhaps more than any other art.
+
+Much really notable work is now being executed in the Irish lace
+schools. At Youghal, co. Monaghan, an exact replica of old Venetian
+Point is being worked. Various fine specimens from the school occupy a
+place at South Kensington Museum, and the lace industry of Ireland may
+be said to be in a healthy condition.
+
+[Illustration: CARRICK-MA-CROSS LACE.
+
+(_Author's Collection._)]
+
+
+
+
+XIII
+
+HOW TO IDENTIFY LACE
+
+
+[Illustration: THE CENTRE STRIP IS OLD "RETICELLA," WITH GENOA BORDERS.
+
+(_Author's Collection._)]
+
+
+
+
+XIII
+
+HOW TO IDENTIFY LACE
+
+     Style--Historical data--Réseaux.
+
+
+The great difficulty in attempting to identify any specimen of lace is
+that from time to time each country experimented in the manners and
+styles of other lace-making nations. The early Reticella workers copied
+what is known as the "Greek laces," which were found in the islands of
+the Grecian Archipelago. Specimens of these laces found in the
+excavations of the last thirty years show practically no difference in
+method and style. France copied the Venetian laces, and at one period it
+is impossible to say whether a given specimen was made at Alençon or
+Venice. Italy, in turn, imitated the Flemish laces--to such an extent
+that even the authorities at South Kensington Museum, with all their
+leisure and opportunities for study and the magnificent specimens at
+hand for identification, admit that certain laces are either "Italian or
+Flemish." Valenciennes was once a Flemish town, and though now French,
+preserves the Flemish character of lace, some specimens of Mechlin
+being so like Valenciennes as to baffle certainty.
+
+Later, Brussels borrowed the hand-made grounds of France and Venice, and
+still later England copied Brussels, the guipures of Flanders, and the
+ground and style of Lille! All this makes the initial stages of the
+study of lace almost a hopeless quest. The various expensive volumes on
+lace, although splendidly written and gorgeously illustrated, leave the
+student with little more than an interesting and historical knowledge on
+which to base the actual study of lace. Here I may refer my readers to
+the one and only public collection of lace, I believe, in England--that
+of the South Kensington Museum, where specimens of lace from all
+countries and of all periods are shown, and where many magnificent
+bequests, that of Mrs. Bolckow especially, make the actual study of lace
+a possibility.
+
+It is to be hoped that the governing body of the museum will, in its own
+good time, make this a pleasure instead of a pain. The specimens, the
+_most important to the student_, are placed in a low, dark corridor. Not
+a glimmer of light can be obtained on some of the cases, which also are
+upright, and placed so closely together that on attempting to see the
+topmost specimen on one side the unfortunate student literally bangs her
+head into the glass of the next one. A gentle complaint at the
+Directors' office concerning the difficulty brought forth the
+astonishing information that there was no room at their disposal, but
+that in good time better light might be found. As these cases have
+been in identically the same place for the past fifteen years, one hopes
+that the "good time" may come before one becomes a "spectacled
+pantaloon" with no desire to see the wonders of that Palace of Art.
+
+[Illustration: POINT D'ANGLETERRE.
+
+Style Louis XV. Eighteenth Century
+
+(_S.K.M. Collection._)]
+
+This little protest is made in the hope that the "Lords of the
+Committee" may possibly have their attention drawn to what amongst the
+lace-lovers and students in this country is a "standing grievance."
+
+It is almost impossible, even from the best of photographic
+illustrations, to learn all the intricacies of identification. The
+photographs clearly show style, but it needs specimens of the actual
+lace to show method of working. From the illustrations in this book,
+specially selected from the South Kensington Collection, and from
+specimens in my own collection, every variety of style may be easily
+understood, as they have been particularly selected to show each point
+of difference. Commencing with the earliest form of lacework--_i.e._,
+"cutworke"--nothing will better show this than the "Sampler" specimen,
+which, half way down, shows two rows entirely typical of this kind of
+early lace-making--for such it is. A little lower, examples of drawn
+threadwork are seen, while the upper portion illustrates satin stitch
+patterns, which more properly belong to embroidery.
+
+The ancient collar from the South Kensington Collection, page 149, shows
+some of the finest developments of cutwork, when the foundation of linen
+was entirely dispensed with. The work is exceedingly fine, the threads
+being no coarser, indeed in many cases less so, than the fine linen it
+adorns. This is known as Reticella, or "punto in aria." The last name
+is applicable to all the laces of Venice which succeeded Reticella, and
+means lace literally made out of nothing or without any building
+foundation.
+
+The specimen is still of the same class, but where before the design was
+simple geometric square and pointed as in all the early lace, it now
+takes on the lovely flowing scroll of the Renaissance that marks the
+latter half of the seventeenth century.
+
+The same grand styles may be noted all through the great period of
+Italian Needlepoint lace. It will be seen in a lesser degree in the
+Guipure laces of Milan and Genoa, but here the cramping influence of the
+Flemish school shows itself distinctly.
+
+[Illustration: ITALIAN ECCLESIASTICAL LACE.]
+
+[Illustration: FLEMISH OR GENOESE ECCLESIASTICAL LACE.
+
+(_S.K.M. Collection._)]
+
+The same bold lines may be noted in the early Needlepoint lace of
+France, which had not then become sufficiently sure of her capacity to
+develop a style of her own, and all show the Renaissance spirit.
+Afterwards when the superb Point de France was at its height of
+manufacture along with grand outline and exquisite handicraft, the
+influence of the mighty monarch Louis XIV. asserted itself and although
+the lace itself commands unbounded admiration, fantastic little notions,
+symbolical and naturalistic, showed itself--as an illustration page 75:
+little figures representing "the Indian," "canopied crown over a sealed
+lady," trees growing all manner of bizarre fruit and flowers, all
+symbolical of Louis the Magnificent's unbounded power and sway. In the
+South Kensington Museum there is a still finer specimen, which has
+not yet been photographed, I believe--a magnificent flounce, about
+eighteen inches wide (really two boot top pieces joined), of what is
+known as pseudo-Oriental character, which shows amongst the usual
+exquisite scrolling no less than seven different figures on each
+piece--viz., an Indian, a violinist in dress of Louis XIV. period, a
+lady riding on a bird, two other ladies, one with a pet dog and the
+other a parrot, a lady violinist, and another lady seated before a
+toilet-table. These little figures are not more than three-quarters of
+an inch high, but are worked with such minuteness that even the tiny
+features are shown. This fantastic adoption of the human figure was
+copied in Italy and Flanders. The finest specimens of Point d'Angleterre
+(Brussels) show the same designs; and it may broadly be stated that all
+lace with figures is of the Louis XIV. period, and over two hundred
+years old.
+
+Succeeding this period came the dainty elegance of the French laces,
+when the workers of Alençon and Argentan had developed a purely French
+style. Note the Point d'Alençon, illustration page 83, where the
+characteristics of the period are fully shown. The illustration shows a
+mixed lace, which only recently has been acknowledged by the South
+Kensington people as Point d'Argentan. Along with the typical Argentan
+ground of the upper portion is the fine Alençon mesh and varied jours of
+the border. This also is Louis XIV. style. The lappet shown next is
+exceedingly instructive, as till quite lately the people who professed
+to understand lace agreed to call this Genoese, although it was quite
+unlike anything else made there. This lappet was so labelled at South
+Kensington, but now is admittedly Argentella (or little Argentan). It is
+remarkably like Alençon, being of the same period, the only points of
+difference being that the design is not outlined with a raised Cordonnet
+(though in different places of the design a raised and purled Cordonnet
+is often stitched on it) and the special ground (partridge eye) which is
+agreed to denote "Argentella" lace--page 83. It is sometimes called the
+may-flower ground, but this is somewhat misleading as that design occurs
+in other laces. The only other great style is that of Flanders, which at
+its earliest period had received no influence from the Renaissance that
+had seized the southern countries of Europe and was still in the grip of
+mediæval art. It was not until Italian influence permeated France that
+Flemish lace perceptibly altered in character.
+
+These are to all intents and purposes the three great styles of lace.
+England had no style: she copied Flemish, Brussels, and Mechlin laces.
+Ireland, on the contrary, copied Italian in her Irish crotchet and
+Carrick-ma-cross (in style only, but not workmanship), and adapted Lille
+and Mechlin and Brussels and Buckingham in her Limerick lace.
+
+The student must next make herself familiar with the methods pursued by
+the old lace-workers, and here the difficulty commences. All lace is
+either Needlepoint, pillow-made, or machine-made. _Needlepoint_ explains
+itself. Every thread of it is made with a needle on a parchment pattern,
+and only two stitches are used, buttonhole and a double-loop which is
+really a buttonhole stitch.
+
+[Illustration: BRUSSELS LAPPET.
+
+Nineteenth Century.
+
+(_S.K.M. Collection._)]
+
+This can be clearly understood by referring to Charts Nos. I. and II.,
+where the _two Brussels grounds_ are shown. The Needlepoint ground, No.
+I., is formed by a buttonhole stitch, which loops over again before
+taking the next. The pillow-made ground, No. II., shows the threads
+plaited or twisted together to form a hexagonal or a diamond-shaped
+network. This is all the difference between needle-made and pillow-made
+lace, and in itself helps to identify in many instances its country and
+period when it was produced. All the early Italian laces were
+Needlepoint, and all the early French laces were the same. All the
+Flemish laces (including Brussels) were pillow-made, and mixed laces in
+any of these countries are of later make. Italy adapted the Flemish
+pillow-lace, and produced Genoese and Milanese guipures, in addition to
+the coarse imitation of Reticella which she now made by plaiting threads
+on the pillow. Brussels adopted the needle-made motifs and grounds of
+Italy, and produced perhaps her finest lace, weaving her beautiful
+designs and outlines on the pillow, and afterwards filling the spaces
+with needle-made jours and brides, as in Point d'Angleterre.
+
+A study of Chart II. will show the different style of grounds or réseaux
+of both Needlepoint and pillow-made lace, the buttonhole grounds being
+either of "brides" with or without picots, or buttonhole loops, as in
+Brussels, and Alençon (with a straight thread whipping across to
+strengthen the ground), loops buttonholed over all as in Argentan, or
+made of tiny worked hexagons with separate buttonholed threads around
+them as in Argentella. The pillow-made grounds are made of two plaited
+or twisted threads, except in the case of Valenciennes, when it is made
+of four threads throughout (hence its durability). In Brussels, it will
+be noted, the threads are twisted twice to commence the mesh. These meet
+two other threads, and are plaited four times, dividing into two again,
+and performing the same twist, the whole making a hexagon rather longer
+than round. Mechlin has precisely the same ground, only that the threads
+are plaited _twice_ instead of four times, as in Brussels, making the
+hexagon roundish instead of long.
+
+The ground of Lille lace is of exactly the same shape as Valenciennes,
+but is composed of two threads twisted loosely twice each side of the
+diamond, and that of Valenciennes being made of four threads plaited.
+
+With the aid of these little charts, a remembrance of the various styles
+and a few actual specimens of lace, and _a powerful magnifying glass_,
+it is not beyond the power of any reader of this little book to become
+expert in the identification of old lace.
+
+[Illustration: REAL "POINT DE GAZE" (NEEDLE-MADE GROUND).
+
+(_Author's Collection._)]
+
+
+
+
+XIV
+
+SALE PRICES
+
+
+
+
+XIV
+
+SALE PRICES
+
+
+Lace is such an article of luxury, and, as a rule, only belonging to the
+wealthiest class, that it seldom or ever comes into the open market. In
+1907 two collections were dispersed at Christie's--those of Mrs.
+Massey-Mainwaring and Mrs. Lewis Hill.
+
+The most costly laces are the Venetian Points, some of the fine Rose
+Points being priceless. It is so fragile that little of it remains, and
+the smallest piece is eagerly snapped up by collectors.
+
+
+In 1904 at Christie's lace sold for the following prices--
+
+                                                          £
+A 58-inch length of 24-ins. deep Point de Venise         600
+
+A 4-yards length of Rose Point, 11 inches deep           420
+
+
+The same year--
+
+                                                          £
+4 yards of Point d'Argentan, 25 inches deep              460
+
+44 inches Point d'Alençon, 17 inches deep                 43
+
+2-1/2 yards Point d'Alençon, 14 inches deep               46
+
+
+In 1907, March 11, _Massey-Mainwaring Sale_ at Christie's--
+
+                                                    sold for
+                                                    £  s.  d.
+1-1/2 yards Venetian Gros Point, 8 inches deep     16  16  0
+
+5 yards length of Reticella, 7-1/2 inches
+deep                                               33  12  0
+
+4 short lengths                                    42   0  0
+
+7 pieces of Point d'Alençon                        21   0  0
+
+4 yards narrow Point d'Argentan                    15  15  0
+
+3 pairs Point d'Argentan lappets                   15  15  0
+
+30 yards narrow Mechlin in odd lengths             21   0  0
+
+
+April 15th, the _Lewis-Hill Sale_ at Christie's:--
+
+                                                    sold for
+                                                    £  s.  d.
+4 yards Venetian Point, 15-1/2 inches deep         68   5  0
+
+4   "      "       "     8-1/2    "     "          52  10  0
+
+3 yards Spanish Point, 6-1/2 inches deep           73  10  0
+
+An Old Brussels scarf in two pieces                10  10  0
+
+6 yards Brussels applique                          23  10  0
+
+A Point Gaze parasol-cover                          6  16  0
+
+A Brussels flounce                                 12   1  6
+
+3 yards Honiton flounce, 17 inches deep            69   6  0
+
+Another similar                                    69   6  0
+
+6 yards Honiton lace in three pieces               24   3  0
+
+An old lace coverlet                               25   4  0
+
+Another ditto                                      26   5  0
+
+A lace altar-frontal                               21   1  0
+
+With the exception of the Honiton flounces, which sold beyond their
+market value, all the above pieces were bought by London lace dealers!
+
+The famous collection of the late Mrs. Hailstone was sold in 1909. This
+lady had for many years been known as a lace collector, and the sale of
+her effects was eagerly anticipated. The result was extremely
+interesting to the collectors, as Mrs. Hailstone had collected specimen
+lengths of almost every known lace. No huge prices obtained, but the
+sale may be regarded as representative, and the prices quoted as being
+open-market value.
+
+                                                    £  s.  d.
+A set of bed-hangings, forming six curtains,
+made of Italian lace and linen                     40   0  0
+
+A large portière curtain of Italian lacis-work     10  10  0
+
+A Point d'Alençon fichu                            30   0  0
+
+"   "       "     cravat end, a pair of sleeves,
+one odd piece                                      18   0  0
+
+A pair of Argentan lappets and six yards lace      12   0  0
+
+A panel fine raised Venetian Point, 22 inches
+wide, 28 inches long                               24   0  0
+
+A Berthe, Point de Venise, 1 yard 120 inches,
+12 inches deep                                     25   0  0
+
+A Point de Venise Berthe                           36   0  0
+
+A 1 yard 13 inches x 7 inches panel Venetian lace  50   0  0
+
+Two specimen pieces, 3-1/4 inches, all of
+Point de Venise à réseau                           14  10  0
+
+A Buckinghamshire collar, sleeves, and pieces       5   5  0
+
+A specimen of old Honiton, baby's cap, bodice,
+and handkerchief                                    3   5  0
+
+An old Honiton baby's robe, said to have belonged
+to Princess Charlotte                              15  10  0
+
+Seven volumes of lace specimens of old and modern
+lace                                               35   0  0
+
+In December, 1910, probably the most valuable collection ever placed
+upon the market was dispersed at Messrs. Christie's. The late Sir
+William Abdy Bt., had for many years devoted his time and money to the
+collection of valuable lace, such as now can only be seen in the great
+national collections. The prices obtained are significant of the huge
+sums which must be paid to obtain wearable pieces of valuable lace such
+as skirt lengths, 3- or 4-yard lengths of deep flouncings, shawls,
+coverlets, aprons, &c.
+
+                                                    £  s.  d.
+
+A fine Point d'Alençon skirt, 2-1/2 yards,
+44 inches deep                                    160  0   0
+
+A fine Point d'Alençon scarf, 2 yards
+9 inches × 10 inches deep                          72  0   0
+
+A Point d'Argentan Berthe, 9-1/2 inches deep       39  0   0
+
+A Point d'Argentan flounce, 6 yards 30
+inches × 5-1/2 inches deep                        140  0   0
+
+A Point d'Argentan flounce, 2 yards 26
+inches long × 25 inches deep                      210  0   0
+
+A Point d'Argentan flounce, 3 yards 28
+inches long × 24 inches deep                      310  0   0
+
+A Point d'Argentan flounce, 3 yards 35
+inches long × 25 inches deep                      431  0   0
+
+A Point d'Argentan flounce, 3 yards 16
+inches long × 24-1/2 inches deep                  290  0   0
+
+An Italian gold and thread lace flounce,
+4 yards long, 29 inches deep                      740  0   0
+
+A length of Italian Rose Point, 4 yards
+15 inches long, 3 inches deep                      70  0   0
+
+An old Italian Rose Point flounce, 3
+yards 31 inches long, 17-1/2 inches deep          660  0   0
+
+An old Italian Rose Point square, 31
+inches × 34 inches                                180  0   0
+
+An old Italian Rose Point flounce, 3
+yards 19 inches long, 7-1/2 inches deep           520  0   0
+
+An old Italian Rose Point panel, 34
+inches × 9 inches                                  95  0   0
+
+A Point de Venise lappet à réseau, 46
+inches long, 5-1/4 inches wide                     22  0   0
+
+Point de Venise trimming, 8 yards long
+× 4 inches deep                                    65  0   0
+
+A piece of flat Venetian insertion, 4
+yards × 3-3/4 inches deep                          92  0   0
+
+A Rose Point flounce, 4 yards long × 5
+inches deep                                       200  0   0
+
+A Rose Point flounce, 3 yards 31 inches
+long × 22 inches deep                             600  0   0
+
+A Rose Point flounce, 4 yards 7 inches
+long × 24 inches deep                             540  0   0
+
+A Rose Point flounce, 3 yards 32 inches
+long × 15 inches deep                             560  0   0
+
+A Rose Point flounce, 4 yards 11 inches
+long × 18 inches deep, and a pair of
+sleeves en suite                                  650  0   0
+
+A Rose Point flounce, 4 yards 3 inches
+long × 11-1/2 inches deep                         510  0   0
+
+A raised Point de Venise square, 1 yard
+24 inches long × 1 yard 6 inches wide             450  0   0
+
+An Old Brussels apron, 41 inches wide,
+37 inches deep                                    145  0   0
+
+A specimen piece of early Valenciennes,
+2 yards long × 7 inches deep                       42  0   0
+
+
+The following prices have been given by the South Kensington authorities
+for specimens shown:--
+
+                                                    £  s.  d.
+
+A Venetian Point altar-frontal, 8 × 3 feet        350  0   0
+
+A Venetian chasuble, stole, maniple,
+and chalice veil                                  200  0   0
+
+A 2 yards × 5/8 yard Venetian flounce             125  0   0
+
+A Gros Point collar                                21  0   0
+
+A Brussels lappet                                  23  0   0
+
+A drawn-thread jacket                              10 10   0
+
+Linen cutwork tunic                                20  0   0
+
+[Illustration: EGYPTIAN EMBROIDERY.
+
+Found in a tomb at Thebes.]
+
+
+
+
+CHATS ON NEEDLEWORK
+
+
+
+
+I
+
+OLD ENGLISH EMBROIDERY
+
+     Needlework pioneer art--Neolithic remains--Earliest known
+     English specimens--Bayeux tapestry.
+
+
+While the subject of lace-making has been treated as almost
+cosmopolitan, that of embroidery, in this volume, must be regarded as
+purely national! I purposely refrain from introducing the embroideries
+of other countries, other than mentioning the ancient civilisations
+which shared the initial attempts to decorate garments, hangings, &c.
+(of which we really know very little), and shall confine myself to the
+needlework of this country, more especially as it is the one art and
+craft of which England may be unfeignedly proud. It is assumed that
+needlecraft was the pioneer art of the whole world, that the early
+attempts to decorate textiles by embroideries of coloured silks, and the
+elaborate use of gold and silver threadwork, first suggested painting,
+sculpture, and goldsmith's work. Certainly early Egyptian paintings
+imitated embroideries, and we have good ground for supposing that
+stained glass was a direct copy of the old ecclesiastical figures or
+ancient church vestments. The Neolithic remains found in Britain show
+that at a very early period the art of making linen-cloth was
+understood. Fragments of cloth, both of linen and wool, have been
+discovered in a British barrow in Yorkshire, and early bone needles
+found at different parts of the country are plentiful in our museums.
+There is no doubt that we owe much of our civilisation to the visit of
+the Phoenicians, those strange people, who appear to have carried all
+the arts and crafts of ancient Babylon and Assyria to the wonder isles
+of the Greek Archipelago, to Egypt, to Southern Spain, and to Cornwall
+and Devonshire. These people, dwelling on the maritime border of
+Palestine, were the great traders of their age, and while coming to this
+country (then in a state of wildest barbarism) for tin left in exchange
+a knowledge of the arts and appliances of civilisation hitherto not
+understood. The Roman Invasion (45 B.C.) brought not only knowledge of
+craftsmanship but also Christianity. St. Augustine, to whom the
+conversion of the Britains is credited, carried with him a banner
+embroidered with the image of Christ. After the Romans had left the
+country, and it had become invaded by the Celts and the Danes, and had
+again been taken possession of by the Saxons, a period of not only rest
+but advancement arrived, and we see early in the seventh century the
+country prosperous and settled. Aldhelm, Bishop of Sherborne, wrote a
+poem in which he speaks of the tapestry-weaving and the embroidery which
+the women of England occupied their lives.
+
+[Illustration: A LENGTH OF THE FAMOUS BAYEUX TAPESTRY.]
+
+The earliest specimen of embroidery known to have been executed in
+England is that of the stole and maniple of St. Cuthbert, which is now
+treasured at Durham Cathedral. These were worked by Aelfled, the Queen
+of Edward the Elder, Alfred the Great's son. She worked them for Bishop
+Fridhestan in 905 A.D. Her son Athelstan, after her death, visited the
+shrine of St. Cuthbert, at Chester-le-street, and in an inventory of the
+rich gifts which he left there, there is recorded "one stole with a
+maniple," amongst other articles. These very embroideries were removed
+from the actual body of St. Cuthbert in 1827. They are described by an
+eyewitness as being "of woven gold, with spaces left vacant for
+needlework embroideries." Exquisitely embroidered figures are in niches
+or clouds. The whole effect is described as being that of a fine
+illuminated MS. of the ninth century, and indescribably beautiful.
+Another great prelate, St. Dunstan, Archbishop of Canterbury, designed
+embroideries for the execution of pious ladies of his diocese (924 A.D.).
+
+Emma, Queen of Ethelred the Unready, and afterwards of Canute, designed
+and embroidered many church vestments and altar-cloths, and Editha, wife
+of Edward the Confessor, embroidered the King's coronation mantle.
+
+The great and monumental Bayeux tapestry--which is miscalled, as it is
+_embroidery_--was the work of Queen Matilda, who, like Penelope, wove
+the mighty deeds of her husband and king in an immense embroidery. This
+piece of needlecraft comes upon us as a shock, rather than an
+admiration, after the exquisite embroideries worked by and for the
+Church. It is interesting, however, as a valuable historic "document,"
+showing the manners and customs of the time. The canvas is 227 feet long
+and 20 inches wide, and shows events of English history from the
+accession of Edward the Confessor to the defeat of Harold, at Hastings.
+It is extremely crude; no attempt is made at shading, the figures being
+worked in flat stitch in coloured wools, on linen canvas. Certainly it
+is one of the quaintest and most primitive attempts of working pictures
+by needlecraft.
+
+The evidence of the costumes, the armour, &c., are supposed to tell us
+that this tapestry was worked many years after the Conquest, but it can
+be traced by documentary evidence as having been seen in Bayeux
+Cathedral as far back as 1476. In the time of Napoleon I. it was removed
+from the cathedral and was actually used as a covering for a transport
+waggon. Finally, however, it was exhibited in the Musée Napoleon, in
+1803, and was afterwards returned to Bayeux. In 1840 it was restored and
+relined, and is now in the Hôtel de Ville at Bayeux!
+
+[Illustration: KING HAROLD.
+
+(_From the Bayeux Tapestry._)]
+
+
+
+
+II
+
+THE GREAT PERIOD OF EMBROIDERY
+
+
+
+
+II
+
+THE GREAT PERIOD OF EMBROIDERY
+
+     "Opus Anglicanum"--The Worcester fragments--St.
+     Benedict--Legend of Pope Innocent--The "Jesse" cope--The "Syon"
+     cope.
+
+
+The great period of English embroidery is supposed to have been from the
+twelfth to the thirteenth century. Very little remains to show this,
+except a few fragments of vestments from the tombs of the bishops dating
+from the twelfth and thirteenth centuries, and other data obtained from
+various foreign inventories of later date referring to the use of "Opus
+Anglicanum." Some portion of the Worcester fragments may be seen in the
+South Kensington Museum, and can only be described as being so perfect
+in workmanship, colour, and style as even at this day to be more like a
+magnificent piece of goldsmith's work than that of needlecraft. The
+background is apparently one mass of thread of fine gold worked in and
+out of a silken mesh, the embroidery appearing just as clear and neat in
+manipulation as an illumination. The coloured photographs, which may be
+seen in the same room, of the stole and maniple of St. Cuthbert are of
+precisely the same work. Judging from these, and the embroidered orphrey
+which the authorities bought from the Hockon Collection for £119 1s.
+10d. and which is only 4 feet 8 inches long, there is no doubt that this
+was, _par excellence_, the finest period. The work can only be described
+as being like an old Italian painting on a golden ground. We see
+precisely such design and colouring in ancient paintings for altars as
+in the old Italian Triptychs. This style was carried out as literally as
+possible. Even the defects, if so they may be called, are there, and a
+slight topheaviness of the figures serves but to accentuate the
+likeness.
+
+There is a legend that during the times of the Danish incursions St.
+Benedict travelled backwards and forwards through France and Italy, and
+brought with him during his _seven_ journeys artificers in _glass_ and
+_stone_, besides costly books and copies of the Scriptures. The chief
+end and aim of monastic life, both of monk and nun, in those early days
+was to embroider, paint, and illuminate their sacred books, vestments,
+and edifices with what was to them a newly-inspired faith.
+
+Dr. Rock, in his "Church of Our Fathers," says that from the twelfth
+century to the time of Henry VIII. that only the best materials that
+could be found in our country or that of other lands were employed, and
+that the art that was used on them was the best that could be learnt or
+given. The original fabrics often came from Byzantium or were of
+Saracenic origin.
+
+[Illustration: FROM THE "JESSE" COPE (_South Kensington Museum_).
+
+English, early Fourteenth Century.]
+
+The story of Pope Innocent III., who, seeing certain vestments and
+orphreys, and being informed that they were English, said, "Surely
+England must be a garden of delight!" must be quoted to show how English
+work was appreciated in those early days.
+
+The choicest example in this country of this glorious period of English
+embroidery is the famous Syon cope, which is supposed to rank as the
+most magnificent garment belonging to the Church. It may be regarded as
+a typical example of real English work, the "Opus Anglicanum" or
+"Anglicum," which, although used for other purposes, such as
+altar-cloths and altar-frontals, found apparently its fullest scope in
+these large semicircular mantles.
+
+Amongst the many copes treasured at South Kensington there are none,
+amidst all their splendour, as fine as this, although the fragment of
+the "Jesse" cope runs it very closely. There are many copes of this
+period in different parts of the Continent--the Daroca Cope at Madrid,
+one at Ascagni, another at Bologna, at St. Bertrand-de-Comminges, at
+"St. John Lateran" at Rome, at Pienza and Toleda, and a fragment of one
+with the famous altar-frontal at Steeple Aston. These are all assumed to
+be of "Opus Anglicanum," and they may be described as being technically
+perfect, the stitches being of fine small tambour stitch, beautifully
+even, and the draperies exquisitely shaded.
+
+The illustration showing the Syon Cope requires some little explanation.
+It is wrought on linen, embroidered all over with gold and silver thread
+and coloured silk. It is 9 feet 7 inches long, 4 feet 8 inches wide.
+The whole of the cope except the border is covered with interlacing
+quatrefoils outlined in gold. The ground of these quatrefoils is covered
+with red silk and the spaces between them with green silk. Each
+quatrefoil is filled with scenes from the life of Christ, the Virgin,
+and figures of St. Michael and of the Apostles. On the green spaces are
+worked figures of six-winged angels standing on whorls. The chief place
+on the quatrefoils is given to the crucifixion, where the body of the
+Saviour is worked in silver and cloth of gold. The Virgin, arrayed in
+green tunic and golden mantle, is on one side and St. John, in gold, on
+the other. Above the quatrefoil is another representing the Redeemer
+seated on a cushioned throne with the Virgin, and below another
+representing St. Michael overcoming Satan. Other quatrefoils show
+"Christ appearing to St. Mary Magdalen," "The Burial of the Virgin,"
+"The Coronation of the Virgin," "The Death of the Virgin with the
+Apostles surrounding her," "The Incredulity of St. Thomas," "St. Simon,"
+"St. Bartholomew," "St. Peter," "St. Paul," "St. Thomas," "St. Andrew,"
+and "St. James." Portions of four other Apostles may be seen, but at
+some period the cope has been cut down. In its original state the cope
+showed the twelve Apostles. The lower portion has been cut away and
+reshaped, and round this is an edging apparently made out of a stole and
+maniple which point to a later date, as they are worked chiefly in
+cross-stitch. On the orphrey are emblazoned the arms of Warwick, Castile
+and Leon, Ferrars, Geneville Everard, the badge of the Knights
+Templars, Clifford, Spencer, Lindsay, Le Botelier, Sheldon, Monteney of
+Essex, Champernoun, Everard, Tyddeswall Grandeson, Fitz Alan, Hampden,
+Percy, Clanvowe, Ribbesford, Bygod, Roger de Mortimer, Grove, B.
+Bassingburn, and many others not recognisable. These coats of arms, it
+is suggested, belonged to the noble dames who worked the border. The
+angels which fill the intervening spaces are of the six-winged
+varieties, each standing on whorls or wheels.
+
+[Illustration: THE "SYON" COPE.
+
+(_S.K.M. Collection._)]
+
+The cope is worked in a fine tambour or chain stitch principally. All
+the faces, bodies, and draperies are composed of this. A specially
+noticeable point is that the faces are worked spirally, beginning in the
+centre of the cheek and being worked round and round, conforming with
+the muscles of the face. The garments are worked according to the hang
+of the drapery, very fine effects being obtained. After the work has
+been completed a hot iron something like a little iron rod with a
+bulbous end has been pressed into the cheeks, under the throat, and in
+different parts of the nude body. Occasionally, but seldom, the same
+device may be seen in the drapery. All the work is exquisitely fine and
+perfectly even. The groundwork of the quatrefoils is of gold-laid or
+"couch" work, as is also that of the armorial bearings.
+
+The name "Syon" is somewhat misleading, as the Cope was not made here,
+but came into the hands of the Bridgettine nuns in 1414, when Henry V.
+founded the convent of "Syon" at Isleworth. Its origin and date will
+ever be a matter of conjecture, but Dr. Rock infers that Coventry may
+have been the place of its origin. Taking Coventry as a centre with a
+small radius, several of the great feudal houses the arms of which are
+on the border of the cope may be found, and Dr. Rock further supposes
+that Eleanor, widow of Edward the First, may have become a sister of the
+fraternity unknown, as her arms, Castile and Leon, are on it. "The whole
+must have taken long in working, and the probability is that it was
+embroidered by nuns of some convent which stood on or near Coventry."
+However this may be, it is certain that this splendid piece of English
+work came into the hands, by some means, of the nuns of Syon, and after
+remaining with them at Isleworth till Elizabeth's time, it was carried
+by them through Flanders, France, and Portugal. They remained at the
+latter place till the same persecution which dispersed the famous
+Spanish Point lace over the length and breadth of the Continent, and
+about eighty years ago it was brought back to England, and was given by
+the remaining members of the Order to the Earl of Shrewsbury. After
+further vicissitudes of a varied character it was bought by the South
+Kensington Museum for £110, and now sheds the glory of its golden
+threads in a dark transept unnoticed except by the student.
+
+
+
+
+III
+
+ECCLESIASTICAL EMBROIDERIES AND VESTMENTS
+
+
+[Illustration: HALF OF THE STEEPLE ASTON ALTAR FRONTAL.
+
+English, Fourteenth Century.]
+
+
+
+
+III
+
+ECCLESIASTICAL EMBROIDERIES AND VESTMENTS
+
+     The Pierpont Morgan purchase--The Steeple Aston
+     Altar-frontal--The "Nevil" Altar-frontal at S. K. M.--City
+     palls--Diagram of vestments.
+
+
+Other copes of the same period are in the Madrid Museum, two copes at
+Bologna, and the "Ascoli" cope recently purchased by Mr. J. Pierpont
+Morgan and generously returned by him. Some cushions from Catworth
+Church, Huntingdon, now at the South Kensington Museum, were probably
+cut from copes, and bought by permission of the Bishop of Ely for £27. A
+long band of red velvet at South Kensington Museum embroidered with gold
+and silver and coloured silk has evidently been made from the "Apparels"
+of an alb. It is in two pieces, each piece depicting five scenes divided
+by broad arches. The first five are from the life of the Virgin, and
+are: "The Angel appearing to Anna," "The Meeting of Anna and Joachim,"
+"Birth of the Virgin," "Presentation of the Virgin," "Education of the
+Virgin." In the second piece are: "The Annunciation," "The Salutation,"
+"The Nativity," "The Angel appearing to the Shepherds," and the
+"Journey of the Magi."
+
+Another piece of similar work is the altar-frontal of Steeple Aston,
+which was originally a cope, and the cope now at Stonyhurst College,
+originally belonging to Westminster Cathedral. It is made of one
+seamless piece of gold tissue.
+
+During this great period of English embroidery certain characteristics
+along with its superb workmanship must be noticed. The earlier the work
+the finer the modelling of the figures. In the figures of the St.
+Cuthbert and the Worcester fragments the proportions of the figures are
+exquisite; at a later date, while the work is just as excellent, the
+figures become unnatural, the heads being unduly large, the eyes
+staring, and the perspective entirely out of drawing. Until the
+fourteenth century this comes so gradually as to be scarcely noted; but
+after and through the fifteenth century this becomes so marked as to be
+almost grotesque, and only the genuine religious fervour with which
+these poor remnants have been worked prevents many of them being
+ridiculous. The faces gradually show less careful drawing and working,
+and the figures become squat and topheavy. The emblems of the saints are
+often omitted.
+
+[Illustration: THE "NEVIL" ALTAR FRONTAL.
+
+(_S.K.M. Collection._)]
+
+This decline in the embroiderer's art is specially noticeable in an
+extraordinary panel to be seen at South Kensington Museum, where an
+altar-frontal of stamped crimson velvet is appliqued in groups of
+figures in gold, silver, and silks. In the middle is the Crucifixion,
+with the Virgin and St. John standing on a strip covered with flowers.
+On the left is Ralph Nevil, fourth Earl of Westmoreland, 1523, kneeling,
+and behind him his seven sons. On the right is Lady Catherine Stafford,
+his wife, also kneeling, and behind her kneel her thirteen daughters.
+The frontal cost the museum £50 and is well worth it as an historical
+document. Other important embroideries of the period to be found in
+England are at Cirencester Cathedral, Ely Cathedral, Salisbury and
+Carlisle Cathedrals, Chipping Norton and Little Dean in Gloucestershire,
+East Langdon in Kent, Buckland and Stourton in Worcester, Littleworth in
+Leicestershire, Lynn in Norfolk, and the Parish Church at Warrington.
+
+Many of the palls belonging to the great city companies belong to this
+date. The Saddlers' Company's pall is of crimson velvet embroidered with
+angels surrounding "I.H.S.," and arms of the Company. The Fishmongers'
+Pall, made at the end of the fifteenth century, has at one end the
+figure of St. Peter (the patron saint of fishermen) enthroned, and
+angels on either side, and at the other end St. Peter receiving the keys
+from our Lord. The Vintners' Pall is made of Italian velvet and cloth of
+gold and embroidered with St. Martin of Tours.
+
+Religious influence characterised the embroideries of England
+practically from the ninth to the sixteenth centuries. Practically all
+needlework prior to 1600 is entirely ecclesiastical, and from its
+limited range in choice of subjects barely does justice to the fine work
+this period produced.
+
+Dr. Rock says that "few persons of the present day have the faintest
+idea of the labour, the money, the time, often bestowed on old
+embroideries which had been designed by the hands of men and women each
+in their own craft the best and ablest of the day."
+
+We do not know the length of time these ancient vestments occupied in
+the making, but twenty-six years is stated to be the period of making
+the vestments for the Church of San Giovanni, in Florence. This is all
+worked in close stitches similar to our English work.
+
+
+_Ancient Church Vestments._
+
+The names of the ecclesiastical vestments are somewhat puzzling to those
+of us who do not belong to the Romish Church, or even to the English
+High Church. The vestments described are, we believe, in use in the
+Romish churches now as in the early times when church embroidery was the
+pleasure and the labour of all classes of English women. The
+accompanying diagram will better illustrate the use of these vestments
+than a page of writing.
+
+
+[Illustration: ECCLESIASTICAL VESTMENTS.
+
+1. Amice.
+2. Orphreys.
+3. Chasuble.
+4. Sleeves of Alb.
+5 and 9. Apparel of Alb.
+6. Maniple.
+7. Stole.
+8. Alb.
+
+_From "A Guide to Ecclesiastical Law," by kind permission of Mr. Henry
+Miller._]
+
+       *       *       *       *       *
+
+The Alb is often trimmed handsomely with lace, the apparels are stitched
+on to the front. The Stoles ought to have three crosses embroidered on
+it and be 3 yards long. Over this comes the Chasuble, which is the
+last garment the priest puts on before celebrating Mass. The Cope is a
+huge semi-circular 10 ft. wide cape. The Maniple is a strip of
+embroidery 3 ft. 4 in. long worn over the left wrist of the priest.
+
+[Illustration: ECCLESIASTICAL VESTMENTS.
+
+English, Fifteenth or early Sixteenth Century.
+
+(_S.K.M. Collection._)]
+
+
+
+
+IV
+
+TUDOR EMBROIDERY
+
+
+
+
+IV
+
+TUDOR EMBROIDERY
+
+     The influences of the Reformation--Queen Catherine of Aragon's
+     needlecraft--The gorgeous clothes of Henry VIII.--Field of the
+     Cloth of Gold--Queen Elizabeth's embroideries.
+
+
+After the Reformation and the wholesale destruction of the cathedrals,
+monasteries, and churches, the gentle dames of England found their
+occupation gone. The priestly vestments, the sumptuous altar-cloths, and
+gorgeous hangings were now needless. Those which had been the glory of
+their owners, and the pictorial representations of Biblical life to the
+uneducated masses of people, had been ruthlessly torn down and destroyed
+for the sake of the gold to be found on them. As in the time immediately
+preceding the French Revolution, costly embroideries were unpicked, and
+the amount of gold and silver obtained from them became a source of
+income and profit to their destroyers.
+
+Apart from her household, women had no other interests in those days,
+unless we accept such anomalies as Lady Jane Grey, who was a marvel of
+learning and wisdom. All their long leisure hours had been spent, not in
+improving their minds, but in beautifying the churches with specimens of
+their skill. Catherine of Aragon, one of the unfortunate queens of Henry
+VIII., was a notable needlewoman, and spent much of her short, unhappy
+time as Queen of England in embroidery. The lace-making of Northampton
+is said to have been commenced by her during her period of retirement
+after her divorce. The "Spanish stitch," which was known and used in
+embroidery of that period, was introduced by her from her own country,
+and many examples of her skill in embroidery are to be seen in the
+British Museum and the various homes belonging to our old nobility.
+
+During the reign of Henry VIII. dress became very sumptuous, as the
+contemporary pictures of the times show. Indeed, all the fervour and
+feeling which ladies had worked in religious vestments now seemed to
+find refuge in the over-elaboration of personal wear. Very little lace
+was used, and that of only a primitive description, so that effect was
+produced by embroidery in gold and silver threads and the use of pearls
+and precious stones. The dress of the nobles in the time of Henry VIII.
+was especially gorgeous, the coats being thickly padded and quilted with
+gold bullion thread, costly jewels afterwards being sewn in the
+lozenges. It is related that after his successful divorce King Henry
+gave a banquet to celebrate his marriage to Anne Boleyn, and wore a coat
+covered with the jewelled letters "H," and in the height of his
+satisfaction allowed the ladies to cut or tear away the jewels as
+souvenirs of his triumph over Wolsey and Catherine. It is said that he
+was left in his underwear, so great was the competition for these
+favours! Robes made of gold tissue, then called Cloth of Gold, were
+used, and in Henry's meeting with Francis I. the English and French
+armies vied with each other as to which should present a greater
+magnificence. The name "the Field of the Cloth of Gold" remains as a
+guarantee of its splendour.
+
+Under the more austere and religious rule of Queen Mary we might suppose
+that ecclesiastical embroidery would have somewhat regained a foothold.
+But the landmarks had been entirely swept away, and we have little to
+record of the reign, except that Mary herself was a clever needlewoman
+and worked much of her heartache, at the neglect of her Spanish husband,
+into her needlework. Her jealousy of her sister Elizabeth caused the
+latter to spend her life away from the pomps and ceremonies of the
+Court, and she has left many records of her handiwork, some well
+authenticated, as, for example, the two exquisite book-covers in the
+British Museum. Queen Elizabeth cannot, however, be said to have been in
+any way a patroness of the art of needlecraft. Her talent seems rather
+to have been devoted to affairs of State--and her wardrobe! On her
+death, at seventy years of age, she left over one thousand dresses, most
+of which must have been a cruel weight, so overburdened were they with
+stiff bullion and trimmed with large pearls and jewels. Her dresses were
+literally diapered with gold and silver "gimps" inset with heavier
+stones, but little real embroidery is shown.
+
+Mary Queen of Scots, on the contrary, was a born needlewoman. During her
+married life in France she learned the gentle arts of embroidery and
+lace-making, accomplishments which, as in many humbler women's lives,
+have served their owners in good stead in times of loneliness and
+trouble. The Duke of Devonshire possesses specimens of Queen Mary's
+skill, worked during the long, dreary days of her imprisonment at
+Fotheringay. It is said that Queen Elizabeth was not above helping
+herself to the wardrobe and laces that the unfortunate Queen of Scotland
+brought with her from France.
+
+Much embroidery must have been worked for the adornment of the house
+after the Reformation, but beyond an occasional old inventory nothing is
+left to show it. After the Reformation greater luxury in living
+obtained, and instead of the clean or rush-strewn floors some kind of
+floor-covering was used. Furniture became much more ornamental, and the
+use of hangings for domestic purposes was common. Not a thread of these
+hand-worked hangings remain, but we have the immense and immediate use
+of tapestry, which first became a manufacture of England in the reign of
+Henry VIII. It is easy to conceive that English women would readily
+seize upon the idea supplied in tapestry and adapt its designs to that
+of embroidery. It is certain that hangings for the old four-post beds
+were embroidered, as in the inventory of Wolsey's great palace at
+Hampton Court there is mention of 230 bed-hangings of English
+embroidery. Nothing of this remains, so that its style is simply
+conjectural; and we can only suppose these hangings to have been
+replicas of the magnificent velvet and satin hangings, covered with laid
+or couched gold and silver threads, such as Catherine of Aragon would
+bring with her from Spain. This also would account for their absolute
+disappearance. The value of the gold and silver in embroidery has always
+been a fertile source of wealth to the destroyer of ancient fabrics,
+while many embroideries worked only in silks have escaped this
+vandalism.
+
+
+
+
+V
+
+EARLY NEEDLEWORK PICTURES AND ACCESSORIES
+
+
+[Illustration: EARLY "PETIT POINT" PICTURE.
+
+Late Sixteenth Century.
+
+(_S.K.M. Collection._)]
+
+
+
+
+V
+
+EARLY NEEDLEWORK PICTURES AND ACCESSORIES
+
+     "Petit point"--old list of stitches--Stuart
+     bags--Gloves--Shoes--Caps.
+
+
+Towards the end of James I.'s reign it is supposed that the earliest
+needlework pictures appeared. They were obviously literal copies of the
+tapestries which had now become of general use in the homes of the
+wealthy, being worked in what is known as "petit point," or "little
+stitch." This stitch was worked on canvas of very close quality, with
+fine silk thread, one stitch only being taken over the junction of the
+warp and the weft of the canvas instead of the "cross stitch" of later
+days. Very few of these specimens are left of an early date. A panel,
+measuring 30 inches by 16 inches, in perfect condition, and dated 1601,
+was sold at Christie's Rooms this year for £115. The purchaser, Mr.
+Stoner, of King Street, sold it next day at a very considerable profit.
+
+At this period the workers of these pictures did not draw upon Biblical
+subjects for their inspiration (with great advantage to the picture, it
+may be stated). The subjects were either fanciful adaptations from real
+life, with the little people dressed in contemporary costume, or dainty
+little mythological subjects, such as the "Judgment of Paris," "Corydon
+wooing Phyllis," with most absurd little castles of Tudor construction
+in impossible landscapes, where the limpid stream meandered down
+fairy-like hills into a shining lake, which held dolphins under the
+water and water-fowl above it. The illustration depicts such a specimen,
+and shows one of these tiny pictures worked in no less than ten
+different stitches of lacework, in addition to the usual petit point.
+The number of these stitches is legion. In the reign of Charles I., John
+Taylor, the water-poet, wrote in 1640:
+
+    "For tent worke, raised worke, first worke, laid worke, net worke,
+    Most curious purl, or rare Italian cut worke,
+    Fire, ferne stitch, finny stitch, new stitch, chain stitch,
+    Brave bred stitch, fisher stitch, Irish stitch, and Queen stitch,
+    The Spanish stitch, Rosemary stitch, and mowle stitch,
+    The smarting whip stitch, back stitch, and cross stitch;
+    All these are good, and this we must allow,
+    And they are everywhere in practice now."
+
+[Illustration: VERY EARLY "PETIT POINT" PICTURE.
+
+(_Author's Collection._)]
+
+These are not _all_ the stitches in vogue during the first era of
+needlework pictures. A single glance at one of the early specimens,
+though it may not _charm_, fills one with amazement at the amount of
+toil, ingenuity, patience, and downright _love_ for the work the ancient
+needlewoman must have possessed. Not only pictures, however, were
+made in petit point. Many dainty little accessories of the toilet gave
+scope to the delicate fancy and nimble fingers of the ladies who had
+found solace from the cessation of their labours for the priesthood in
+making dainty little handbags and other pretty articles, each a marvel
+of minute handicraft. One bag in my possession measures only four inches
+square, and is worked on fine canvas, about forty threads to the square
+inch, the design being the favourite Tudor rose, each petal worked in
+lace stitch, and raised from the centre which is made of knots worked
+with golden hair, flat green leaves exquisitely shaded, and a charming
+bit of the worker's skill in the shape of a pea's pod, open and raised,
+showing the tiny little peas in a row. An exquisitely worked butterfly
+with raised wings in lace stitch is on the other side. The grounding of
+the whole is run with flat gold thread, making a "cloth of gold" ground,
+strings made of similarly worked canvas, with gold thread and silk
+tassels complete a bag fit for the Princess Golden Locks of our fairy
+tales. This little bag cost the writer 5 guineas, and was cheap at the
+price. The South Kensington Museum have several specimens, and although
+many are very exquisite, there is not one quite so perfect in design nor
+in such condition. Other little trifles made in similar style are the
+embroidered gauntlets of the buff leather glove worn at the time. These
+have become rarer than any other embroideries, as they were not merely
+for ornament but for actual wear. Four or five of these gauntlet gloves
+are in the South Kensington Collection, but are of a later date than
+the "petit point" period.
+
+The use of gloves in England was not very general, we may infer, in the
+earlier ages of embroidery. There are certain evidences, however,
+showing that the glove was part of the priestly outfit, remains of
+gloves having been found on the bones of Thomas à Becket when they were
+transferred from the crypt of Canterbury Cathedral to the special shrine
+prepared for them; and a crimson leather pair, bearing the sacred
+monogram in embroidered gold, are preserved in the New College, Oxford,
+belonging to the founder, William of Wykeham, who opened the college in
+1386.
+
+It was not until the fourteenth century that the wearing of gloves
+became general, and practically nothing remains to show what manner of
+hand-covering was worn until the Tudor period. Henry VIII. was
+exceptionally lavish and extravagant in the use of handsomely
+embroidered gloves, and few of his portraits show him without a
+sumptuous glove in one hand. He had gloves for all functions--like a
+modern fashionable woman. A pair of hawking gloves belonging to him are
+in the Ashmolean Museum, Oxford, and in South Kensington is one of a
+pair presented by Henry to his friend and Councillor Sir Anthony Denny.
+It is of buff, thin leather, with a white satin gauntlet, embroidered
+with blue and red silk in applique work, decorated with seed-pearls and
+spangles, and trimmed with gold lace. The Tudor rose, the crown, and the
+lion are worked amidst a splendour of gold and pearls.
+
+[Illustration: A STUART GLOVE.
+
+(_S.K.M. Collection._)]
+
+Queen Elizabeth must have inherited her love for gorgeous apparel along
+with her strong personality and masterful spirit, as her expenditure for
+gloves alone was proverbial. The favourite offering to her was a pair of
+gloves, but she was not above accepting shoes, handkerchiefs, laces, and
+even gowns from her faithful and admiring subjects. On her visit to
+Oxford in 1578 she was presented by the Chancellor of the University
+with a pair of perfumed gloves, embroidered with gold and set with
+jewels, which cost the University sixty shillings, an immense sum in
+those days. Other historic gloves are in the various museums of the
+country, seldom or never coming into the open market. In the
+Braikenridge Collection sold at Christie's in February of this year I
+was able to secure one for £2 12s. 6d., immediately afterwards being
+offered double the price for it.
+
+The gloves belonging to Charles I. and Queen Henrietta Maria were very
+ornamental, and it is said that even Oliver Cromwell, with all his
+austerity, was not proof against the fascination of the decorated glove.
+
+With Charles II. the embroidered gloves seem to have vanished along with
+the stumpwork pictures, of which more anon.
+
+Dainty shoes were embroidered in those old times. These, being articles
+of wear, like the gloves, are very rare. The same fine petit point work
+is seen on them; seed-pearls and in-run gold threads adorn them, and
+frequently the Tudor rose, in raised work, forms the shoe knot. Two
+pairs in Lady Wolseley's Collection, sold in 1906, fetched six guineas,
+and nine and a half guineas. Tiny pocket-books were covered with this
+pretty work, and charming covers almost as fresh as when they were
+worked are occasionally unearthed, made to hold the old-fashioned
+housekeeping and cooking books.
+
+One wonders oftentime how many, and yet, alas! how few, specimens of
+this old petit point work have been preserved. It is only during recent
+years that the "cult of the antique" has been fashionable, and is also
+becoming a source of income and profit to the many who indulge in its
+quest. Only members of learned antiquarian societies or born reliquaries
+troubled themselves to acquire ancient articles of historic interest
+because they were _old_, and served to form the sequence in the fairy
+tales of Time. Anything "old" was ruthlessly destroyed, as being either
+past wear, shabby, or old-fashioned, and countless treasures, both in
+ecclesiastical and secular art, have at all periods been recklessly
+destroyed for the sake of their intrinsic value in gold or jewels. In
+the early days of my life I was allowed to pick out the corals and
+seed-pearls from an old Stuart needle picture "for a doll's necklace!"
+the picture itself probably going into the "rag-bag" of the
+mid-Victorian good housekeeper.
+
+
+
+
+VI
+
+STUART CASKETS AND MIRRORS
+
+
+
+
+VI
+
+STUART CASKETS AND MIRRORS
+
+     Secret drawers and hidden receptacles--High prices in the
+     Salerooms.
+
+
+Among the many treasures of this exquisite period of needlecraft are the
+well-known Stuart caskets. Very interesting and valuable are these
+charming boxes, many of them being in a fine state of preservation,
+owing to their having been enclosed in either a wooden or leathern box
+specially made to contain them. These queer little boxes are frequently
+made in the shape of Noah's ark. The lid being raised, a fitted mirror
+is disclosed. The mirror slides out, and a secret recess may be
+discovered to hold letters. The front falls down, disclosing any number
+of tiny drawers, each drawer being silk-lined and the front of it
+embroidered. Here, again, we may look for secret drawers. Very seldom
+does the drawer run to the width of the cabinet, but by removing every
+drawer and carefully searching for springs or slides many a tiny recess
+is disclosed, where costly jewels, and perhaps a love-gage, has reposed
+safely from the sight of unworthy eyes.
+
+Every square inch of these caskets is covered with embroidery, sometimes
+in canvas, worked with the usual scriptural or mythological design, and
+in others with white satin, exquisitely embroidered with figures and
+floral subjects. Those in best preservation have been covered with mica,
+which has preserved both the colour and the fabric. The fittings are
+generally of silver. On the few occasions when these boxes or caskets
+come into the market high prices are realised. Messrs. Christie last
+year obtained £40 for a good specimen. I have never seen one sold under
+£30, and as much as £100 has been given.
+
+Another pretty fancy was to cover small trays, presumably for the work
+or dressing table, with embroidery. Not many of these remain, the wear
+of removing them from place to place having been too much for their
+staying powers. One in my possession is a small hexagonal tray with
+raised sides, embroidered in coloured silks in floral design, on what
+was once white satin. It is by no means a thing of beauty now, but as a
+specimen it is interesting, and "a poor thing, but mine own," which
+covers a multitude of shortcomings in these old relics, fortunately.
+
+[Illustration: "STUART" MIRROR FRAME.
+
+(_Lady Wolseley's Collection._)]
+
+Far more frequently met with, though quite prohibitive in price, are the
+Stuart embroidered mirrors, which easily command £80 to £100 in the
+salerooms. They are generally set in a frame of oak, leaving five or six
+inches (which would otherwise be covered with carving or veneer) for
+the embroidery. The mirror itself is comparatively small, being only
+a secondary consideration, and often little remains of it for its
+original purpose, as the glass is blurred and the silvering gone. Many
+of these mirrors have _bevelled_ glass, which, of course, is wrong.
+
+The mirror shown in the illustration is one recently belonging to
+Viscountess Wolseley and sold by her, among other Stuart needlework
+specimens, at Messrs. Puttick & Simpson's in 1906. This mirror sold for
+£100. The figures represent Charles I. and Queen Henrietta Maria, one on
+either side of the mirror. The figure at the top of the frame is
+difficult to understand; whether she is an angel or a mere Court lady
+must be left to conjecture. The rolling clouds and the blazing sun are
+above her head, and a peacock, with tail displayed, is on one side and a
+happy-looking stag on the other. Two royal residences adorn the topmost
+panels on either side, with all their bravery of flying flags and
+smoking chimneys, and the lion and the leopard occupy the lower panels.
+The latter animal identifies the King and Queen, who might otherwise be
+Charles II. and his consort, as after Charles I.'s time the leopard gave
+place to the unicorn for some unexplained reason. Other typical little
+Stuart animals and birds fill in the extra panels, such as the spotted
+dog who chases a little hare who is never caught, and the gaily-coloured
+parroquet and kingfisher, which no respectable Stuart picture would be
+without. The caterpillar, the ladybird, and the snail are all _en
+evidence_; and below is a real pond, covered with talc, and containing
+fish and ducks, the banks being made of tiny branching coral beads and
+tufted silk and bullion work.
+
+About this time, when Venetian lace came into fashionable use as an
+adjunct to the exquisite Stuart dress, tiny coloured beads were imported
+from Venice. The embroiderers at once seized upon them as a new and
+possibly more lasting means of showing their pretty fancies in design.
+Many delightful specimens of these beadwork pictures are preserved, the
+colours, of course, being as fresh as yesterday. The ground was always
+of white satin, now faded and discoloured with age, and often torn with
+the heaviness of the beadwork design. They are scarcely so charming as
+the all needlework pictures, but still are delightful and covetable
+articles. The exigencies of the beadwork, however, lends a certain
+stiffness and ungainliness to the figures.
+
+
+
+
+VII
+
+EMBROIDERED BOOKS AND "BLACK WORK"
+
+
+[Illustration: "STUART" BOOK COVER.
+
+(_British Museum._)]
+
+
+
+
+VII
+
+EMBROIDERED BOOKS AND "BLACK WORK"
+
+     Style and symbolism--Specimen in British Museum and Bodleian
+     Libraries--"Black work"
+
+
+Among the many dainty examples of Tudor and Stuart needlework are to be
+found the exquisitely embroidered book-covers which date from Queen
+Elizabeth's girlhood until the time of Charles II. They were always of
+diminutive size, and many stitches diversify their covering; oftentimes
+they were liberally embroidered with seed-pearls, and in these instances
+most frequently this fashion has been their salvation. A book somehow
+always seems to be a more sacred thing than a picture, and the costly
+little volumes which remain to show this dainty handicraft have
+apparently always been used either for Church or private devotional
+purposes.
+
+The designs of the book-covers almost always follow certain styles.
+These are either heraldic, scriptural, symbolical, floral, or arabesque.
+
+The first-named variety usually belonged to royalty or one of the many
+noble houses whose ladies busied themselves with fair needlework. The
+shield, containing the coat of arms of the family, occupied the centre
+of the book-cover, being formed in raised gold and silver guipure or
+cord, and on the reverse the worker's initials frequently appear, with a
+pretty border in gold and silver, to outline the edges.
+
+The scriptural book-covers are always worked on canvas in fine petit
+point stitches. One in South Kensington Museum is larger than most of
+these volumes, and has on one side Solomon in all his glory and on the
+reverse Jacob and his ladder and King David. These canvas-covered books
+appear to have suffered most from the wear and tear of time, and very
+few remain.
+
+The symbolical covers are few, and mostly uninteresting. They are worked
+as a rule on silk and satin in loose satin stitches, which have suffered
+much from friction. The sacred monogram is often the centre of the
+device. A favourite design was adorning the back of the books with
+portraits of the martyred King Charles I., Queen Henrietta Maria, and
+the popular Duke of Buckingham.
+
+[Illustration: POCKET-BOOK OF SATIN, EMBROIDERED WITH COLOURED SILKS AND
+SILVER-GILT THREAD.
+
+Said to have been the property of Queen Elizabeth.
+
+(_In Countess Brownlow's Collection._)]
+
+The stitches used were generally chain-stitch, split-stitch, petit
+point, and lace-stitch; and the patterns were most frequently outlined
+with a gimp made of flattened spiral wire, or _purl_, which was a fine
+copper wire covered with coloured silks and cut in lengths for use. Very
+often, also, small silver spangles were employed, either stitched down
+with a piece of purl or a seed-pearl. Frequently the covers were of
+velvet with the designs appliquéd down to it, and _laid_ or _couch_ work
+outlined the designs. Sometimes flat pieces of metal were cut to shape
+and stitched down, as in one instance where the corners of the books
+were trimmed with the rays of the sun cut in gold, and stitched over
+with a gold thread.
+
+Many of the charming little bags of which mention has already been made
+are supposed to have been worked to hold the Prayer Book and Book of
+Psalms, without which no devout lady deemed herself fully equipped.
+
+The most famous book is Queen Elizabeth's Book in the British Museum.
+The cover is of choice green velvet, the flat of the back has five roses
+embroidered in lace, raised stitches and gold and pearl. The Royal Arms
+are on either side of the book in a lozenge of red silk and pearls. The
+whole design, apart from this, is worked in red and white roses and
+scrolls of gold and silk. This gorgeous little cover contains "The
+Mirrour of Glasse of the Synneful Soul," written by Elizabeth herself,
+and of it she writes that she "translated it out of french ryme into
+english prose, joyning the sentences together as well as the capacities
+of my symple witte and small lerning could extende themselves." It is
+dedicated "To our most noble and virtuous Queen Katherine [Katherine
+Parr] from Assherige, the last day of the year of our Lord God, 1544."
+
+In the Bodleian Library there is another treasured little book, again
+worked by Queen Elizabeth. It is only 7 inches by 5 inches, and has the
+same design on both sides. In this the ground is what is known as
+"tapestry stitch," worked in thick, pale-blue silk, and the design is of
+interlacing gold and silver threads with a Tudor rose in each corner.
+"K. P." is marked on the cover, and shows that this also was worked for
+Queen Katherine Parr.
+
+Yet another little book is in the British Museum. It contains a prayer
+composed by Queen Katherine Parr, and is written on vellum by Queen
+Elizabeth.
+
+The cover illustrated is a typical example of the class of embroidered
+works of the period. Later the covers showed less intricate work, and
+finally developed into mere velvet covers embroidered with silver or
+gold.
+
+[Illustration: STUART EMBROIDERED CAP. (_S.K.M. Collection._)]
+
+
+BLACK WORK.
+
+A curious phase of Old English embroidery is the well-known "Black
+Work," which is said to have been introduced by Catherine of Aragon into
+England, and was also known as "Spanish work." The work itself was a
+marvel of neatness, precision, and elegant design, but the result cannot
+be said to have been commensurate with the labour of its production.
+Most frequently the design was of scroll-work, worked with a fine black
+silk back-stitching or chain-stitch. Round and round the stitches go,
+following each other closely. Bunches of grapes are frequently worked
+solidly, and even the popular peascod is worked in outline stitch, and
+often the petit point period lace stitches are copied, and roses and
+birds worked separately and after stitched to the design. There are many
+examples of this famous "Spanish" work in the South Kensington
+Museum. Quilts, hangings, coats, caps, jackets, smocks are all to be
+seen, some with a couched thread of gold and silver following the lines
+of the scrolls. This is said to be the Spanish stitch referred to in the
+old list of stitches, and very likely may be so, as the style and manner
+are certainly not English; and we know that Catherine of Aragon brought
+wonders of Spanish stitchery with her, and she herself was devoted to
+the use of the needle. The story of how when called before Cardinal
+Wolsey and Campeggio, to answer to King Henry's accusations, she had a
+skein of embroidery silk round her neck is well known.
+
+The black silk outline stitchery or linen lasted well through the late
+seventeenth and eighteenth centuries. Very little of it is seen outside
+the museums, as, not being strikingly beautiful or attractive, it has
+been destroyed.
+
+Another phase of the same stitchery was working cotton and linen
+garments, hangings, and quilts in a kind of quilted pattern with yellow
+silk.
+
+Anything more unlike the quilting of fifty years ago cannot be imagined.
+The finest materials were used, the padding being placed bit by bit in
+its place--not in the wholesale fashion of later years, when a sheet or
+two of wadding was placed between the sheets of cotton or linen, and a
+coarse back-stitching outlined in great scrawling patterns held the
+whole together. The old "quilting" work was made in tiny panels,
+illustrating shields and other heraldic devices, and had a surface as
+fine as carved ivory. When, as in the case of one sample at South
+Kensington, the quilt is additionally embroidered with beautiful fine
+floss silk flowers, the effect is very lovely.
+
+
+
+
+VIII
+
+STUART PICTURES
+
+
+
+
+VIII
+
+STUART PICTURES
+
+     "Petit point"--"Stump work"--Royalistic symbols.
+
+
+Though these pictures bear the name of Stuart, many of them are
+undoubtedly Tudor. The earliest (if the evidence of costume is of any
+value) must have been worked in Elizabeth's time, but as the
+authenticated specimens date only from the reign of James I. they are
+known as Stuart. The only pictures worked in the early days of this art
+were worked in petit-point, the tiny stitch which imitated tapestry, and
+very quaint are the specimens left to us. The favourite themes were
+entirely pagan. Gods and goddesses disported themselves among leafy
+trees. Cupid lightly shot his arrows, the woods were inhabited by an
+unknown flora and fauna which seem all its own. The very dogs seem to be
+a different species, having more likeness to the china dogs of the
+spotted or liver and white variety which the Staffordshire potters made
+at the beginning of our own century. Innumerable little castles were
+perched in perfectly inaccessible positions on towering crags, and the
+laws of perspective were generally conspicuous by their absence. The sun
+in those days was a very visible body, and apparently delightful to
+work, no Stuart picture being without one; the rolling clouds oftentimes
+are confused with the convoluted body of the caterpillar, little
+difference being made in the design. The birds were of very brilliant
+plumage, and the world was evidently a very gay and sportive place when
+these fair ladies spent their leisure over this embroidery! These early
+pictures seldom show the religious feeling that afterwards slowly worked
+its way through the Stuart days (though, perhaps, disguised under
+royalistic symbolism), until in the reign of Queen Anne it became more
+or less a fashion, in pictorial needle-craft. It burst out afresh in the
+early nineteenth century and became an absolute obsession of the early
+Victorian Berlin-wool workers with most disastrous results to both
+design and work.
+
+Until the end of Charles I.'s reign needlework pictures must have been
+scarce, as we find one enumerated in the inventory of his "Closet of
+Rarities." It is possible that the many pictures which represent Charles
+I. were worked by loyalist ladies, _after his execution_ and _during the
+Commonwealth_. In many of these pictures his own hair is said to have
+been used, thereby becoming relics of him who was known as "the Martyred
+King." On a very finely worked portrait of Charles I., at South
+Kensington Museum, King Charles's hair is worked amongst the silken
+threads.
+
+[Illustration: KING CHARLES I., WORKED IN FINE SILK EMBROIDERY.
+
+(_S.K.M. Collection._)]
+
+Throughout this time, no matter what the subjects, most of which were
+notably striking scenes from Scripture history, such as "Esther and King
+Ahasuerus," "Solomon and the Queen of Sheba," "The Judgment of Solomon"
+(a very favourite subject), and other scenes of Old Testament history,
+all the kings were Charles I. and all the Queens Henrietta Maria. One
+and all wore early Stuart costumes. Even Pharaoh's daughter wore the
+handsome dress of the day, with Point lace falling collar and real
+pearls round her neck. It is a fashion to jeer at this anachronism; but
+may it not perhaps be that we take these pictures too literally, and
+deny the workers their feelings of passionate devotion to the lost
+cause. Doubtless they worked their loyalty to their beloved monarch into
+these pretty and pleasing fancies, just as it is said that the fashion
+of "finger-bowls" was introduced later so that the loyal gentlemen of
+the day might drink to the King "_over the water_." I see no cause to
+deny intelligence to these dear dead women, who were capable of
+exquisite needlecraft and fine design, and whose devotion was shown in
+many instances by giving up jewels, houses, and lands for the King!
+
+The fashion of "stump" or stamp work appears to have been derived from
+Italy. Italian needlework of this time abounds with it, and, it must be
+admitted, of a superior design, and style to that which was known here
+as "stump" work. Until the eighteenth century English work was more or
+less archaic in every branch. Personally, I see no more absurdity in the
+queer doll-like figures than in contemporary wood-carving. It was a
+period of tentative effort, and was, of course, beneath criticism.
+English Art has ever been an effort until its one bright burst of genius
+in the eighteenth century, while the continental nations appear to have
+breathed artistic perception with life itself.
+
+The prototype of our stump work pictures, the Italian raised work, are
+gracious, graceful figures perfectly proportioned, and set in lovely
+elegant arabesques, with no exaggeration of style or period. Some
+specimens of this work must have been brought from Italy, through
+France, and the English workers quickly adopted and adapted them to
+their own heavier intelligence. Some of the little figures are certainly
+very grotesque. Frequently the tiny little hands are larger than the
+heads, but the _stitchery_ is exquisite.
+
+No time seems to have been too long to have been spent in perfecting the
+petals of a rose, the loose wing of a butterfly, or to make a realistic
+curtain in fine Point lace stitches to hang from the King's canopy. Some
+of the King's dresses are said to have been made of tiny treasured
+pieces of his garments. There is no doubt that much devoted sentiment
+was worked into these little figures, and these touches of nature add a
+pathetic interest to them.
+
+[Illustration: SUPERB EXAMPLE OF STUART PICTURE.
+
+(_S.K.M. Collection._)]
+
+In the illustration of "King Solomon receiving the Queen of Sheba" from
+the South Kensington Collection Solomon is obviously King Charles I.,
+while the Queen of Sheba is equally recognisable as Queen Henrietta
+Maria. The picture is perhaps the finest in the Kensington Collection,
+the colours being fresh and the work intact. The little faces are
+worked over a padding of soft frayed silk or wool, the features being
+drawn in fine back-stitch. Natural hair is worked on the King's and
+Queen's heads, and the crowns are real gold thread set with pearls. The
+canopy is worked _solidly_ in silk and gold thread, and from it hang
+loose curtains in old brocade, worked over and over with gold and silken
+thread.
+
+The King's mantle and that of the Lord Chamberlain are worked in Point
+lace stitches, afterwards applied to the bodies and hanging loosely. The
+Queen's dress is brocade, worked over with gold and silver, while
+strings of real pearls decorate the necks and wrists of the ladies, and
+real white lace of the Venetian variety trims the neck and sleeves of
+these fairy people. The Stuart castle we see perched up among the trees
+and touching the sun's beams is more like an English farmhouse than
+Whitehall. Yet either this or Windsor Castle is always supposed to be
+represented.
+
+The British lion and the leopard, again, make the identity of these
+little people more certain. The quaint little trees bear most
+disproportionate fruits, the acorn and pears being about the same size,
+but all beautifully worked in Point-lace stitches over wooden moulds.
+The hound and the hare, the butterfly and the grub, and the strange
+birds make up one of the most typical Stuart pictures.
+
+The next illustration shows another development of picture-making. Here
+the grounding is of white satin, as in the previous illustration, but
+the figures are worked on canvas separately, in fine petit-point
+stitch, afterwards being cut away and placed on the white satin ground
+with a few silk stitches and the whole outlined with a fine black silk
+cord. The subject is "The Finding of Moses," and is as full of
+anachronisms as the last, only that here again Pharaoh's daughter is
+worked in memory of Queen Henrietta Maria, and the tiny boy in the
+corner is Charles II., and Moses the infant Duke of York. The
+four-winged cherubs are the guardian angels who are watching over the
+lost fortunes of the Stuart family, and the rose of England and the lilies
+of France which form the border are emblematical of the royal lineage of
+their lost King's family. The hound and hare still chase each other
+gaily round the border, and in the picture the hare is seen emerging,
+like the Stuarts, from exile and obscurity.
+
+Sufficient has perhaps been said to cause those who possibly may have
+misunderstood these pictures to give them another glance, and allow
+imagination to carry them back to the times of the exiled Royal Family
+and their brave adherents, whose women allowed not their memories to
+slumber nor their labours to flag. These pictures must have been made
+during the Commonwealth and the reign of Charles II. In no case, to my
+knowledge, has King Charles II. been depicted in stitchery, nor yet
+Catherine of Braganza. James II. is equally ignored, and with him their
+mission seemed to have been accomplished. Possibly the people had had by
+this time sufficient of the Stuarts, and the memory of King Charles the
+martyr had waxed dim. Certain it is that with James II. Stuart
+needlework pictures suddenly ceased.
+
+[Illustration: STUART PICTURE, SHOWING THE FINDING OF MOSES.
+
+(_S.K.M. Collection._)]
+
+
+_Stump work Symbols._
+
+The symbolism of the various animals, birds, insects, and flowers which
+are, apparently without rhyme or reason, placed in one great disarray in
+the Stuart pictures is said to have been heraldic and symbolic. The
+sunbeam coming from a cloud, the white falchion, and the chained hart
+are heraldic devices belonging to Edward III.
+
+The buck and the strawberry, which are so often seen, belong to the
+Frazer Clan of Scotland, and may have been worked by ladies who were
+kith and kin of this clan.
+
+The unicorn was the device of James I. and the siren or mermaid of Lady
+Frazer, who is said to have worked her own golden hair in the heart of a
+Tudor rose on a book cover for James I.
+
+The hart was also a device of Richard II. and the "broom pod" of the
+Plantagenets. The caterpillar and butterfly were specially badges of
+Charles I., while the oak-tree and acorn were invariably worked into
+every picture in memory of Charles II.'s escape in an oak tree.
+
+
+
+
+IX
+
+SAMPLERS
+
+
+
+
+IX
+
+SAMPLERS
+
+     Real art work--Specimens in South Kensington Museum--High price
+     now obtained.
+
+
+A "sampler" is an example or a sample of the worker's skill and
+cleverness in design and stitching. When they first appeared, as far as
+we know about the middle of the seventeenth century, they were merely a
+collection of embroidery, lace, cut and drawn work stitches, and had
+little affinity to the samplers of a later date, which seemed especially
+ordained to show various patterns of cross stitches, the alphabet, and
+the numerals.
+
+The early samplers were real works of art; they were frequently over a
+yard long, not more than a quarter of a yard wide, and were adorned with
+as many as thirty different patterns of lace and cut and drawn work.
+This extreme narrowness was to enable the sampler to be rolled on a
+little ivory stick, like the Japanese _kakemonas_.
+
+The foundation of all the early samplers was a coarse linen, and to this
+fact we owe the preservation of many of them. Those made two hundred
+years later, on a coarse, loose canvas, even now show signs of decay,
+while these ancient ones on linen are as perfect as when made, only
+being gently mellowed by Time to the colour of old ivory.
+
+The earliest sampler known is dated 1643, and was worked by Elizabeth
+Hinde. It is only 6 inches by 6-1/2 inches, and is entirely lacework,
+and apparently has been intended for part of a sampler. The worker
+perhaps changed her mind and considered rightfully that she had
+accomplished her _chef d'oeuvre_, or as so often explains these
+unfinished specimens, the Reaper gathered the flower, and only this
+dainty piece of stitching was left to perpetuate the memory of Elizabeth
+Hinde.
+
+The sampler in question is just one row of cut and drawn work and
+another of fine Venetian lacework, worked in "punto in aria." A lady in
+Court dress holds a rose to shield herself from Cupid, a dear little
+fellow with wings, who is shooting his dart at her heart. Perhaps poor
+Elizabeth Hinde died of it and this is her "swan song."
+
+[Illustration: A SEVENTEENTH-CENTURY "SAMPLER" (ENGLISH), SHOWING CUT
+AND DRAWN WORK.
+
+(_S.K.M. Collection._)]
+
+The earliest samplers appeared to have been worked only on white cotton
+or silk. A favourite design, apart from the lacework samplers, was the
+"damask pattern" sampler, a specimen of which may be noted, commencing
+with the fifth row, on the sampler illustrated. Sometimes the sampler
+was entirely composed of it, and although ineffective, remains as a
+marvel of skill. It was worked entirely in flat satin stitch and eyelet
+holes, known as the "bird's eye" pattern. In the illustration four rows
+of cutwork will be noted, followed by five rows of drawn threadwork,
+and above are patterns worked in floral and geometric designs in
+coloured silks. The alphabet and the date 1643 complete this monument of
+skill, which may be seen in the South Kensington Museum.
+
+The succeeding illustration shows a more ambitious attempt, and is
+considered one of the finest specimens known. It was worked by Elizabeth
+Mackett, 1696. It is on white linen with ten rows of floral patterns
+worked with coloured silks in cross, stem, and satin stitches, with some
+portions worked separately and applied. Five rows of white satin stitch,
+two rows of alphabet letters in coloured silks, and four rows of
+exquisite punto in aria lace patterns are followed by the alphabet again
+in white stitches and the maker's name and date. The sampler is in
+superb preservation, the colours are particularly rich and well chosen.
+This sampler is also from the South Kensington Collection. Often the
+worker's name is followed by a verse or rhyme having a delightfully
+prosaic tendency. One can imagine the poor girls, in the early days we
+are writing of, writhing under the infliction of having slowly and
+painstakingly to work the solemn injunction--
+
+    "When this you see remember me
+      And keep me in your mind,
+    And be not like a weathercock
+      That turns at every wind.
+
+    When I am dead and laid in grave,
+      And all my bones are rotten,
+    By this you may remember me
+      When I should be forgotten."
+
+And we can appreciate how little Maggie Tulliver ("The Mill on the Floss")
+must have girded at the philosophy she was compelled to work into her
+sampler--
+
+    "Look well to what you take in hand,
+      For learning is better than house or land;
+    When land is gone and money is spent
+      Then learning is most excellent."
+
+With the eighteenth century the beauty of the Samplers distinctly
+declined. They became squarer, and were bordered with a running pattern,
+and the whole canvas became more or less pictorial. Inevitably the end
+of this art came. Ugly realistic bowpots with stumpy trees decorated the
+picture in regular order. The alphabet still appeared, and moral
+reflection seemed to be the aim of the worker rather than to make the
+Sampler show beauty of stitchery. Quaint little maps of England are
+often seen, surrounded with floral borders, but it remained to the early
+nineteenth century to show how the Sampler became reduced to absurdity.
+One of the quaintest and most amusing Samplers at South Kensington is a
+12-inch by 8-inch example in woollen canvas and embroidered with
+coloured silk. At the lower end is a soldier, a tiny realistic house, a
+dovecot, any number of flowering plants, a stag and other animals. Above
+is a band of worked embroidery enclosing the words, "This is my dear
+Father." The remaining spaces are filled in with angels blowing
+trumpets, double-headed eagle, peacocks and other birds, and baskets of
+fruit. In spite of its absurdity, this little piece is far more
+pleasant than the tombstone inscriptions which abound, and is, after
+all, delightfully suggestive of home and affection.
+
+[Illustration: EARLY ENGLISH "SAMPLER," SHOWING EMBROIDERY IN COLOURED
+SILK.
+
+(_S.K.M. Collection._)]
+
+[Illustration: EARLY ENGLISH "SAMPLER," SHOWING BIRD'S-EYE EMBROIDERY
+AND CUT AND DRAWN WORK.
+
+(_S.K.M. Collection._)]
+
+Another quaint piece at South Kensington is a sampler worked by poor
+Harriet Taylor, _aged seven!_ At the top are four flying angels, two in
+clouds flanking a crown beneath the letters "G. R." In the middle stands
+a flower-wreathed arch, with columns holding vases of flowering plants;
+above are the words, "The Temple of Fancy," and within an enclosed space
+the following homily:
+
+    "Not Land but Learning
+      Makes a man complete
+    Not Birth but Breeding
+      Makes him truly Great
+    Not Wealth but Wisdom
+      Does adorn the State
+    Virtue not Honor
+      Makes him Fortunate
+    Learning, Breeding, Wisdom
+      Get these three
+    Then Wealth and Honor
+      Will attend on thee."
+
+Then follows a house called "The Queen's Palace," standing in an
+enclosed flower-garden. This masterpiece of moral philosophy from the
+hands of a child of seven years is dated 1813.
+
+An exaggerated conception of the value of old Samplers is very widely
+spread. Only the seventeenth-century Samplers are really of consequence,
+and these fetch fancy prices. In the sale-rooms a long narrow Sampler
+of lace stitches and drawn-thread work would bring as much as a
+handsome piece of lace. They are practically unattainable, and in this
+case the law of supply and demand does not obtain. It is beyond the
+needlewomen of the present day to imitate these old Samplers. Life is
+too short, and demands upon time are so many and varied, that a lifetime
+of work would result in making only one. Therefore, the fortunate owners
+of these seventeenth-century Samplers may cherish their possessions, and
+those less lucky possess their souls in patience, and hoard their golden
+guineas in the hope of securing one. Twenty years ago a few pounds would
+have been ample to secure a fine specimen, but £30 will now secure only
+a short fragment.
+
+During the last three years I have not seen a good Sampler at any London
+Curio or lace shop, and none appear in the sale-rooms. The
+eighteenth-century Samplers are comparatively common, the map variety
+especially so, and can be purchased for a pound or so, but these are not
+desirable to the collector.
+
+
+
+
+X
+
+THE WILLIAM AND MARY EMBROIDERIES
+
+
+[Illustration: JACOBEAN WALL-HANGING WORKED IN COLOURED CREWELS ON LINEN
+GROUND.
+
+(_S.K.M. Collection._)]
+
+
+
+
+X
+
+THE WILLIAM AND MARY EMBROIDERIES
+
+     Queen Mary "a born needlewoman"--The Hampton Court
+     Embroideries--Revival of petit point--Jacobean hangings.
+
+
+One of the most convincing facts in arguments that there _is_ a revival
+in the gentle art of needlecraft is that it has become the fashion to
+drape our windows, cover our furniture, and panel our walls with printed
+copies of the Old Jacobean needlework. Many people, knowing nothing
+whatever about the history of needlework, wonder where the designs for
+the printed linens which line the windows of Messrs. Liberty, Goodall
+and Burnett's colossal frontages in Regent Street have been found. In
+time amazement gives way to admiration for these quaint blues and
+greens, roses and pale yellows, worked in great scrolls with exotic
+flowers and still more exotic birds, and the funny little hillocks with
+delightful little pagoda-like cottages nestling amongst them, and many
+and various little animals which seem to keep perpetual holiday under
+the everlasting blooms. The designs are taken bodily from the
+historical hangings of the later seventeenth century. After the
+abdication and flight of James II. to St. Germains, his daughter Mary
+came over with her Dutch husband, William the Stadtholder--or, rather,
+William came over and brought his wife, the daughter of the late king,
+for William had no intention of assuming the style and life of Prince
+Consort, but came well to the front, and kept there. It was not
+"VICTORIA _and Albert_" in those days, but WILLIAM and MARY, who ruled
+England, and ruled it well. William III. must have been a man of strong
+personality, and he managed to quell all the rebellions of his reign,
+and during the time he ruled over us the country settled down to a
+peaceful state that has remained to the present time.
+
+Queen Mary had quite sufficient employment in settling herself and her
+household, and generally managing the domestic matters pertaining to the
+new kingdom she had come into. She apparently had a very free hand in
+rebuilding Hampton Court, which she particularly made her home,
+absolutely pulling the interior down, and rebuilding and redecorating it
+according to her own taste, which was not that of the Stuart persuasion
+with its gorgeous magnificence, but the more homely and solid Dutch.
+Very little of the original Hampton Court _interior_, built and
+furnished by Cardinal Wolsey, exists. Just here and there we find
+delightfully dark little dens with the original linen-fold panellings
+and ceilings that are a ravishment to look upon; but mostly the rooms
+are high, plain-panelled, and with the quaint ingle-nook fireplaces,
+with shelves above, upon which Mary placed her lovely "blue and white"
+porcelain which had been brought to her by the Dutch merchants who at
+that time were the great traders of the sea.
+
+[Illustration: ENLARGEMENT OF "JACOBEAN" SPRAY.
+
+(_S.K.M. Collection._)]
+
+Queen Mary ought to be regarded as the patron saint of English
+needlewomen. She was happiest when employed furnishing every
+bed-covering, every chair and stool, and supplying the hangings for her
+favourite home. It is said that she spent her days over her embroidery
+frame, knowing full well that affairs of State were in the capable hands
+of her husband.
+
+There are few relics left of her handiwork outside Hampton Court. She
+left no dainty little book-covers, bags, or boxes, as her ideas were
+fixed on larger pieces of embroidery. Had she lived in the Berlin-wool
+picture days, she would have filled every nook and cranny with these
+atrocities, as many humbler devotees to the needle have done to our own
+knowledge. Needlework can become a _passion_, and certainly Queen Mary
+must have possessed it.
+
+After the complete collapse of the Stuart stump pictures, when every
+vestige of loyalty seems to have been swept away with the hated James
+II., the ancient Petit Point pictures came back into fashion. Very
+clever work was put into them, but, alas! their scope was purely to
+depict religious scenes of the rigorous kind. No dainty fairy-like
+little people now ruled in pictured story, but actual representations of
+Bible history.
+
+The illustration of "The Baptism of the Ethiopian Eunuch by St. Philip"
+is a fair sample of the needlework picture of this time. The picture is
+a strange mixture of the early Stuart Petit Point, the Jacobean
+wall-hanging, and the newly revived religious spirit. The duck-pond, the
+swans and the water-plants might have been copied bodily from James I.'s
+time. The paroquet and the flying bird, and the immense leaves and
+blossoms, are direct from the wall-hangings, while the figures only too
+surely foretell the coming dark days of needlecraft, when a Scripture
+picture and a coarsely worked sampler were part of every girl's liberal
+education. The work in this picture is extremely good, and it is
+excruciatingly funny without intending to be so. The pretty little
+equipage with its diminutive ponies surely was never intended to carry
+either St. Philip or the Eunuch! The open book, with Hebraic
+inscription, is very delightful. It brings to mind the Tables of the Law
+rather than the light reading that the charming little Cinderella coach
+should carry.
+
+These pictures are not common, and we scarcely know whether to be
+thankful for them or not. Unlike the early petit point, they were worked
+in _worsteds_, whereas the early pictures were wrought in silk. The moth
+has a natural affinity for wool, as we all know, and his tribe has
+cleared off many hundreds of examples. Why so many of the old Jacobean
+hangings remain is that they were worked for _use_, and not ornament,
+and even after they ceased to be fashionable ornaments for sitting and
+bed rooms, they were either relegated to the servants' quarters, or
+given to dependants, who used them constantly, shaking and keeping
+them in repair, as the eighteenth-century housewives liked to keep their
+homes swept and garnished.
+
+[Illustration: NEEDLEWORK PICTURE OF QUEEN ANNE PERIOD.
+
+(_S.K.M. Collection._)]
+
+It is strange to see these old Jacobean hangings (perhaps the drapery of
+the now tabooed four-post bedstead), which might some thirty years ago
+have been carried off for the asking, sell at Christie's for £800, as
+happened in the dispersal of the Massey-Mainwaring sale last year. Even
+a panel of no use except to frame as a picture, say 4 feet by 3 feet,
+will fetch £30 and a full-sized bed-cover can only be bought for over
+£100. The reason is not far to seek. The colouring and the drawing of
+this fine old Crewel-work are exquisite (even though the design savours
+of the grotesque), and Time has dealt very leniently with the dyes. I
+endeavoured to match some of these old worsteds a little time ago, and
+though able to find the colours, could not get the tone. After much
+tribulation I was advised to hang the skeins of worsted on the trees in
+the garden and _forget all about them_, and certainly wind and weather
+have softened the somewhat garish worsteds to the soft, _fade_ colours
+of the old work.
+
+The same class of embroidery was executed during the reign of Queen
+Anne, though she herself did little of it. Costly silks and brocades and
+Venetian laces were the dress of the day, and no little dainty
+accessories appear to have been made.
+
+
+
+
+XI
+
+PICTORIAL NEEDLEWORK OF THE EIGHTEENTH CENTURY
+
+
+[Illustration: A FINE "PAINTED FACE" SILK-EMBROIDERED PICTURE.
+
+(_Author's Collection._)]
+
+
+
+
+XI
+
+PICTORIAL NEEDLEWORK OF THE EIGHTEENTH CENTURY
+
+     The "painted faces" period--Method of production--Revival of
+     Scriptural "motifs"--Modern fakes--Black silk and hair copies
+     of engravings.
+
+
+An immense number of pictures must have been worked during the
+eighteenth century. Almost, we might say, no English home is without an
+example. Much of the work is intensely bad, and only that Time has
+tenderly softened the colours, and the old-time dresses add an element
+of quaintness to the pictures, can they be tolerated. Works of art they
+are not, and, indeed, were never intended to occupy the place their
+owners now proudly claim for them. Just here and there a picture of the
+painted face type is a masterpiece of stitchery, as in the example
+illustrated, where every thread has been worked by an _artiste_. Looking
+at this little gem across a room, the effect is that of a charming old
+colour print, so tenderly are the lines of shading depicted. This is the
+only picture of this class that I have seen for years as an absolutely
+perfect specimen of the eighteenth-century silk pictures, though
+doubtless many exist.
+
+The discrepancy which is usually found is that, although the design and
+outline is perfect, the faces and hands exquisitely painted, the
+needlework part of the picture has been executed in a foolish,
+inartistic manner, and no method of light and shade has been observed.
+Some little time ago I published an article in one of the popular
+monthly Magazines illustrating this same picture, and was afterwards
+inundated with letters from correspondents from far and near sending
+their pictures for valuation and--admiration! Not one of these pictures
+was good, though there were varying degrees of _badness_. But in no
+instance was the painted face crudely drawn or badly coloured.
+
+The explanation is that just as the modern needlewoman goes to a
+Needlework Depôt and obtains pieces of embroidery already commenced and
+the design of the whole drawn ready for completion, so these old needle
+pictures were sold ready for embroidering, the outline of the trees
+sketched in fine sepia lines, the distant landscape already painted, the
+faces and hands of the figures charmingly coloured, in many instances by
+first-class artists. When we remember that the eighteenth century was
+_par excellence_ the great period of English portrait painting and
+colour printing, we can understand that possibly really fine artists
+were willing to paint these exquisite faces on fine silk and satin, just
+as good artists of the present day often paint "pot-boilers" while
+waiting for fame.
+
+[Illustration: EMBROIDERED SILK PICTURE OF "THE LAST SUPPER."
+
+Eighteenth Century.
+
+(_S.K.M. Collection._)]
+
+Angelica Kauffmann's style was often copied. Is it too much to believe
+that some of these charming faces may have been from her hands? We know
+that she painted furniture and china, therefore why not the faces of the
+needlework pictures so nearly akin to her own work?
+
+The eighteenth-century costume was particularly adapted to this pretty
+work. We cannot imagine the voluminous robes of Queen Mary or Queen Anne
+in needle-stitchery, but the soft, silky lawns of the Georgian periods,
+the high-waisted bodices, the _bouffant_ fichus and the flowing
+head-dresses, all were specially easy and graceful to work. Many of the
+pretty children Sir Joshua loved to paint were copied. "Innocence" made
+a charming picture, and several of the less rustic Morland pictures were
+copied.
+
+We would imagine that when the beginnings of the picture were so
+glorious the needlewoman would have made some endeavour to work up to
+it. But, alas! it was not so. Though often the stitching is neat and
+small, not an idea of shading seems to have entered the worker's mind,
+and whole spaces, nay, a complete garment, are often worked solid in one
+tone of colour! On the whole there is far more artistic sense and
+feeling in the Stump pictures it is the fashion to deride.
+
+Not always were dainty pastoral and domestic scenes worked. Very ghastly
+creations are still existent of scriptural subjects. Coarsely worked in
+wool, instead of silk, or in a mixture of both. The painting is still
+good, but the work and the subjects are execrable! "Abraham about to
+sacrifice Isaac," on the pile of faggots already laid, and Isaac bound
+on it, with a very woolly lamb standing ready as a substitute, was a
+favourite subject. "Abraham dismissing Hagar and Ishmael," with a
+malignant-looking Sarah in the distance, vies with the former in
+popularity. "The Woman of Samaria," and "The Entombment," are another
+pair of unpleasant pictures which we are often called upon to admire.
+
+The best of these pictures were worked in fine floss silk, not quite
+like the floss silk of to-day, as it had more twist and body in it, with
+just a little fine chenille, and very tiny bits of silver thread to
+heighten the effect. The worst were worked in _crewel_ wools of crude
+colours. Fortunately, the moth has a special predilection for these
+pictures, and they are slowly being eaten out of existence, in spite of
+being cherished as heirlooms and works of art.
+
+Another pretty style which we seldom meet with was some part of the
+picture covered with the almost obsolete "ærophane," a kind of chiffon
+or crape which was much in request even up to fifty years ago. A certain
+part of the draperies was worked on the silk ground, without any attempt
+at finish. This was covered with ærophane, and outlined so as to attach
+it to the figure. This again was worked upon with very happy effects,
+very fine darning stitches making the requisite depth of shading. The
+illustration shows the use of this, but this cannot be said to be a very
+good specimen.
+
+[Illustration: "PAINTED FACE" SILK-EMBROIDERED PICTURE.
+
+Eighteenth Century.
+
+(_Author's Collection._)]
+
+These painted face, silk-worked pictures are the only needlework
+examples the collector _need to beware of_, as they are being reproduced
+by the score. The method of working in the poorer specimens is very
+simple, and it pays the "faker" to sell for £2 or £3 what takes,
+perhaps, only half a day to produce. When a well-executed picture is
+produced it is worth money, but so far I have seen none, except at the
+Royal School of Needlework, where the copying of old pictures of the
+period is exceedingly well done, and not intended to deceive. The
+prices, however, are almost prohibitive, as no modern needlework picture
+is worth from £15 to £30. They are, after all, only copies, and in no
+sense of the word works of art.
+
+During the eighteenth century, also, a fashion set in of adorning
+engravings with pieces of cloth, silk, and tinsel. At best it was a
+stupid fancy, and was responsible for the destruction of many fine old
+mezzotints and coloured prints. The hands, face, and background of an
+engraving were cut out, and pasted on a sheet of cardboard, pieces of
+some favourite brocaded gown, perhaps, were attached to the neck and
+shoulders, tiny lace tuckers were inserted, and gorgeous jewellery was
+simulated by wretched bits of tinsel trimming. The realism of the Stuart
+stump picture was never so atrocious as this baleful invention, which
+was as meretricious as a waxwork show.
+
+Not so popular, but far better, were the pictures worked on white silk
+with black silk and hair. There were no artistic aspirations about
+these--they were copies in black and white of the engravings of the
+day, just as a pen-and-ink or pencil copy might be made. Very dainty
+stitchery was put in them, the stronger parts of the lines being in fine
+black silk, the finer and more distant being worked in human hair of
+various shades from black to brown. Occasionally golden and even white
+hair is used, and the effect is often that of a faded engraving. The
+silk ground on which these little pictures were worked is, however,
+often cracked with age, and many pretty specimens are ruined. The
+illustration shows an example of the type of picture, and depicts
+"Charlotte weeping over the Tomb of Werther."
+
+[Illustration: BLACK SILK AND HAIR PICTURE.
+
+Imitation of Engraving. Eighteenth Century.
+
+(_Author's Collection._)]
+
+
+
+
+XII
+
+NEEDLEWORK PICTURES OF THE NINETEENTH CENTURY
+
+
+
+
+XII
+
+NEEDLEWORK PICTURES OF THE NINETEENTH CENTURY
+
+     Entire decline of needlework as an art--Miss Linwood's
+     invention!--The Berlin-wool pictures--Lack of efficient
+     instruction--Waste of magnificent opportunity at South
+     Kensington Museum.
+
+
+It were kindest to ignore 19th century needlework, but in a book
+treating of English embroidery something must be said to bridge over the
+time when Needlecraft as an Art was _dead_. During the earlier part of
+the century taste was bad, during the middle it was beyond criticism,
+and from then to the time of the "greenery-yallery" æsthetic revival all
+and everything made by woman's fingers ought to be buried, burnt, or
+otherwise destroyed. Indeed, if that drastic process could be carried
+out from the time good Queen Adelaide reigned to the early "eighties" we
+might not, now and ever, have to bow our heads in utter abjection.
+
+The originator and moving spirit of this bad period was Miss Linwood,
+who conceived the idea of copying oil paintings in woolwork. She died
+in 1845. Would that she had never been born! When we think of the many
+years which English women have spent over those wickedly hideous
+Berlin-wool pictures, working their bad drawing and vilely crude colours
+into those awful canvases, and imagining that they were earning undying
+fame as notable women for all the succeeding ages, death was too good
+for Miss Linwood. The usual boiling oil would have been a fitter end!
+Miss Linwood made a great _furore_ at the time of her invention, and
+held an exhibition in the rooms now occupied by Messrs. Puttick &
+Simpson, Leicester Square. Can we not imagine the shade of the great Sir
+Joshua Reynolds, whose home and studio these rooms had been, revisiting
+the glimpses of the moon, and while wandering up and down that famous
+old staircase forsaking his home for ever after one horrified glance at
+Miss Linwood's invention?
+
+Not only Miss Linwood, but Mrs. Delany and Miss Knowles made themselves
+famous for Berlin-wool pictures. The kindest thing to say is that the
+specimens which are supposed to have been worked by their own hands are
+considerably better than those of the half-dozen generations of their
+followers. During the middle and succeeding twenty years of the
+nineteenth century the notable housewife of every class amused herself,
+at the expense of her mind, by working cross-stitch pictures with
+crudely coloured wools (royal blue and rose-pink, magenta,
+emerald-green, and deep crimson were supposed to represent the actual
+colours of Nature), on very coarse canvas. Landseer's paintings were
+favourite studies, "Bolton Abbey in the Olden Times" lending itself to a
+choice range of violent colours and striking incidents. Nothing was too
+sacred for the Berlin-wool worker to lay hands upon. "The Crucifixion,"
+"The Nativity," "The Flight into Egypt," "The Holy Family" were not only
+supposed to show the skill of the worker, but also the proper frame of
+mind the embroideress possessed. Pleasing little horrors such as the
+"Head of the Saviour in His Agony," and that of the Virgin with all her
+tortured mother love in her eyes were considered fit ornaments for
+drawing-room, which by the way were also adorned with wool and cotton
+crochet antimacassars, waxwork flowers under glass, and often
+astonishingly good specimens of fine Chelsea, Worcester, and Oriental
+china.
+
+Never was the questions of how "having eyes and yet seeing not" more
+fully exemplified. The nation abounded in paintings, prints, fine
+needlework, and the product of our greatest period of porcelain
+manufacture. Fine examples were at hand everywhere. Exquisite prints
+belonging to our only good period, the eighteenth century, were common;
+yet rather than try their skill in copying these, the needlewomen, who
+possessed undoubted skill, enthusiasm, and infinite patience, preferred
+to copy realistic paintings of the Landseer school and the highly
+coloured prints of the Baxter and Le Blond period.
+
+Unfortunately, the craze is by no means buried. Within the last twelve
+months I was invited to see the "works" of a wonderful needlewoman in a
+little Middlesex village. The local clergyman and doctor were
+sufficiently benighted even in these days of universal culture to admire
+her work, and her fame had spread. Room after room was filled with 10 by
+8-feet canvases; every drawer in the house was crammed with the result
+of this clever woman's work--for clever she undoubtedly was. After
+exhausting all the known subjects of Landseer and his school, she had
+struck out a line for herself, and had copied the _Graphic_ and
+_Illustrated London News_ Supplements of the stirring scenes from the
+South African War, such as "The Siege of Ladysmith," "The Death of the
+Prince Imperial" in all its gruesome local colouring, were worked on
+gigantic canvases. Her great _chef d'oeuvre_ was, however, the
+memorial statue of Queen Victoria, copied from the _Graphic_ Supplement
+_in tones of black, white, and grey_, a most clever piece of work;
+but--well, she was happy and more than delighted with my perfectly
+honest remark that I had _never seen anything like it_!
+
+Ah! if only this dear woman and the many others who are wasting their
+time and eyesight over fashions which perish could only be reached and
+aroused by the influence of the lovely old English stitchery of our
+great period! If only the purblind authorities and custodians of our
+National collections could awaken to the infinite possibilities which
+they hold, once again "Opus Anglicum" might rule the world, and the
+labour of even one woman's life might be of lasting value. It is useless
+to refer to the many schools of embroidery there are in different parts
+of the country, where fine work is being done on the best lines. These
+schools, from the Royal School of Needlework downwards, are "closed
+corners," and no attempt is made to reach the great public. The Royal
+School of Needlework is maintained by no subsidy as it ought to be, but
+by the many ladies of position and taste who liberally support it, both
+for the instruction and employment of "ladies of reduced circumstances,"
+and for _the disposal of its work at very high prices_. Other schools in
+town are simply private adventure institutions, run at a considerable
+profit to the principals.
+
+The superb collection at South Kensington might as well be buried in the
+crypt of Westminster Cathedral for all the value it is to the general
+public. There is not the slightest attempt to allow these unique pieces
+of "Opus Anglicum" to point a moral or adorn a tale. The magnificent
+copes and vestments, of which there are some score, are merely
+tabulated, paragraphed, and photographed, and there is an end of them.
+During my constant visits to these treasures of English Art I have not
+once discovered another interested visitor amongst these beautiful
+vestments; and the officials, when interviewed, though perfectly
+courteous, apparently resent inquiries; and woe betide the unfortunate
+inquirers who _might_ have found the required information from the tiny
+little printed card hidden either too low or too high in the dark
+recesses of the corridors, and so spared these _savants_ the trouble of
+an interview!
+
+Why a continuous course of lectures on this and every kindred Art
+subject is not made compulsory at the Victoria and Albert Museum is one
+of the burning questions of the hour among the cultured collectors of
+the day. The custodians are supposed to be men of special insight in the
+branches over which they preside, yet for all the advantage to the
+public they might as well be waxwork dummies. What we want as a nation
+is "culture while we wait," and writ so large that those who run may
+read, and until this consummation is attained we shall ever remain in
+the Slough of Despond, and Art for Art's sake will continue dead.
+
+
+
+
+XIII
+
+EMBROIDERY IN "COSTUME"
+
+
+
+
+XIII
+
+EMBROIDERY IN "COSTUME"
+
+     Early Greek garments--Biblical references to
+     embroidery--Ecclesiastical garments--Eighteenth-century
+     dresses, coats, and waistcoats--Muslin embroideries.
+
+
+The subject of Costume has been most admirably treated in another volume
+of this series, but a reference must be made to it as affecting our
+topic, English Embroidery, as costume has played no little part in its
+history.
+
+From the earliest ages embroidery has been used to decorate garments.
+The ancient Greeks embroidered the hems of their graceful draperies in
+the well-known Greek fret and other designs so invariably seen on the
+old Greek vases. The legend that Minerva herself taught the Greeks the
+art of embroidery illustrates how deeply the art was understood; and the
+pretty story told by an old botanist of how the foxglove came by its
+name and its curious bell-like flowers is worth repeating. In the old
+Greek days, when gods and goddesses were regarded as having the
+attributes of humanity in addition to those of deities, Juno was one
+day amusing herself with making tapestry, and, after the manner of the
+people, put a thimble on her finger. Jupiter, "playing the rogue with
+her," took her thimble and threw it away, and down it dropped to the
+earth. The goddess was very wroth, and in order to pacify her Jupiter
+turned the thimble into a flower, which now is known as Digitalis, or
+finger-stole.
+
+This little fairy tale can scarcely be taken as proof conclusive of the
+existence of either needle tapestry or thimble use, but its telling may
+amuse the reader.
+
+In all ancient histories we find continuous references to the
+embroidered garment worn by its people. It was well recognised that no
+material was sufficiently beautiful not to be further embellished with
+rich embroideries. In the Psalms we find that "Pharaoh's daughter shall
+be brought to the king in a raiment of needlework," and that "her
+clothing is of wrought gold."
+
+Phrygia was above all the country most noted for embroideries of gold,
+and for many years the name "Phrygian embroidery" was sufficient to
+describe any highly decorated specimen. It is said that the name of the
+vestment or trimming, the "orphry" is derived from the word
+"Auri-phrygium," meaning "gold of Phrygian embroidery."
+
+The Phrygians are credited with having taught the Egyptians the art,
+while the Hebrews, while sojourning in the land of Egypt, learned the
+art from their captors, and carried it with them all through their
+journeys to the Promised Land, and their final settlement in Palestine.
+The mention of gold and purple embroideries, both as garments and
+hangings, is conspicuous throughout all Bible history. The Egyptian and
+Greek arts are in almost all respects concurrent. The Phoenicians
+carried examples of each country's work from one to another. After the
+conquest of Greece the Romans absorbed her art, and developed it in
+their own special style. They in turn carried their arts and crafts to
+Gaul and Britain, and by degrees needlecraft permeated the whole of
+Europe.
+
+Dealing with the embroidered costumes of our own country, the ancient
+records, illuminated Missals, and other contemporary data show that very
+sumptuous were both the ecclesiastical and lay garments. Heavy gold
+embroideries were worked on the hems of skirts and mantles. The Kings'
+coronation robes and mantles were beautiful specimens of handicraft,
+often after a king's death being given to the churches for vestments.
+From Anglo-Saxon to Norman times extensive use was made of the work of
+the needle for clothing, but after the Conquest till quite late in the
+Tudor period little has been found to throw light upon the use of
+embroidery for the lay dress of the time. All woman's taste and energy
+seem to have been devoted to make monumental embroideries for church
+use.
+
+It was, indeed, not until the gorgeous period of Henry VIII. that
+embroidery, as distinct from garment-making, appeared; and then
+everything became an object worthy of decoration. Much fine stitchery
+was put into the fine white undergarments of that time, and the
+overdresses of both men and women became stiff with gold thread and
+jewels. Much use was made of slashing and quilting, the point of
+junction being dotted with pearls and precious stones. Noble ladies wore
+dresses heavily and richly embroidered with gold, and the train was so
+weighty that train-bearers were pressed into service. In the old
+paintings the horses belonging to kings and nobles wear trappings of
+heavily embroidered gold. Even the hounds who are frequently represented
+with their masters have collars massively decorated with gold bullion.
+
+The skirts of the ladies of this time were thickly encrusted with
+jewels, folds of silk being crossed in a kind of lattice-work, each
+crossing being fixed with a pearl or jewel, and a similar precious stone
+being inserted in the square formed by the trellis. The long stomachers
+were one gleaming mass of jewelled embroidery, the tiny caps or
+headdresses being likewise heavily studded with gems.
+
+During the reign of Charles I. a much daintier style of dress appeared.
+Velvet and silken suits were worn by the men, handsomely but
+appropriately trimmed with the fine "punto in aria" or Reticella laces
+of Venice; and in this and the three succeeding reigns dress was of
+sumptuous velvets, satins, and heavy silks, unembroidered, but trimmed,
+and in Charles II.'s time _loaded_ with costly laces. It will be noted
+that whenever lace is in the ascendant, embroidery suffers, as is
+quite natural. Lace itself is sufficient adornment for fine raiment.
+
+[Illustration: _Photo by E. Gray, Bayswater._
+
+MRS. TICKELL AND HER SISTER, MRS. SHERIDAN, BY GAINSBOROUGH, SHOWING HOW
+LACE WAS SUPERSEDED BY FILMY MUSLINS.
+
+(_Dulwich Gallery._)]
+
+As the use of the fine Venetian and Flemish and French laces declined,
+and tuckers and frillings of Mechlin, Valenciennes, and Point
+d'Angleterre appeared, the use of embroidery asserted itself, and the
+pretty satins and daintily coloured silks of William and Mary, Queen
+Anne, and more specially the earlier Georges, began to be embroidered in
+a specially delicate fashion. Fine floss silk was used in soft
+colourings, and whole surfaces were covered with tiny embroidered sprays
+of natural-coloured flowers. Really exquisite stitchery was put into the
+graceful honeysuckle, the pansy, carnation, and rose clusters which
+decorated the dresses. The bodices, sacques, and skirts of the early
+eighteenth-century ladies were embroidered with real artistic taste and
+feeling. Some of the old dresses kept at South Kensington show the
+exquisite specimens of this class of needlework; while the coats and
+waistcoats of the sterner sex are not a whit behind the feminine
+garments in beauty. The long waistcoats were most frequently made of
+cream, pale blue, or white silk or satin, delightfully embroidered with
+tiny sprays of blossoms, and fastened with fine old paste buttons; while
+the coat, frequently of brocade, was heavily embroidered down the front
+with three or four inches of solid embroidery of foliage and flowers,
+oftentimes mixed with gold and silver threads. The tiny cravat of
+Mechlin, cuff ruffles, knee breeches, silken hose, and buckled shoes,
+along with the powdered hair, complete a costume that has never been
+equalled, either before or afterwards, in beauty, grace, and elegance.
+During the William IV. and the long Victorian period, with the exception
+of a very fine embroidery on muslin, in the earlier part of it, nothing
+but fine stitchery for the use of underwear was made, if we except the
+hundreds and thousands of yards of cut and buttonholed linen which
+seemed to have been the solace and delight of our grandmothers when they
+allowed themselves to be torn away from their beloved Berlin-wool work.
+To sit on a cushion and sew a fine seam appears to have been the
+amusement of the properly constituted women of the early and
+mid-nineteenth century.
+
+
+
+
+XIV
+
+SALE PRICES
+
+
+
+
+XIV
+
+SALE PRICES
+
+
+Ancient embroideries so seldom come into the salerooms that it is rarely
+an opportunity occurs for obtaining market prices, therefore Lady
+Wolseley's sale on July 12, 1906, must be accepted as a standard.
+Immense prices are asked at the antique shops, the dealers apparently
+basing their prices on this sale by auction and _doubling_ them. I have
+visited every shop in the trade in search of prices for this book before
+procuring the auctioneer's catalogue, and was aghast at the terrific
+sums asked for oftentimes indifferent specimens in comparison to what
+was paid in the auction-room. During the past year anything from £15
+15s. to £40 has been paid at Christie's for specimens of varying degrees
+of perfection of work and condition. The latter state is even of greater
+importance than the first, as no matter how good the work originally, if
+discoloured and frayed, prices go down and down. Nearly all the finest
+specimens of the Stump-work period are marred by the tarnishing of the
+gold and silver threads. Instead of these being a glory and a great
+enhancement to the embroidery, they prove a great disfigurement, and
+thereby cause a considerable reduction in value.
+
+The earlier petit point pictures, having little or no bullion in their
+execution (and when cared for and not exposed to too much sunlight),
+have kept their condition very well, and now are quite the favourite
+kind for collection. It speaks much for the quality of the silks used
+and the dyes of nearly three hundred years ago that the fugitive greens
+and blues and delicate roses in these little works of art, as in the
+superb tapestries of the same date, should be as fine as when made,
+whereas to-day's colours are as fleeting as the glories of the rainbow.
+
+       *       *       *       *       *
+
+The following are the principal prices in Lady Wolseley's sale:
+
+                                                £  s. d.
+
+A small bag, red and gold brocade               2 15  0
+
+A small bag or purse                            5  0  0
+
+A fine bead book-cover                          6  0  0
+
+Same, trimmed with silver lace (Harris)         6 16  0
+
+A pair of embroidered shoes (Harris)            6  0  0
+
+A small pocket-book, silk embroidery on
+silver ground                                   8 17  6
+
+A pair of Stuart shoes                          9 19  6
+
+A stumpwork picture, a most curious globe,
+showing Europe, Asia, Africa, and America,
+1648 (S. G. Fenton)                            24  0  0
+
+A double book of Psalms, embroidered binding
+with Tudor rose                                23 10  0
+
+A petit point picture, 12-1/2 × 9-1/2          11 11  0
+
+A small picture, partly sketched and partly
+worked                                          4 14  6
+
+A Stuart stump picture, 18 × 15-1/2            18 18  0
+
+A Stuart stump picture, King under canopy,
+17-1/2 × 14                                    14 14  6
+
+A Stuart bullion picture, vase, in
+tortoiseshell frame, 23 × 18                    8  8  0
+
+Same, with Herodias's daughter and John the
+Baptist                                         5  5  0
+
+A portrait of Henry, Prince of Wales, in
+flat-stitch on rose satin                      21  0  0
+
+Another on satin, "Bathsheba," spangled,
+17 × 13                                         6 16  0
+
+Another on satin, birds on gold and silver,
+13 × 13 (Harris)                               13 13  6
+
+A bead picture, 15 × 11                        11 11  0
+
+A stump and bead picture, 12 × 11              12  1  6
+
+A small book-cover, 14 × 8                     13 12  0
+
+A Stuart stump picture, figures and silver
+fountain, tortoiseshell frame, 22 × 16         15 15  0
+
+A stump picture, lady with coral necklace,
+18 × 12                                        23 10  0
+
+A stump picture, lady under arch with a
+black swan, 20 × 16 (Stoner)                   34  0  0
+
+A stump picture, King Charles as Ahasuerus
+with Haman and Mordecai, and pearl-embroidered
+carpet, 23 × 17                                28  0  0
+
+A stump picture, lady under a canopy, large
+pearls, 13 × 19, (Stoner)                      34  0  0
+
+A Stuart Petit Point picture, Abraham and
+Hagar                                          16 16  0
+
+A Stuart petit point picture, "Judgment of
+Paris," 24 × 17                                25  0  0
+
+A Stuart petit point picture, King Solomon
+and Queen of Sheba                             18 18  0
+
+A beadwork picture, lady and gentleman, lion
+and unicorn, 21 × 17                           12 12  6
+
+An embroidered picture, "Peter denying
+Christ," 24 × 17 (S. G. Fenton)                 9 19  6
+
+A petit point picture, lake with boats and
+figures, 15 × 12 (Harris)                      14 14  6
+
+A large stump picture, with horse and rider
+and figures of four seasons                    30 10  0
+
+A stumpwork picture, four figures, castle
+and birds and flowers (S. G. Fenton)           33  0  0
+
+A picture sketched on white satin, not worked   4 15  0
+
+A Stuart picture on canvas                      9 19  6
+
+A fine Stuart jewel-casket, numerous secret
+drawers, covered in needlework (S. G. Fenton)  47  5  0
+
+A Stuart box, covered with bullion-work
+(S. G. Fenton)                                 12 12  0
+
+A Stuart box, with embroidery and pearls
+(Spero)                                        16 16  0
+
+A Stuart box, coloured bullion, 10 × 6          9  9  0
+
+An embroidered box, with portrait on lid
+(S. G. Fenton)                                 53 11  0
+
+A Stuart mirror, covered with stump
+embroidery, representing Charles I. and his
+Queen (illustrated), (Rosthron)               102 18  0
+
+Another mirror, with painted and embroidered
+figures (Harris)                               34  0  0
+
+A Charles I. mirror in old lace and gold
+frame, with borders in embroidery, with
+portrait, castle, and floral decoration        40  0  0
+
+3 yds. 13 inches long, 12 inches deep,
+Cornice in Petit Point, Christie's,
+July, 1908 (Harris)                           204 15  0
+
+
+
+
+XV
+
+CONCLUSION
+
+
+
+
+XV
+
+CONCLUSION
+
+
+Needlework as a national art is as dead as the proverbial door-nail;
+whether or not it ever regains its position as a craft is a matter of
+conjecture. Personally, I incline to the belief that it is absolutely
+extinct. The death-knell rang for all time when the sewing-machine was
+invented. The machine has been a very doubtful blessing, as it has
+allowed even the art of stitchery in ordinary work to slide into the
+limbo of forgotten things. What woman now knows what it is to
+"back-stitch" a shirt cuff, for instance, drawing a thread for guidance,
+and carefully going back two or three threads in order to make a neat,
+firm line of stitching? The sewing-machine does all this, and _does_ it
+_well_, a clever machinist turning out more work in a week than a
+seamstress in a year. If this were all, it would be no matter for
+regret, but with the necessity for needlework has vanished the desire.
+The lady quoted in Green's History is now non-existent. "She was a
+pattern of sobriety unto many, very seldom seen abroad except at
+church; when others recreated themselves at holidays and other times,
+she would take her needlework, and say, 'Here is my recreation.'"
+
+In spite of the many Schools of Embroidery, with a few notable
+exceptions, nothing is done to raise the standard of embroidery above
+making miserable little cushion-covers, table-centres, and suchlike
+pretty fripperies for the temporary adornment of the house. The women of
+Germany, Holland, Sweden, Italy, on the contrary, take a great interest
+in the embroidery of the bed and table linen and the really artistic
+embroidery of their national costumes. Nothing of this is seen in
+England. Table linen is bought _ready hemmed_ at the shop. Dainty
+tea-cloths and serviettes are purchased ready embroidered (by machine)
+and trimmed with machine-made lace. Even _lingerie_ of all classes is
+machine-made and bought by the dozen, instead of being made by the
+daughters of the house.
+
+The only hope of a revival lies in the various Art schools in the
+country where designing for fine embroidery and lace is encouraged.
+Unfortunately, however, equal facilities are offered for designing of
+machine-made imitations. The Royal School of Needlework, not being a
+Government institution, offers no encouragement to outsiders. It is in
+the hands of a number of ladies, who manage it as they will; and
+although very fine work is accomplished, they trust too much to modern
+designers and artists who work out their own pet theories and hobbies.
+If only they would put aside all theories and new ideas, and _go back_
+to the best periods of English art both for their designs and execution,
+even yet, with the intelligent use of the glorious examples in the
+adjoining Museum, much might be done to revivify this expiring art.
+
+FINIS
+
+
+
+
+INDEX
+
+
+
+
+INDEX
+
+
+OLD LACE. (_For Needlework see page 384_)
+
+
+A
+
+Adelaide, Queen, 116
+
+Age of lace, 108, 191
+
+Alençon lace, 29, 78, 183, 191
+
+Argentan lace, 29, 78, 191
+
+Argentella lace, 29, 81, 192
+
+Anne, Queen, 157
+
+Appliqué, 175
+
+Aylesbury, 158
+
+
+B
+
+Baby lace, 157
+
+Barri, Madame du, 90
+
+Beading, 41
+
+Beads on bobbins, 161
+
+Bed furnishing, 73
+
+Bedfordshire lace, 37, 157
+
+Belgian lace, 37
+
+Black lace, 94
+
+Blonde lace, 94
+
+Bone lace, 41
+
+Bobbins, 41, 158
+
+Bolckow, Mrs., 54
+
+Brides, 38, 127
+
+Brussels lace, 37, 81, 104, 108, 123, 195
+
+Brussels appliqué, 123
+
+Brussels Vrai Reseau, 111
+
+Buckinghamshire lace, 30, 35, 157, 158, 161
+
+Burano, 54, 81
+
+Buttonhole stitch, 195
+
+
+C
+
+Caen lace, 97
+
+Carrick-ma-cross, 175
+
+Catherine de Medici, 73
+
+Chantilly lace, 37, 93
+
+Charles I., 148
+
+Charles II., 104, 148, 151
+
+Charlotte, Queen, 161
+
+Christie's sale-room, 115, 201
+
+Colbert, 29, 73, 77, 102
+
+Collar lace, 61
+
+Collar, Medici, 53
+
+Commonwealth, 148
+
+Cordonnet, 41, 53, 77
+
+Convents, 26
+
+Coptic embroideries, 21
+
+Couronnes, 41
+
+Cravat, 151
+
+Creevy Papers, 115
+
+Cromwell, 151
+
+Crotchet, 175
+
+Cut worke, 73, 187
+
+Cuthbert, St., 22
+
+
+D
+
+Danish lace, 134
+
+Darned netting, 173
+
+Debenham & Storr's sale-room, 54, 200
+
+Dentelé, 41
+
+Devonshire lace, 30, 162
+
+Dorsetshire lace, 161
+
+Drawn work, 21
+
+Duchesse lace, 127
+
+Durham Cathedral, 22
+
+
+E
+
+Ecclesiastical lace, 62
+
+Edgings, 31
+
+Edward IV., 144
+
+Egyptian netting, 22
+
+Elizabeth, Queen of England, 54, 147
+
+Embroidered net, 172
+
+English laces, 157
+
+Empress Eugénie, 97
+
+
+F
+
+Falling collar, 148
+
+Fausse Valenciennes, 89
+
+Fillings, 40, 173
+
+"Figure" motifs, 107
+
+Flanders lace, 29, 103
+
+Flat point (point plat), 50
+
+Flax thread, 61, 107
+
+Florence, 53
+
+Flemish point, 103
+
+Fond, 42
+
+Fontange, 151
+
+Fowler, Mrs., of Honiton, 166
+
+France, point de, 74
+
+French Revolution, 78
+
+
+G
+
+Genoese lace, 29
+
+George I., 115
+
+George II., 115
+
+George III., 115
+
+George IV., 112
+
+German laces, 134
+
+Ghent laces, 124
+
+Gingles, 161
+
+Gold and silver laces, 134
+
+Greek laces, 103, 183
+
+Groppo, Punto a, 62
+
+Gros, Point de Venise, 53
+
+Grounds, 37
+
+Guipure, 42, 61
+
+Gold lace, 22
+
+
+H
+
+Hamilton lace, 171
+
+"Hayward's," 114
+
+Henry VII., 144
+
+Henry VIII., 147
+
+High Wycombe, 158
+
+History of lace, 21
+
+Honiton, 30, 35, 165
+
+Honiton appliqué, 30
+
+Huguenots, 30
+
+
+I
+
+Identification of lace, 183
+
+Irish lace, 30, 172, 176, 192
+
+Italian lace, 45
+
+
+J
+
+James I., 148
+
+James II., 151
+
+Jours, 41, 81
+
+
+K
+
+Kenmare, Lady, 75
+
+King of Rome, 112
+
+
+L
+
+"Lacis," 29, 73
+
+Lappets, 112
+
+Lawn, 93
+
+Lewis Hill, Mrs., 201
+
+Lille, 35, 91
+
+Limerick, 124, 172
+
+L'Onray, 76
+
+Louis XIV., 29, 46, 73, 74
+
+Louis XV., 78
+
+Lyme Regis, 162
+
+
+M
+
+Machine-made ground, 172
+
+Macramé, 37, 64
+
+Malines, 127
+
+Maltese, 137
+
+Mantillas, 97
+
+Marie Antoinette, 78, 123, 129
+
+Massey-Mainwaring, Mrs., 200
+
+Marie de Medici, 53
+
+Marie Stuart, 171
+
+Mary, Queen, 147
+
+Mary II., 151, 152
+
+Mechlin, 37, 127
+
+Medici collar, 53
+
+Mezzo Punto, 62
+
+Milanese lace, 29, 62
+
+Mixed lace, 37, 62, 124
+
+Modern point lace, 124
+
+Montespan, Madame de, 74
+
+
+N
+
+Napoleon I., 78, 112
+
+National Library, S.K.M., 50
+
+Needlepoint lace, 49, 73, 108
+
+Network, ancient, 3
+
+Newport Pagnell, 158
+
+Normandy lace, 97
+
+Norway, 134
+
+Northamptonshire lace, 157
+
+Nuns, 26
+
+
+O
+
+Oeil de perdrix, 83, 192
+
+Origin of lace, 21
+
+
+P
+
+Palliser, Mrs. Bury, 9
+
+Parchment, 25
+
+Parasole, 50
+
+Pearls, 97
+
+Peter the Great, 134
+
+Picots, 42
+
+Pillow lace, 29, 37
+
+Point lace, 25, 37
+
+Point à réseau, 53
+
+Point d'Aiguille (Brussels), 108
+
+Point d'Alençon, 76
+
+Point d'Angleterre, 102, 107, 192
+
+Point appliqué, 123
+
+Point de France, 46, 76, 188
+
+Point de Gaze, 108, 124
+
+Point de Venise, 49
+
+Point de Venise Gros, 50, 53, 54
+
+Point de Neige, 49, 50
+
+Point plat, 50
+
+Punto in aria, 25, 143
+
+Punto a groppo, 37, 62
+
+Punto tagliato a foliami, 53
+
+
+Q
+
+Quillings, 128
+
+Quentin Matys, 103
+
+Queen Anne, 157
+
+Queen Mary II., 117, 127, 151
+
+Queen Charlotte, 117, 128
+
+Queen of Laces, 128
+
+Queen Victoria, 116, 162
+
+
+R
+
+Raised stars, 49
+
+Rose point, 49, 50
+
+Renaissance, 53, 107, 188
+
+Reseau, 36, 39
+
+Reticella, 26, 50, 73, 103, 143, 188
+
+Revolution, French, 78
+
+Rococo, 78
+
+Royal trousseaux, 81
+
+Ruffles, 90
+
+Russian lace, 134
+
+
+S
+
+St. Cuthbert, 22
+
+Sale prices, 199
+
+Samplers, 25, 187
+
+Saxony lace, 134
+
+Scotch lace, 171
+
+Silk lace, 94
+
+Smocks, 25
+
+Spanish point, 133
+
+Steinkirk, 151
+
+Sumptuary law, 112
+
+South Kensington Museum, 187
+
+
+T
+
+Tambour lace, 172
+
+Tape lace, 62
+
+Tatting, 175
+
+Thread, 61
+
+Toilé, 108
+
+Trolly lace, 165
+
+
+V
+
+Valenciennes lace, 37, 89
+
+Vandyke, 61, 148
+
+Venice, 183
+
+Vicellio, 50
+
+Venetian lace, 50
+
+Victoria, Queen, 162, 165
+
+Vinciolo, 29, 50
+
+Vraie Valenciennes, 89, 90
+
+
+W
+
+Westminster effigies, 147, 151, 152
+
+William and Mary, 148, 151
+
+"Wynyards," 115
+
+William III., 115
+
+Wiltshire lace, 115
+
+Willis's Rooms, 201
+
+
+Y
+
+Youghal laces, 176
+
+
+NEEDLEWORK
+
+
+A
+
+Athelstan, 213
+
+Alb, 238
+
+Aldhelm, Bishop of Sherborne, 213
+
+Aelfled, Queen of Edward the Elder, 213
+
+Angelica Kauffmann, 339
+
+Art, the pioneer, 209
+
+Ascagni cope, 223
+
+Ascoli cope, 233
+
+
+B
+
+Bags, Stuart, 261
+
+Bayeux tapestry, 214
+
+Beads, Venetian, 274
+
+Berlin wool pictures, 350
+
+Bishop Fridhestan, 213
+
+Black work, 284
+
+Bologna cope, 223
+
+Book-covers, 279
+
+Bridgettine nuns, 227
+
+
+C
+
+Catworth cushions, 233
+
+Catherine of Aragon, 248, 251, 284
+
+Caskets, 269
+
+Chain stitch, 227
+
+Charles I., 265, 273
+
+Charles II., 265, 273
+
+Chasubles, 241
+
+Christie's sale-rooms, 257, 265, 270, 367
+
+City palls, 237
+
+Church vestments, 238
+
+Coventry, 228
+
+Copes, 241
+
+Crewel work, 329
+
+
+D
+
+Daroca cope at Madrid, 223
+
+Dr. Rock, 227
+
+
+E
+
+Earl of Shrewsbury, 228
+
+Editha, Queen of Edward the Confessor, 213
+
+Egyptian embroidery, 210
+
+Emma, Queen of Ethelred the Unready, 213
+
+Elizabeth's wardrobe, 249
+
+Elizabeth's Book at British Museum, 283
+
+Elizabeth's Book at the Bodleian Library, 283
+
+Elizabeth Hinde's Sampler, 309
+
+Elizabeth Mackett's Sampler, 311
+
+
+F
+
+Field of the Cloth of Gold, 249
+
+
+G
+
+Georgian costumes, 363
+
+Georgian pictures, 335
+
+Gimps, 249
+
+Gloves, 262, 265
+
+Greek garments, 359
+
+
+H
+
+Hampton Court, 250, 322
+
+Hair and silk pictures, 343
+
+Henrietta Maria, Queen, 265
+
+Henry VIII., 247
+
+Höchon collection, 220
+
+
+I
+
+Isleworth, 227
+
+Italian raised work, 295
+
+
+J
+
+James I., 257
+
+Jacobean hangings, 321
+
+"Jesse" Cope, 223
+
+John Taylor's Needlework Rhyme, 258
+
+
+L
+
+Lady Jane Grey, 247
+
+"Laid," or couch work, 227
+
+Linwood, Miss, 350
+
+
+M
+
+Maniple, 241
+
+Mary Queen of Scots, 250
+
+Mary II. embroidery, 325
+
+Minerva, 358
+
+Mirror frames, 273
+
+
+N
+
+Needlework pictures, 291, 335, 349
+
+Neolithic remains, 210
+
+"Nevil" altar-frontal, 234
+
+
+O
+
+Opus Anglicum, or Anglicanum, 219, 223
+
+
+P
+
+"Painted face" picture, 335, 343
+
+Petit point, 257, 325
+
+Phoenicians, 359
+
+Phrygian embroidery, 358
+
+Pierpont Morgan, 233
+
+Pocket books, 281
+
+Pope Innocent III., 223
+
+
+Q
+
+Quilting, 287
+
+
+R
+
+Reformation, 246
+
+Roman Invasion, 210
+
+Royal School of Needlework, 353
+
+Rock's "Church of Our Fathers," 220
+
+
+S
+
+Samplers, 307
+
+St. Augustine, 210
+
+St. Benedict, 220
+
+St. Cuthbert, 213
+
+St. Dunstan, 213
+
+Steeple Aston altar-frontal, 234
+
+Stoles, 238
+
+Stump work, 295
+
+Stump work symbols, 302
+
+"Syon" cope, 223
+
+Subjects of needle pictures, 295
+
+
+T
+
+Tambour stitch, 227
+
+Tudor embroideries, 247
+
+Trays, 270
+
+
+W
+
+Wonderful needlewoman, A, 351
+
+Wolsey, Cardinal, 249, 250
+
+Wolseley's, Lady, collection, 265, 273, 368
+
+Worcester fragments, 219
+
+
+_Printed in Great Britain by_
+UNWIN BROTHERS, LIMITED, THE GRESHAM PRESS, WOKING AND LONDON
+
+
+
+
+       *       *       *       *       *
+
+
+
+
+Transcriber's Note:
+
+Obvious punctuation errors have been corrected.
+
+Inconsistent hyphenation in the original has been preserved, e.g.
+cutwork, cut-work; hand-made, handmade; lace-workers, laceworkers;
+may-flower, mayflower; needle-craft, needlecraft; needle-point,
+needlepoint; salerooms, sale-rooms; semi-circular, semicircular.
+
+Inconsistent use of accents has been preserved, e.g. applique, appliqué;
+réseau, reseau; toile, toilé.
+
+In the Index, Pierpoint was corrected to Pierpont to match the body of
+the text.
+
+The main body of the text refers to the "Hockon collection", which is
+referred to in the index as the "Höchon collection". It is unclear which
+of these is correct so they have been preserved as they appear in the
+original.
+
+Page 25: 'survival of the fitting' changed to 'survival of the fittest'.
+
+Page 38: 'accompanying diagrams' changed to 'accompanying diagram'.
+
+Page 42: 'little loop' changed to 'little loops'.
+
+Page 127: '"Duchesse point" of "Bruges,"' changed to '"Duchesse point"
+or "Bruges,"'.
+
+Page 192: 'of same period' changed to 'of the same period'.
+
+Page 196: 'other two' changed to 'two other'.
+
+Page 300: 'and rose of England' changed to 'and the rose of England'.
+
+Page 303: 'and butterfly was' changed to 'and butterfly were'.
+
+Page 315: 'a long narrow Samplers' changed to 'a long narrow Sampler'.
+
+Page 383: 'Punto à groppo' changed to 'Punto a groppo'.
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK CHATS ON OLD LACE AND NEEDLEWORK***
+
+
+******* This file should be named 26120-8.txt or 26120-8.zip *******
+
+
+This and all associated files of various formats will be found in:
+https://www.gutenberg.org/dirs/2/6/1/2/26120
+
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions 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 with public domain eBooks.  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
+https://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 in the public domain 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 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
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (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 Michael
+Hart, 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
+public domain works 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 F3.  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 MERCHANTIBILITY 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, is 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 web page at https://www.gutenberg.org/fundraising/pglaf.
+
+
+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 located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., 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
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://www.gutenberg.org/about/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 https://www.gutenberg.org/fundraising/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:
+https://www.gutenberg.org/fundraising/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 thirty 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 Public Domain 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:
+
+     https://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.
+
diff --git a/26120-8.zip b/26120-8.zip
new file mode 100644
index 0000000..fe37701
--- /dev/null
+++ b/26120-8.zip
diff --git a/26120-h.zip b/26120-h.zip
new file mode 100644
index 0000000..1c63de2
--- /dev/null
+++ b/26120-h.zip
diff --git a/26120-h/26120-h.htm b/26120-h/26120-h.htm
new file mode 100644
index 0000000..910e2a0
--- /dev/null
+++ b/26120-h/26120-h.htm
@@ -0,0 +1,7215 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+<html xmlns="http://www.w3.org/1999/xhtml">
+<head>
+<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" />
+<title>The Project Gutenberg eBook of Chats on Old Lace and Needlework, by Emily Leigh Lowes</title>
+    <style type="text/css">
+/*<![CDATA[  XML blockout */
+<!--
+    p {  margin-top: .75em;
+         text-align: justify;
+         margin-bottom: .75em;
+         }
+    h1,h2,h3,h4,h5,h6 {
+         text-align: center; /* all headings centered */
+         clear: both;
+         }
+    hr { width: 33%;
+	 margin-top: 2em;
+	 margin-bottom: 2em;
+         margin-left: auto;
+         margin-right: auto;
+         clear: both;
+       }
+
+    table {margin-left: auto; margin-right: auto;}
+
+    body{margin-left: 10%;
+         margin-right: 10%;
+        }
+
+    .pagenum  { /* uncomment the next line for invisible page numbers */
+            /*  visibility: hidden;  */
+                position: absolute;
+                left: 92%;
+                font-size: smaller;
+                text-align: right;
+              } /* page numbers */
+
+    .blockquot{margin-left: 5%; margin-right: 10%;}
+
+	ul.IX {
+		list-style-type: none;
+		font-size:inherit; /* i.e. from the div class="index" container */
+		}
+	.IX li { /* list items in an index: compressed vertically */
+		margin-top: 0;
+		}
+
+    .center   {text-align: center;}
+    .smcap    {font-variant: small-caps;}
+    .lowercase{text-transform: lowercase;}
+    .caption  {font-weight: bold;}
+
+    .figcenter   {margin: auto; text-align: center;}
+
+    .poem             {margin-left:10%; margin-right:10%; text-align: left;}
+    .poem br          {display: none;}
+    .poem .stanza     {margin: 1em 0em 1em 0em;}
+    .poem span.i0     {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;}
+    .poem span.i2     {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;}
+
+    hr.full { width: 100%;
+              margin-top: 3em;
+              margin-bottom: 0em;
+              margin-left: auto;
+              margin-right: auto;
+              height: 4px;
+              border-width: 4px 0 0 0; /* remove all borders except the top one */
+              border-style: solid;
+              border-color: #000000;
+              clear: both; }
+    pre      {font-size: 85%;}
+    // -->
+    /* XML end  ]]>*/
+    </style>
+</head>
+<body>
+<h1>The Project Gutenberg eBook, Chats on Old Lace and Needlework, by Emily
+Leigh Lowes</h1>
+<pre>
+This eBook is for the use of anyone anywhere 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 <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: Chats on Old Lace and Needlework</p>
+<p>Author: Emily Leigh Lowes</p>
+<p>Release Date: July 24, 2008  [eBook #26120]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK CHATS ON OLD LACE AND NEEDLEWORK***</p>
+<p>&nbsp;</p>
+<h3>E-text prepared by Susan Skinner<br />
+    and the Project Gutenberg Online Distributed Proofreading Team<br />
+    (http://www.pgdp.net)</h3>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<h1 style="text-align: left;">CHATS ON OLD LACE<br />
+AND NEEDLEWORK</h1>
+
+
+
+<hr style="width: 65%;" />
+<h2>BOOKS FOR COLLECTORS</h2>
+
+<p style="text-align: center;"><i>With Frontispieces and many Illustrations<br />
+Large Crown 8vo, cloth.</i></p>
+
+<p>
+<b>CHATS ON ENGLISH CHINA.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">Arthur Hayden</span>.</span><br />
+<br />
+<b>CHATS ON OLD FURNITURE.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">Arthur Hayden</span>.</span><br />
+<br />
+<b>CHATS ON OLD PRINTS.</b><br />
+<span style="margin-left: 1em;">(How to collect and value Old Engravings.)</span><br />
+<span style="margin-left: 2em;">By <span class="smcap">Arthur Hayden</span>.</span><br />
+<br />
+<b>CHATS ON COSTUME.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">G. Woolliscroft Rhead</span>.</span><br />
+<br />
+<b>CHATS ON OLD LACE AND NEEDLEWORK.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">E. L. Lowes</span>.</span><br />
+<br />
+<b>CHATS ON ORIENTAL CHINA.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">J. F. Blacker</span>.</span><br />
+<br />
+<b>CHATS ON OLD MINIATURES.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">J. J. Foster</span>, F.S.A.</span><br />
+<br />
+<b>CHATS ON ENGLISH EARTHENWARE.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">Arthur Hayden</span>.</span><br />
+<br />
+<b>CHATS ON AUTOGRAPHS.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">A. M. Broadley</span>.</span><br />
+<br />
+<b>CHATS ON PEWTER.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">H. J. L. J. Mass&eacute;</span>, M.A.</span><br />
+<br />
+<b>CHATS ON POSTAGE STAMPS.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">Fred. J. Melville</span>.</span><br />
+<br />
+<b>CHATS ON OLD JEWELLERY AND TRINKETS.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">MacIver Percival</span>.</span><br />
+<br />
+<b>CHATS ON COTTAGE AND FARMHOUSE FURNITURE.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">Arthur Hayden</span>.</span><br />
+<br />
+<b>CHATS ON OLD COINS.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">Fred. W. Burgess</span></span><br />
+<br />
+<b>CHATS ON OLD COPPER AND BRASS.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">Fred. W. Burgess</span>.</span><br />
+<br />
+<b>CHATS ON HOUSEHOLD CURIOS.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">Fred. W. Burgess</span>.</span><br />
+<br />
+<b>CHATS ON OLD SILVER.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">Arthur Hayden</span>.</span><br />
+<br />
+<b>CHATS ON JAPANESE PRINTS.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">Arthur Davison Ficke</span>.</span><br />
+<br />
+<b>CHATS ON MILITARY CURIOS.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">Stanley C. Johnson</span>.</span><br />
+<br />
+<b>CHATS ON OLD CLOCKS AND WATCHES.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">Arthur Hayden</span>.</span><br />
+<br />
+<b>CHATS ON ROYAL COPENHAGEN PORCELAIN.</b><br />
+<span style="margin-left: 2em;">By <span class="smcap">Arthur Hayden</span>.</span><br />
+</p>
+
+<p style="text-align: center;">LONDON: T. FISHER UNWIN, LTD.<br />
+NEW YORK: F. A. STOKES COMPANY</p>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_3" id="Page_3"></a>{3}</span></p>
+<div class="figcenter" style="width: 366px;"><a name="frontispiece" id="frontispiece"></a>
+<img src="images/image001.jpg" width="366" height="500" alt="Mary Sidney, Countess of Pembroke." title="" />
+<span class="caption smcap">Mary Sidney, Countess of Pembroke.</span>
+</div>
+
+<p class='center'>MARY SIDNEY, COUNTESS OF PEMBROKE.</p>
+
+<p class='center'>Born about 1555. Died 1621.<br />
+Buried at Salisbury Cathedral.<br />
+Painted probably by <span class="smcap">Marc Gheeraedts</span>.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Underneath this sable hearse<br /></span>
+<span class="i0">Lies the subject of all verse.<br /></span>
+<span class="i0">Sidney's sister, Pembroke's mother.<br /></span>
+<span class="i0">Death! ere thou hast slain another<br /></span>
+<span class="i0">Fair and learn'd and good as she,<br /></span>
+<span class="i0">Time shall throw a dart at thee!"<br /></span>
+</div></div>
+
+<hr style="width: 65%;" />
+
+
+<h1 style="color: red;">
+<span class="smcap">Chats on Old Lace<br />
+and Needlework</span></h1>
+<p class='center'>
+BY<br />
+<br />
+<span style="font-size: x-large;">MRS. LOWES<br /></span>
+<br />
+WITH 76 ILLUSTRATIONS<br />
+<br />
+LONDON<br />
+<span style="color: red;">T. FISHER UNWIN, LTD.<br /></span>
+ADELPHI TERRACE<br />
+</p>
+
+<hr style="width: 65%;" />
+
+<p class='center'>
+<i>First Impression         1908</i><br />
+<i>Second Impression         1912</i><br />
+<i>Third Impression          1919</i><br />
+<br />
+[<i>All rights reserved.</i>]<br />
+<span class='pagenum'><a name="Page_7" id="Page_7">{7}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
+
+
+<p>This little book has been compiled to emphasise
+and accentuate the distinct awakening of English
+women and Needlecraft Artists to the beauty of
+the ancient laces and embroideries which we own
+in the magnificent historic collections in our great
+public Museums.</p>
+
+<p>We are fortunate in possessing in the Victoria
+and Albert Museum monumental specimens of both
+lace and needlework. Among the sumptuous lace
+collection there are most perfect specimens of the
+art of lace-making, and priceless pieces of historic
+embroidery made when England was first and foremost
+in the world in the production of Ecclesiastical
+embroidery.</p>
+
+<p>The lace collection particularly, without compare,
+is illustrative of all that is best in this delightful
+art, being specially rich in magnificent pieces that
+can never be again obtained. These have mostly
+been given, or left as legacies, to the Museum by
+collectors and enthusiasts who have made this
+fascinating hobby the quest of their lives. In<span class='pagenum'><a name="Page_8" id="Page_8">{8}</a></span>
+addition to the collection formed by the generosity
+of the donors, the authorities have exercised a
+very catholic judgment in selecting the choicest
+and most illustrative examples of the lace-maker's
+craft.</p>
+
+<p>In the section devoted to embroideries, more
+particularly English (as it is with our own country's
+needlework I propose to deal), nothing more glorious
+in the Nation's art records can be found than the
+masterpieces of embroidery worked by the great
+ladies, the abbesses and nuns of the Medi&aelig;val
+period. In almost every other branch of art England
+has been equalled, if not excelled, by Continental
+craftsmen; but in this one instance, up to the
+Reformation, English work was sought after far
+and wide, and as <i>opus Anglicum</i> formed part of
+church furnishing and priestly vestments in every
+great cathedral in Italy, Spain, and France.</p>
+
+<p>It cannot be too soon realised that, as with old
+furniture, porcelain, and silver, much of the finest
+embroideries of England, and a vast quantity of the
+ancient laces of Italy, France, and Belgium are being
+slowly but surely carried off to the New World.
+American dollars are doing much to rob not only
+the Old Country of the fairest flowers of her garden,
+but the Continent of their finest and best examples
+of the genius of the past. The Vanderbilts and the
+Astors, among others, possess immense fortunes in
+lace, whilst that omnivorous collector Mr. J. Pierpont
+Morgan gives fabulous sums for any fine old relic
+of embroidery. Many pieces of both classes of
+needlecraft have found a permanent home in the<span class='pagenum'><a name="Page_9" id="Page_9">{9}</a></span>
+Metropolitan Museum of New York, and are lost
+for ever to the English student.</p>
+
+<p>It is, therefore, a pleasant duty to add my little
+quota of information to the study of these fascinating
+and exquisite branches of fine art which so specially
+appeal to all women by their dainty grace and delightful
+handicraft. I hope I may arouse some little
+enthusiasm in my countrywomen in the study of the
+past glories of both subjects, and in the possibility of
+once again becoming first and foremost in the latter
+branch.</p>
+
+<p>I beg to acknowledge the pleasure and help I have
+received from the perusal of the late Mrs. Bury
+Palliser's exhaustive "History of Lace," and Lady
+Alford's "History of Needlework," and Dr. Rock's
+invaluable books on "Ecclesiastical Embroidery."</p>
+
+<p style="text-align: right;">
+EMILY LEIGH LOWES.</p>
+<p>
+<span class="smcap" style="margin-left: 2em;">Hillcrest</span>,<br />
+<span class="smcap" style="margin-left: 4em;">Brixton Hill</span>,<br />
+<span style="margin-left: 6em;">S.W.</span><br />
+<span class='pagenum'><a name="Page_10" id="Page_10">{10}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="BIBLIOGRAPHY" id="BIBLIOGRAPHY"></a>BIBLIOGRAPHY</h2>
+
+
+<h3>LACE.</h3>
+
+<div class="blockquot"><p>The History of Lace. 1 vol. Mrs. Bury Palliser. Sampson,
+Marston &amp; Low. 1865. &pound;2 2s.</p>
+
+<p>Dentelles and Guipures. 1 vol. E. Lefebure. Grevil. 1888.</p>
+
+<p>Ancient Needlepoint and Pillow Lace. Alan Sumnerly Cole.
+London. 1873.</p>
+
+<p>The Queen Lace Book. London. 1874.</p>
+
+<p>Of Lace. Alan Sumnerly Cole. 1893.</p>
+
+<p>Point and Pillow Lace. A. M. Sharp. George Newnes &amp; Co.
+7s. 6d.</p>
+
+<p>Venice and Burano. Ancient and Modern Lace. M. Jesuram.
+Venice. 1883.</p>
+
+<p>The History of Handmade Lace. Mrs. Jackson. Upcott Gill &amp;
+Son. 1900. 18s.</p>
+
+<p>Seven Centuries of Lace. Mrs. Hungerford-Pollen. 1st vol.
+issued 1908.</p></div>
+
+
+<h3>NEEDLEWORK.</h3>
+
+<div class="blockquot"><p>Textile Fabrics. Dr. Daniel Rock. South Kensington Handbook
+Series. 1876. 1s.</p>
+
+<p>Needlework as Art. Lady Marion Alford. London. 1886. &pound;4 4s.</p>
+
+<p>English Embroidery. A.F. Kendrick. George Newnes &amp; Co.
+7s. 6d.</p>
+
+<p>Art in Needlework. Day &amp; Buckle. Batsford. 7s. 6d.</p></div><p><span class='pagenum'><a name="Page_11" id="Page_11">{11}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align='left'></td><td align='right'>PAGE</td></tr>
+<tr><td align='left'><a href="#PREFACE">PREFACE</a></td><td align='right'><a href="#Page_7">7</a></td></tr>
+<tr><td align='left'><a href="#BIBLIOGRAPHY">BIBLIOGRAPHY</a></td><td align='right'><a href="#Page_10">10</a></td></tr>
+<tr><td align='center' colspan='2'><a href="#CHATS_ON_OLD_LACE">OLD LACE</a></td></tr>
+<tr><td align='left'>CHAPTER</td></tr>
+<tr><td align='left'><a href="#L_I">I. A BRIEF HISTORY OF LACE</a></td><td align='right'><a href="#Page_21">21</a></td></tr>
+<tr><td align='left'><a href="#L_II">II. THE ART OF LACE-MAKING</a></td><td align='right'><a href="#Page_33">33</a></td></tr>
+<tr><td align='left'><a href="#L_III">III. THE LACES OF ITALY</a></td><td align='right'><a href="#Page_45">45</a></td></tr>
+<tr><td align='left'><a href="#L_IV">IV. THE LACES OF GENOA AND MILAN</a></td><td align='right'><a href="#Page_57">57</a></td></tr>
+<tr><td align='left'><a href="#L_V">V. THE LACES OF FRANCE: NEEDLEPOINT</a></td><td align='right'><a href="#Page_69">69</a></td></tr>
+<tr><td align='left'><a href="#L_VI">VI. THE LACES OF FRANCE: PILLOW</a></td><td align='right'><a href="#Page_85">85</a></td></tr>
+<tr><td align='left'><a href="#L_VII">VII. THE LACES OF FLANDERS</a></td><td align='right'><a href="#Page_99">99</a></td></tr>
+<tr><td align='left'><a href="#L_VIII">VIII. MODERN BRUSSELS AND MECHLIN</a></td><td align='right'><a href="#Page_119">119</a></td></tr>
+<tr><td align='left'><a href="#L_IX">IX. OTHER CONTINENTAL LACES</a></td><td align='right'><a href="#Page_131">131</a></td></tr>
+<tr><td align='left'><a href="#L_X">X. A SHORT HISTORY OF LACE IN ENGLAND</a></td><td align='right'><a href="#Page_139">139</a></td></tr>
+<tr><td align='left'><a href="#L_XI">XI. ENGLISH LACES</a></td><td align='right'><a href="#Page_155">155</a></td></tr>
+<tr><td align='left'><a href="#L_XII">XII. SCOTCH AND IRISH LACE</a></td><td align='right'><a href="#Page_169">169</a></td></tr>
+<tr><td align='left'><a href="#L_XIII">XIII. HOW TO IDENTIFY LACE</a></td><td align='right'><a href="#Page_179">179</a><span class='pagenum'><a name="Page_12" id="Page_12">{12}</a></span></td></tr>
+<tr><td align='left'><a href="#L_XIV">XIV. SALE PRICES</a></td><td align='right'><a href="#Page_199">199</a></td></tr>
+<tr><td align='center' colspan='2'><a href="#CHATS_ON_NEEDLEWORK">NEEDLEWORK</a></td></tr>
+<tr><td align='left'>CHAPTER</td><td align='right'>PAGE</td></tr>
+<tr><td align='left'><a href="#N_I">I. OLD ENGLISH EMBROIDERY</a></td><td align='right'><a href="#Page_205">205</a></td></tr>
+<tr><td align='left'><a href="#N_II">II. THE GREAT PERIOD</a></td><td align='right'><a href="#Page_217">217</a></td></tr>
+<tr><td align='left'><a href="#N_III">III. ECCLESIASTICAL EMBROIDERIES AND VESTMENTS</a></td><td align='right'><a href="#Page_229">229</a></td></tr>
+<tr><td align='left'><a href="#N_IV">IV. TUDOR EMBROIDERIES</a></td><td align='right'><a href="#Page_245">245</a></td></tr>
+<tr><td align='left'><a href="#N_V">V. EARLY NEEDLEWORK PICTURES AND ACCESSORIES</a></td><td align='right'><a href="#Page_253">253</a></td></tr>
+<tr><td align='left'><a href="#N_VI">VI. STUART CASKETS AND MIRROR</a></td><td align='right'><a href="#Page_267">267</a></td></tr>
+<tr><td align='left'><a href="#N_VII">VII. EMBROIDERED BOOKS AND "BLACK WORK"</a></td><td align='right'><a href="#Page_275">275</a></td></tr>
+<tr><td align='left'><a href="#N_VIII">VIII. STUART PICTURES</a></td><td align='right'><a href="#Page_289">289</a></td></tr>
+<tr><td align='left'><a href="#N_IX">IX. SAMPLERS</a></td><td align='right'><a href="#Page_305">305</a></td></tr>
+<tr><td align='left'><a href="#N_X">X. THE WILLIAM AND MARY EMBROIDERIES</a></td><td align='right'><a href="#Page_317">317</a></td></tr>
+<tr><td align='left'><a href="#N_XI">XI. PICTORIAL NEEDLEWORK OF THE EIGHTEENTH CENTURY</a></td><td align='right'><a href="#Page_331">331</a></td></tr>
+<tr><td align='left'><a href="#N_XII">XII. NEEDLEWORK PICTURES OF THE NINETEENTH CENTURY</a></td><td align='right'><a href="#Page_347">347</a></td></tr>
+<tr><td align='left'><a href="#N_XIII">XIII. EMBROIDERY IN COSTUME</a></td><td align='right'><a href="#Page_355">355</a></td></tr>
+<tr><td align='left'><a href="#N_XIV">XIV. SALE PRICES</a></td><td align='right'><a href="#Page_365">365</a></td></tr>
+<tr><td align='left'><a href="#N_XV">XV. CONCLUSION</a></td><td align='right'><a href="#Page_373">373</a></td></tr>
+<tr><td align='left'>INDEX&mdash;<a href="#INDEX">OLD LACE</a></td><td align='right'><a href="#Page_381">381</a></td></tr>
+<tr><td align='left' style="text-indent: 4.5em;"><a href="#NEEDLEWORK_INDEX">NEEDLEWORK</a></td><td align='right'><a href="#Page_384">384</a><span class='pagenum'><a name="Page_13" id="Page_13">{13}</a></span></td></tr>
+</table></div>
+
+<hr style="width: 65%;" />
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2>
+
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align='left'>MARY SIDNEY, COUNTESS OF PEMBROKE</td><td align='left'><i><a href="#frontispiece">Frontispiece</a></i></td></tr>
+<tr><td align='center'>OLD LACE</td><td align='right'>PAGE</td></tr>
+<tr><td align='left'>EGYPTIAN CUT AND DRAWN WORK</td><td align='right'><a href="#Page_20">20</a></td></tr>
+<tr><td align='left'>OLD ITALIAN "CUTWORKE"</td><td align='right'><a href="#Page_20">20</a></td></tr>
+<tr><td align='left'>EARLY ENGLISH SAMPLERS</td><td align='right'><a href="#Page_23">23</a></td></tr>
+<tr><td align='left'>ORIGINAL PATTERNS BY VINCIOLA</td><td align='right'><a href="#Page_27">27</a></td></tr>
+<tr><td align='left'>ORIGINAL DESIGNS OF RETICELLA EDGINGS BY VINCIOLA</td><td align='right'><a href="#Page_31">31</a></td></tr>
+<tr><td align='left'>CHART OF NEEDLEPOINT R&Eacute;SEAUX</td><td align='right'><a href="#Page_36">36</a></td></tr>
+<tr><td align='left'>CHART OF PILLOW R&Eacute;SEAUX</td><td align='right'><a href="#Page_39">39</a></td></tr>
+<tr><td align='left'>VENETIAN ROSE POINT</td><td align='right'><a href="#Page_43">43</a></td></tr>
+<tr><td align='left'>VENETIAN ROSE POINT COLLAR</td><td align='right'><a href="#Page_48">48</a></td></tr>
+<tr><td align='left'>EXAMPLES OF FLAT VENETIAN POINT</td><td align='right'><a href="#Page_51">51</a></td></tr>
+<tr><td align='left'>MARIE DE MEDICIS WEARING VENETIAN POINT COLLAR</td><td align='right'><a href="#Page_52">52</a></td></tr>
+<tr><td align='left'>EXAMPLE OF GROS POINT DE VENICE</td><td align='right'><a href="#Page_55">55</a></td></tr>
+<tr><td align='left'>LOUIS XIII. WEARING GENOESE COLLAR LACE</td><td align='right'><a href="#Page_60">60</a><span class='pagenum'><a name="Page_14" id="Page_14">{14}</a></span></td></tr>
+<tr><td align='left'>GENOESE COLLAR LACE</td><td align='right'><a href="#Page_63">63</a></td></tr>
+<tr><td align='left'>MILANESE LACE</td><td align='right'><a href="#Page_67">67</a></td></tr>
+<tr><td align='left'>OLD ITALIAN AND FRENCH LACES AND CUT AND DRAWN WORK</td><td align='right'><a href="#Page_72">72</a></td></tr>
+<tr><td align='left'>"POINT DE FRANCE"</td><td align='right'><a href="#Page_75">75</a></td></tr>
+<tr><td align='left'>POINT D'ALEN&Ccedil;ON</td><td align='right'><a href="#Page_76">76</a></td></tr>
+<tr><td align='left'>"POINT DE FRANCE" AND D'ARGENTELLA</td><td align='right'><a href="#Page_79">79</a></td></tr>
+<tr><td align='left'>POINT D'ARGENTAN AND POINT D'ARGENTELLA</td><td align='right'><a href="#Page_83">83</a></td></tr>
+<tr><td align='left'>VALENCIENNES</td><td align='right'><a href="#Page_88">88</a></td></tr>
+<tr><td align='left'>"LILLE"</td><td align='right'><a href="#Page_91">91</a></td></tr>
+<tr><td align='left'>EMPRESS EUGENIE WEARING BLONDE LACE</td><td align='right'><a href="#Page_95">95</a></td></tr>
+<tr><td align='left'>POINT D'ANGLETERRE</td><td align='right'><a href="#Page_102">102</a></td></tr>
+<tr><td align='left'>POINT D'ANGLETERRE LAPPET</td><td align='right'><a href="#Page_105">105</a></td></tr>
+<tr><td align='left'>BRUSSELS LACE</td><td align='right'><a href="#Page_109">109</a></td></tr>
+<tr><td align='left'>BRUSSELS LAPPET</td><td align='right'><a href="#Page_113">113</a></td></tr>
+<tr><td align='left'>COMTESSE D'ARTOIS WEARING BRUSSELS LACE</td><td align='right'><a href="#Page_117">117</a></td></tr>
+<tr><td align='left'>MARIE ANTOINETTE</td><td align='right'><a href="#Page_122">122</a></td></tr>
+<tr><td align='left'>MECHLIN LAPPET</td><td align='right'><a href="#Page_125">125</a></td></tr>
+<tr><td align='left'>MARIE ANTOINETTE WEARING MECHLIN LACE</td><td align='right'><a href="#Page_129">129</a></td></tr>
+<tr><td align='left'>"DUCHESSE" LACE</td><td align='right'><a href="#Page_135">135</a></td></tr>
+<tr><td align='left'>QUEEN ELIZABETH WEARING VENETIAN POINT RUFF AND CUFFS</td><td align='right'><a href="#Page_141">141</a><span class='pagenum'><a name="Page_15" id="Page_15">{15}</a></span></td></tr>
+<tr><td align='left'>EDMUND SPENSER: COLLAR TRIMMED WITH RETICELLA</td><td align='right'><a href="#Page_145">145</a></td></tr>
+<tr><td align='left'>RETICELLA FALLING COLLAR</td><td align='right'><a href="#Page_149">149</a></td></tr>
+<tr><td align='left'>COLLAR OF GROS POINT</td><td align='right'><a href="#Page_153">153</a></td></tr>
+<tr><td align='left'>OLD BUCKINGHAM AND EARLY DEVONSHIRE LACES</td><td align='right'><a href="#Page_159">159</a></td></tr>
+<tr><td align='left'>OLD HONITON LACE</td><td align='right'><a href="#Page_163">163</a></td></tr>
+<tr><td align='left'>MODERN HONITON LACE</td><td align='right'><a href="#Page_167">167</a></td></tr>
+<tr><td align='left'>LIMERICK "FILLINGS"</td><td align='right'><a href="#Page_173">173</a></td></tr>
+<tr><td align='left'>CARRICK-MA-CROSS LACE</td><td align='right'><a href="#Page_177">177</a></td></tr>
+<tr><td align='left'>RETICELLA WITH GENOA BORDERS</td><td align='right'><a href="#Page_182">182</a></td></tr>
+<tr><td align='left'>POINT D'ANGLETERRE</td><td align='right'><a href="#Page_185">185</a></td></tr>
+<tr><td align='left'>ITALIAN ECCLESIASTICAL LACE</td><td align='right'><a href="#Page_189">189</a></td></tr>
+<tr><td align='left'>BRUSSELS LAPPET</td><td align='right'><a href="#Page_193">193</a></td></tr>
+<tr><td align='left'>"POINT DE GAZE"</td><td align='right'><a href="#Page_197">197</a></td></tr>
+<tr><td align='left'>NEEDLEWORK</td></tr>
+<tr><td align='left'>EGYPTIAN EMBROIDERY</td><td align='right'><a href="#Page_208">208</a></td></tr>
+<tr><td align='left'>BAYEUX TAPESTRY</td><td align='right'><a href="#Page_211">211</a></td></tr>
+<tr><td align='left'>KING HAROLD FROM BAYEUX TAPESTRY</td><td align='right'><a href="#Page_215">215</a></td></tr>
+<tr><td align='left'>FRAGMENT FROM THE "JESSE" COPE</td><td align='right'><a href="#Page_221">221</a></td></tr>
+<tr><td align='left'>THE "SYON" COPE</td><td align='right'><a href="#Page_225">225</a></td></tr>
+<tr><td align='left'>THE STEEPLE ASTON ALTAR FRONTAL</td><td align='right'><a href="#Page_232">232</a></td></tr>
+<tr><td align='left'>THE "NEVIL" ALTAR FRONTAL</td><td align='right'><a href="#Page_235">235</a><span class='pagenum'><a name="Page_16" id="Page_16">{16}</a></span></td></tr>
+<tr><td align='left'>DIAGRAM SHOWING USE OF VESTMENTS</td><td align='right'><a href="#Page_239">239</a></td></tr>
+<tr><td align='left'>SET OF ECCLESIASTICAL VESTMENTS</td><td align='right'><a href="#Page_243">243</a></td></tr>
+<tr><td align='left'>EARLY "PETIT POINT" PICTURE</td><td align='right'><a href="#Page_256">256</a></td></tr>
+<tr><td align='left'>EARLY "PETIT POINT" PICTURE</td><td align='right'><a href="#Page_259">259</a></td></tr>
+<tr><td align='left'>STUART GLOVE</td><td align='right'><a href="#Page_263">263</a></td></tr>
+<tr><td align='left'>STUART MIRROR FRAME</td><td align='right'><a href="#Page_271">271</a></td></tr>
+<tr><td align='left'>STUART BOOK COVER</td><td align='right'><a href="#Page_278">278</a></td></tr>
+<tr><td align='left'>QUEEN ELIZABETH'S POCKET-BOOK</td><td align='right'><a href="#Page_281">281</a></td></tr>
+<tr><td align='left'>"BLACK WORK" CAP</td><td align='right'><a href="#Page_285">285</a></td></tr>
+<tr><td align='left'>EMBROIDERY PORTRAIT OF KING CHARLES I.</td><td align='right'><a href="#Page_293">293</a></td></tr>
+<tr><td align='left'>STUMP-WORK PICTURE</td><td align='right'><a href="#Page_297">297</a></td></tr>
+<tr><td align='left'>"PETIT POINT" PICTURE WORKED ON SATIN</td><td align='right'><a href="#Page_301">301</a></td></tr>
+<tr><td align='left'>A SEVENTEENTH CENTURY "SAMPLER"</td><td align='right'><a href="#Page_309">309</a></td></tr>
+<tr><td align='left'>EARLY ENGLISH "SAMPLER"</td><td align='right'><a href="#Page_313">313</a></td></tr>
+<tr><td align='left'>JACOBEAN HANGINGS</td><td align='right'><a href="#Page_319">319</a></td></tr>
+<tr><td align='left'>ENLARGEMENT OF SPRAY FROM HANGINGS</td><td align='right'><a href="#Page_323">323</a></td></tr>
+<tr><td align='left'>QUEEN ANNE PICTURE</td><td align='right'><a href="#Page_327">327</a></td></tr>
+<tr><td align='left'>EARLY GEORGIAN PICTURE</td><td align='right'><a href="#Page_334">334</a></td></tr>
+<tr><td align='left'>"THE LAST SUPPER"</td><td align='right'><a href="#Page_337">337</a></td></tr>
+<tr><td align='left'>EIGHTEENTH CENTURY SILK EMBROIDERED PICTURE</td><td align='right'><a href="#Page_341">341</a></td></tr>
+<tr><td align='left'>BLACK SILK AND HAIR PICTURE</td><td align='right'><a href="#Page_345">345</a></td></tr>
+<tr><td align='left'>A "GAINSBOROUGH" PICTURE</td><td align='right'><a href="#Page_361">361</a><span class='pagenum'><a name="Page_17" id="Page_17">{17}</a></span></td></tr>
+</table></div>
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="L_I" id="L_I"></a>I<br />
+<br />
+A BRIEF<br />
+HISTORY<br />
+OF LACE</h2>
+<p><span class='pagenum'><a name="Page_20" id="Page_20">{20}</a></span><span class='pagenum'><a name="Page_19" id="Page_19"></a></span><span class='pagenum'><a name="Page_18" id="Page_18"></a></span></p>
+
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image002.jpg" width="500" height="288" alt="EGYPTIAN CUT AND DRAWN WORK.
+
+Found in a tomb in Thebes." title="" />
+<span class="caption">EGYPTIAN CUT AND DRAWN WORK.
+<br />
+Found in a tomb in Thebes.</span>
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image003.jpg" width="500" height="201" alt="OLD ITALIAN &quot;CUTWORKE.&quot;
+
+(Author&#39;s Collection.)" title="" />
+<span class="caption">OLD ITALIAN &quot;CUTWORKE.&quot;
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_21" id="Page_21">{21}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHATS_ON_OLD_LACE" id="CHATS_ON_OLD_LACE"></a>CHATS ON OLD LACE</h2>
+
+
+
+<hr style="width: 65%;" />
+<h2>I<br />
+<br />
+A BRIEF HISTORY OF LACE</h2>
+
+<div class="blockquot"><p>Early vestiges in Egypt&mdash;Lace found in St. Cuthbert's Tomb
+(685 <span class="smcap lowercase">A.D.</span>)&mdash;Drawn Thread and Cutworks&mdash;Venetian Lace&mdash;Flanders
+Lace&mdash;French Laces&mdash;English Lace.</p></div>
+
+
+<p>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<span class='pagenum'><a name="Page_22" id="Page_22">{22}</a></span>
+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.</p>
+
+<p>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&aelig; and
+Etruria, and those of a later date&mdash;<i>i.e.</i>, 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 <span class="smcap lowercase">A.D.</span>, 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.<span class='pagenum'><a name="Page_23" id="Page_23">{23}</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image004.jpg" width="500" height="323" alt="EARLY ENGLISH SAMPLERS, SHOWING CUT AND DRAWN WORK." title="" />
+<img src="images/image005.jpg" width="500" height="336" alt="" title="" />
+<span class="caption">EARLY ENGLISH SAMPLERS, SHOWING CUT AND DRAWN WORK.
+<br />
+(<i>S.K.M. Collection.</i>)</span>
+</div>
+
+<p>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<span class='pagenum'><a name="Page_25" id="Page_25">{25}</a></span><span class='pagenum'><a name="Page_24" id="Page_24"></a></span>
+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.</p>
+
+<p>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
+<i>entirely</i> 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, <i>working over</i> and <i>connecting</i> 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 "<i>out of nothing</i>."</p>
+
+<p>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<span class='pagenum'><a name="Page_26" id="Page_26">{26}</a></span>
+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.</p>
+
+<p>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.<span class='pagenum'><a name="Page_27" id="Page_27">{27}</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image006.jpg" width="500" height="536" alt="ORIGINAL PATTERNS DESIGNED BY VINCIOLA.
+
+Seventeenth Century." title="" />
+<span class="caption">ORIGINAL PATTERNS DESIGNED BY VINCIOLA.
+<br />
+Seventeenth Century.</span>
+</div>
+
+<p>A little later, but still contemporary with the introduction
+of Venetian lace, a Pillow lace was being<span class='pagenum'><a name="Page_29" id="Page_29">{29}</a></span><span class='pagenum'><a name="Page_28" id="Page_28"></a></span>
+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.</p>
+
+<p>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
+<i>Grande Monarque</i>, Louis XIV., that French lace
+rivalled that of Venice.</p>
+
+<p>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&ccedil;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&ccedil;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<span class='pagenum'><a name="Page_30" id="Page_30">{30}</a></span>
+authorities agree that this is one of the many fairy
+tales with which the passing of time has adorned
+the history of lace.</p>
+
+<p>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.</p>
+
+<p>The laces of Ireland are of comparatively recent
+growth, and though in many instances exquisitely
+fine, do not as yet show much originality.<span class='pagenum'><a name="Page_31" id="Page_31">{31}</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image007.jpg" width="500" height="350" alt="ORIGINAL PATTERNS DESIGNED BY VINCIOLA." title="" />
+<span class="caption">ORIGINAL PATTERNS DESIGNED BY VINCIOLA.</span>
+</div><p><span class='pagenum'><a name="Page_33" id="Page_33">{33}</a></span><span class='pagenum'><a name="Page_32" id="Page_32"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="L_II" id="L_II"></a>II<br />
+<br />
+THE ART OF<br />
+LACE-MAKING</h2><p><span class='pagenum'><a name="Page_36" id="Page_36">{36}</a></span><span class='pagenum'><a name="Page_35" id="Page_35"></a></span><span class='pagenum'><a name="Page_34" id="Page_34"></a></span></p>
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image008.jpg" width="400" height="438" alt="NEEDLEPOINT R&Eacute;SEAUX." title="" />
+<span class="caption">NEEDLEPOINT R&Eacute;SEAUX.
+<br />
+No. 1.&mdash;Brussels.<br />
+No. 2.&mdash;Alen&ccedil;on.<br />
+No. 3.&mdash;Argentan.<br />
+No. 4.&mdash;Argentella.<br />
+</span>
+</div><p><span class='pagenum'><a name="Page_37" id="Page_37">{37}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>II
+<br />
+THE ART OF LACE-MAKING</h2>
+
+<div class="blockquot"><p>Needlepoint&mdash;Pillow Laces&mdash;Charts of various R&eacute;seaux&mdash;Technical
+Terms.</p></div>
+
+
+<p>Lace-making naturally falls into two classes&mdash;the
+Needlepoint and Pillow varieties. In some laces,
+more especially of the Belgian class, there is a <i>mixed</i>
+lace, the "toile" or pattern, being worked with the
+needle, and the ground, or "r&eacute;seau," made round it
+on the pillow and <i>vice vers&acirc;</i>.</p>
+
+<p>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 Macram&eacute; 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.</p>
+
+<p>Pillow lace may be easily distinguished from
+Point lace, as in the former the ground, or r&eacute;seau,
+is made of plaited threads. That of Point lace is
+composed of threads made by the use of the button<span class='pagenum'><a name="Page_38" id="Page_38">{38}</a></span>hole
+stitch only, or, in the case of Alen&ccedil;on point,
+the mesh is worked in a special manner. The later
+laces, <i>i.e.</i>, 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 appliqu&eacute;s. 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.</p>
+
+<p>The accompanying diagram illustrates the various
+grounds, and will prove an infallible guide in distinguishing
+the points of difference between Point
+and Pillow lace.</p>
+
+<p>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.</p>
+
+<p><i>Brides</i> (literally "bridges").&mdash;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.<span class='pagenum'><a name="Page_39" id="Page_39">{39}</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image009.jpg" width="400" height="426" alt="PILLOW R&Eacute;SEAUX." title="" />
+<span class="caption">PILLOW R&Eacute;SEAUX.
+<br />
+No. 1.&mdash;Valenciennes.<br />
+No. 2.&mdash;Brussels.<br />
+No. 3.&mdash;Lille.<br />
+No. 4.&mdash;Mechlin.<br /></span>
+</div><p><span class='pagenum'><a name="Page_41" id="Page_41">{41}</a></span><span class='pagenum'><a name="Page_40" id="Page_40"></a></span></p>
+
+<p><i>Beading.</i>&mdash;A tiny looped edge used to finish woven
+or Pillow-made lace.</p>
+
+<p><i>Bobbins.</i>&mdash;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."</p>
+
+<p><i>Cordonnet.</i>&mdash;In most <i>Point</i> laces the design is
+outlined with a raised <i>cord</i> 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&ccedil;on or Argentan.</p>
+
+<p><i>Couronnes.</i>&mdash;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.</p>
+
+<p><i>Dentel&eacute;.</i>&mdash;Lace designed in scallop-form, chiefly
+used for border laces.</p>
+
+<p><i>Fillings.</i>&mdash;This word most easily explains the
+ordinary terms of "modes" and "&agrave; 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."</p>
+
+<p><i>Grounds.</i>&mdash;There are two varieties of grounds, one
+made with Brides, and the other either with Needle<span class='pagenum'><a name="Page_42" id="Page_42">{42}</a></span>point
+or Pillow network. Other names for these are
+"R&eacute;seaux" and "Fonds." The method of making
+Needlepoint or woven ground often decides the date
+and class of the lace.</p>
+
+<p><i>Guipure.</i>&mdash;Literally a <i>tape lace</i>. The name however
+is applied to all Pillow laces having a tape-like
+design on them.</p>
+
+<p><i>Picots.</i>&mdash;The little loops used to ornament a plain
+bride or tie.<span class='pagenum'><a name="Page_43" id="Page_43">{43}</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image010.jpg" width="400" height="589" alt="VENETIAN ROSE POINT." title="" />
+<span class="caption">VENETIAN ROSE POINT.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_45" id="Page_45">{45}</a></span><span class='pagenum'><a name="Page_44" id="Page_44"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="L_III" id="L_III"></a>III<br />
+<br />
+THE LACES<br />
+OF ITALY</h2><p><span class='pagenum'><a name="Page_48" id="Page_48">{48}</a></span><span class='pagenum'><a name="Page_47" id="Page_47"></a></span><span class='pagenum'><a name="Page_46" id="Page_46"></a></span></p>
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image011.jpg" width="500" height="365" alt="VENETIAN ROSE POINT.
+
+Seventeenth Century. (Author&#39;s Collection.)" title="" />
+<span class="caption">VENETIAN ROSE POINT.
+<br />
+Seventeenth Century. (<i>Author&#39;s Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_49" id="Page_49">{49}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>III
+<br />
+THE LACES OF ITALY</h2>
+
+<h3><i>The Venetian Laces</i></h3>
+
+<div class="blockquot"><p>Venetian lace&mdash;"Rose Point"&mdash;"Point de Neige"&mdash;"Gros
+Point"&mdash;"Punto Tagliato a Foliami"&mdash;The South Kensington
+Collection.</p></div>
+
+
+<p>Needlepoint lace is made with needle and thread
+and principally in buttonhole stitches. A traced
+parchment pattern is procured, the outline made
+with a solitary thread stitched down to the parchment
+at frequent intervals. The thread is then
+worked over with fine buttonhole stitches; the modes
+or fillings have a fine network of threads stretched
+across, afterwards being buttonholed into a variety of
+designs. The edges are then again worked upon
+with loops or picots, and in "Rose Point" tiny
+stars or roses are worked on suitable parts of the
+design, sometimes the "roses" or "stars" being
+three in numbers, one poised upon the other. This
+is known as "Point de Neige" the whole surface
+of the lace being literally sprinkled with tiny stars<span class='pagenum'><a name="Page_50" id="Page_50">{50}</a></span>
+somewhat representing a fine snowfall. The design
+is then connected with fine "brides," these in their
+turn being dotted and purled with stars and loops.
+Most of this exquisite lace requires a powerful
+magnifying-glass to discern the intricacy of the work.</p>
+
+<p>The finest lace of this variety was produced in the
+sixteenth century, the designs being bold, handsome,
+and purely Renaissance in type. That of the Louis
+Quatorze period shows the personal influence of his
+reign, frequently having tiny figures worked in the
+design. A collar in my possession has the Indian
+worshipping the sun (the King's glory was said to
+rival that of the sun) repeated in each scallop. This
+was a favourite design in the magnificent "Point de
+France" which was made during the long reign of
+Louis, under the management of Colbert.</p>
+
+<p>It is absolutely certain that the laces known as
+Venetian Point originated in Italy. Pattern books
+still exist showing how the early Reticella developed
+into this magnificent lace. In the National Library at
+the South Kensington Museum, may be seen the very
+patterns designed by Vinciolo, Vicellio, and Isabella
+Parasole. These publications actually came from
+Venice, and being reproduced in France, Germany,
+Belgium, and England, quickly aroused immense
+enthusiasm, and lace-making spread far and wide,
+at first all other laces being mere imitations of the
+Venetian.<span class='pagenum'><a name="Page_51" id="Page_51">{51}</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image012.jpg" width="500" height="235" alt="CORALLINE POINT (VENETIAN)." title="" />
+<span class="caption">CORALLINE POINT (VENETIAN).</span>
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image013.jpg" width="500" height="589" alt="POINT PLAT DE VENISE (FLAT VENETIAN).
+
+(Author&#39;s Collection.)" title="" />
+<span class="caption">POINT PLAT DE VENISE (FLAT VENETIAN).
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div>
+<p><span class='pagenum'><a name="Page_52" id="Page_52">{52}</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image014.jpg" width="400" height="472" alt="MARIE DE MEDICIS WEARING THE MEDICIS COLLAR
+TO DISPLAY VENETIAN LACES." title="" />
+<span class="caption">MARIE DE MEDICIS WEARING THE MEDICIS COLLAR
+TO DISPLAY VENETIAN LACES.</span>
+</div>
+
+<p>The chief varieties of the Venetian laces are known
+as Rose Point, Point de Neige, Gros Point de Venise
+(often erroneously attributed to Spain and called
+Spanish Point), and Point Plat de Venise. A much<span class='pagenum'><a name="Page_53" id="Page_53">{53}</a></span>
+rarer variety is "Venetian point &agrave; r&eacute;seau," which is
+the flat point worked round with a Needlepoint
+ground or mesh, the network following no proper
+order but being simply worked round the pattern and
+following its curves.</p>
+
+<p>The chief characteristics of Venetian lace are the
+buttonhole Cordonnet, fine or thick according to
+the style of lace; the wonderful diversities of the
+fillings worked in buttonhole stitches; the elaborate
+decoration of the Cordonnet; and the starry effects of
+the brides or ties. In the flat Venetian Point there
+is no Cordonnet.</p>
+
+<p>These Italian laces were admired and purchased by
+all the European countries, and the cities of Venice
+and Florence made enormous fortunes. The fashions
+of the day led to their extensive use, Marie de Medicis
+introducing the Medici collar trimmed with Venetian
+points specially to display them. At a little later period
+the collar became more falling and the heavier "Gros
+point" was used. Men and women alike wore lace-trimmed
+garments to an excessive degree, the collar
+and cuff trimmings being composed of wide Venetian
+lace and the silken scarf worn across the body being
+edged with narrower and finer lace.</p>
+
+<p>The principal designs for the Venetian lace of all
+periods were scrolls of flowers conventionalised in the
+Renaissance taste of the time. The generic name
+for all laces of the finest period is "Punto tagliato a
+foliami." The laces of this time are now almost
+priceless. They are genuine works of art, worked
+slowly and patiently under the clear light of the
+Italian skies by women who were naturally artistic<span class='pagenum'><a name="Page_54" id="Page_54">{54}</a></span>
+and beauty loving, and who, while working the
+shining needle and fairy thread in and out of the
+intricacies of the design sang the pretty "Lace
+Songs" which may be heard at the Burano Lace
+School even now, although 200 or 300 years old.
+Many specimens of this exquisite lace are to be
+found in the South Kensington Museum, where the
+flounce given by Mrs. Bolckow at once explains
+the whole scheme of Venetian lace-making.</p>
+
+<p>Such lace is not to be purchased now except at
+great price. The piece illustrated, see page <a href="#Page_55">55</a>, was only
+1-1/8 yards in length, and was sold for &pound;145 by one of
+our leading lacemen. Barely 5 yards of Venetian
+lace, only 2 inches wide and <i>in rags</i>, was sold at
+Debenham &amp; Storr's in August, 1907, for &pound;60; and
+even the smallest collar or a pair of cuffs runs well
+into &pound;10.</p>
+
+<p>Even in the days of its manufacture this lace commanded
+high prices. In the inventory of Queen
+Elizabeth's gowns we find such entries as&mdash;</p>
+
+<p>
+"To 1 yard Double Italian Cut-worke, &frac14; yd. wide. 55/4.<br />
+<br />
+<span style="margin-left: 1em;">" 3 yds. broad needlework lace of Italy, with purls. 50/- per yd."</span><br />
+</p>
+
+<p>James II. paid &pound;29 for a cravat.<span class='pagenum'><a name="Page_55" id="Page_55">{55}</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image015.jpg" width="400" height="537" alt="VERY FINE EXAMPLE OF &quot;GROS POINT DE VENISE.&quot;" title="" />
+<span class="caption">VERY FINE EXAMPLE OF &quot;GROS POINT DE VENISE.&quot;</span>
+</div><p><span class='pagenum'><a name="Page_57" id="Page_57">{57}</a></span><span class='pagenum'><a name="Page_56" id="Page_56"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="L_IV" id="L_IV"></a>IV<br />
+<br />
+THE LACES<br />
+OF GENOA<br />
+AND MILAN</h2><p><span class='pagenum'><a name="Page_60" id="Page_60">{60}</a></span><span class='pagenum'><a name="Page_59" id="Page_59"></a></span><span class='pagenum'><a name="Page_58" id="Page_58"></a></span></p>
+
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image016.jpg" width="400" height="414" alt="LOUIS XIII. OF FRANCE, SHOWING VANDYKE LACE
+COLLAR AND NARROWER LACE ON SCARF." title="" />
+<span class="caption">LOUIS XIII. OF FRANCE, SHOWING VANDYKE LACE
+COLLAR AND NARROWER LACE ON SCARF.</span>
+</div><p><span class='pagenum'><a name="Page_61" id="Page_61">{61}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>IV
+<br />
+THE LACES OF GENOA AND MILAN</h2>
+
+<div class="blockquot"><p>Argentella wrongly called Italian&mdash;Genoese&mdash;Mixed laces&mdash;Milanese&mdash;Macram&eacute;.</p></div>
+
+
+<p>These are mostly Pillow laces, but fine Point laces
+were also manufactured in these towns. In the first-named
+town it is said that the lace called "Argentella"
+was made, but this is extremely doubtful, most
+authorities arguing that it was certainly a French lace
+made at the best period.</p>
+
+<p>A very representative lace of Genoa is known as
+collar lace, very widely used for the falling collars of
+the Vandyke period. It was an exceedingly beautiful
+and decorative lace, and almost indestructible. Specimens
+of this lace can even now easily be secured at
+a fair price. The laces known as "Pillow Guipure"
+are somewhat open to question, the authorities at
+South Kensington Museum agreeing to differ, and
+labelling most of the specimens "Italian or Flemish."
+The finer pieces of this type of lace may safely be
+described as "Flemish," as the flax-thread grown and
+made in Flanders was much finer than that grown in
+the Southern Countries.<span class='pagenum'><a name="Page_62" id="Page_62">{62}</a></span></p>
+
+<p>Much of the Genoa lace was worked in what we term
+"mixed lace," the design being woven on the pillow,
+and the ground and fillings worked in with the needle
+either in a network or by brides and picots. A much
+inferior kind is made with a woven braid or tape,
+the turns of the pattern being made in twisted or
+puckered braid, much after the style of the handmade
+Point lace made in England some thirty years
+ago. This lace was known as "Mezzo Punto," though
+the French were discourteous enough to term it
+"Point de Canaille," as undoubtedly it was an imitation
+of the finer laces made in a loose, poor style.</p>
+
+<p>The lace of Milan is unquestionably the most
+beautiful of the Pillow laces of Italy. While resembling
+the plaited lace of Genoa, there is more
+individuality about it. Much of this fine lace was
+worked for church vestments and altar cloths.
+Various heraldic devices are frequently introduced,
+surrounded with elegant scroll designs, the whole
+being filled up with woven r&eacute;seau, the lines of which
+are by no means regular, but are made to fill in the
+interstices.</p>
+
+<p>Yet another Italian lace is known as</p>
+
+<h3>
+<i>Punto a Groppo, or Macram&eacute;</i>.
+</h3>
+
+<p>No doubt this was the earliest form of woven lace,
+and, indeed, it may claim an origin as early
+as the first garments worn by mankind. In the
+earliest remains of antiquity a <i>fringe</i> often decorates
+the edges of garments, curtains, and floor-covering,
+and seems to be a natural and fitting finish to what
+would otherwise be a hard, straight line. In the<span class='pagenum'><a name="Page_64" id="Page_64"></a></span><span class='pagenum'><a name="Page_63" id="Page_63">{63}</a></span>
+various Assyrian and Egyptian monuments this is
+noted again and again.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image017.jpg" width="500" height="512" alt="GENOESE LACE." title="" />
+<span class="caption">GENOESE LACE.
+<br />
+Sixteenth or Seventeenth Century.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div>
+
+<p><span class='pagenum'><a name="Page_65" id="Page_65">{65}</a></span>Some of the sixteenth-century pieces which we possess
+show simply an elaboration of the knotted fringe,
+while much of the later work is exceptionally fine.
+The work is so well known, owing to its revival
+during the last thirty years in a coarse form, that it
+needs little description. Its use, even at its best
+period, was confined to household use, for which
+purpose it seems particularly adapted.<span class='pagenum'><a name="Page_67" id="Page_67">{67}</a></span><span class='pagenum'><a name="Page_66" id="Page_66"></a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image018.jpg" width="400" height="451" alt="MILANESE LACE.
+
+(Author&#39;s Collection.)" title="" />
+<span class="caption">MILANESE LACE.
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_69" id="Page_69">{69}</a></span><span class='pagenum'><a name="Page_68" id="Page_68"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="L_V" id="L_V"></a>V<br />
+<br />
+THE LACES<br />
+OF FRANCE</h2><p><span class='pagenum'><a name="Page_72" id="Page_72">{72}</a></span><span class='pagenum'><a name="Page_71" id="Page_71"></a></span><span class='pagenum'><a name="Page_70" id="Page_70"></a></span></p>
+
+<hr style="width: 65%;" />
+
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/image019.jpg" width="300" height="317" alt="&quot;CUT-WORKE.&quot;" title="" />
+<span class="caption">&quot;CUT-WORKE.&quot;</span>
+</div>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/image020.jpg" width="300" height="293" alt="LACIS." title="" />
+<span class="caption">LACIS.</span>
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image021.jpg" width="500" height="326" alt="OLD ITALIAN AND FRENCH CUT AND DRAWN WORK AND &quot;LACIS.&quot;
+
+(Author&#39;s Collection.)" title="" />
+<span class="caption">OLD ITALIAN AND FRENCH CUT AND DRAWN WORK AND &quot;LACIS.&quot;
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_73" id="Page_73">{73}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>V<br />
+<br />
+THE LACES OF FRANCE</h2>
+
+<h3><i>The Needlepoint Laces of France</i></h3>
+
+<div class="blockquot"><p>Catherine de Medici's collection of "Lacis"&mdash;Establishment
+of lace-making by Colbert&mdash;"Point de France"&mdash;"Point
+d'Alen&ccedil;on"&mdash;"Point d'Argentan"&mdash;Modern reproduction
+of these at Burano, Italy.</p></div>
+
+
+<p>France in the sixteenth century, as always, led the
+van of fashion. Lace appears to have been extensively
+used long before its apotheosis at the Court of
+Louis le Grand, otherwise Louis XIV. Catherine de
+Medici patronised the manufacture of "<i>Lacis</i>," which
+was merely darned netting, more or less fine. At
+this time "Lacis" and "Cut-worke" were practically
+all that was known or used. Bed-hangings, curtains,
+and furniture-coverings were covered with alternate
+squares of lacis and cutwork. Afterwards the Reticella
+laces of Italy were imported and had an immense
+vogue, but it was not until the artistically
+glorious time of Louis XIV. that an attempt was
+made to encourage a manufacture of French laces.</p>
+
+<p>Colbert, the astute Minister of Louis XIV., became<span class='pagenum'><a name="Page_74" id="Page_74">{74}</a></span>
+alarmed at the immense sums of money which went
+out of the country to purchase the laces of Venice,
+and, by means of bribing the best workers of the
+Venetian schools, he induced them to settle at
+L'Onray, near Alen&ccedil;on. In 1665 he had so far
+succeeded that lace rivalling that of Venice was
+being produced. The Venetians became alarmed
+in their turn (as, indeed, they had need to be) and
+issued an edict, ordering the lace-workers to return
+forthwith, or, failing this, the nearest relative would
+be imprisoned for life, and steps would be taken to
+have the truant lace-worker <i>killed</i>. If, however, he
+or she returned, complete forgiveness would be extended,
+and work found them <i>for life</i> at handsome
+remuneration. History does not tell us the result
+of this decree, but it evidently failed to destroy the
+lace manufacture of France.</p>
+
+<p>At first the lace manufactured at Alen&ccedil;on received
+the name of "Point de France," and was absolutely
+indistinguishable from that of Venice. Its magnificence
+of design, indeed, may be said to have exceeded
+anything before attempted. The introduction
+of tiny figures was attributable to the overwhelming
+personality of Louis XIV., and was symbolical of his
+magnificent sway and far-reaching influence. In the
+illustration, page <a href="#Page_55">55</a>, an especially fine specimen of
+the lace, Madame de Montespan is seen seated under
+the crown, two small Indians are on either side;
+a tree bearing flags and trophies completes this
+tribute to the genius of the lace-makers and the
+splendour of the Court.<span class='pagenum'><a name="Page_75" id="Page_75">{75}</a></span></p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/image022.jpg" width="450" height="656" alt="&quot;POINT DE FRANCE.&quot;
+
+(The property of Lady Kenmare.)" title="" />
+<span class="caption">&quot;POINT DE FRANCE.&quot;
+<br />
+(<i>The property of Lady Kenmare.</i>)</span><span class='pagenum'><a name="Page_76" id="Page_76">{76}</a></span>
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image023.jpg" width="500" height="388" alt="POINT D&#39;ALEN&Ccedil;ON.
+
+(Author&#39;s Collection.)" title="" />
+<span class="caption">POINT D&#39;ALEN&Ccedil;ON.
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div>
+
+<p>The name "Point de France" is given to all lace<span class='pagenum'><a name="Page_77" id="Page_77">{77}</a></span>
+made from its commencement by Colbert's direction
+until about 1678, when the lace-workers, perhaps
+forgetting the traditions of the Venetian school,
+developed a style of their own and the work became
+more distinctly French, being more delicate,
+finer in substance, the patterns clearer and more
+defined. The importation also of the finer flax
+thread from Flanders brought the more exquisite
+Pillow lace of Brussels to the notice of the French
+lace-workers. The French, as a nation, have always
+been foremost in seizing upon new ideas and adapting
+them to their own artistic requirements. In this
+instance the result was admirable, and it gave to
+the world, not the finest lace, as it was impossible
+to surpass the earliest Venetian Point laces, but
+certainly the next lace in order of merit, "Point
+d'Alen&ccedil;on." The chief characteristic of the lace is
+the fine, clear ground, the stiff Cordonnet outlining
+the pattern, and the exquisite patterns in the "jours"
+or fillings.</p>
+
+<p>The cordonnet of Alen&ccedil;on is the only one which
+has horsehair for its foundation. A strand of hair
+is carefully stitched down to the edges and is buttonholed
+over with the finest thread, and is said, although
+giving the lace quite a character of its own, to have
+been the cause of much of its destruction, as, in
+washing, the hair contracts and curls. It will be
+noticed also that the ground is worked in strips,
+<i>shortways of the lace of less than an inch in length</i>,
+afterwards being stitched together in what is known
+as "fine joining." So elaborate was the original Point
+d'Alen&ccedil;on that no less than eighteen workers were<span class='pagenum'><a name="Page_78" id="Page_78">{78}</a></span>
+engaged on one single piece. Later the number was
+reduced to twelve, when the patterns became less
+ornate.</p>
+
+<p>Although the factory of Alen&ccedil;on existed well into
+the early nineteenth century, the style of lace
+gradually deteriorated, until it is now non-existent!
+The lace made during the long reign of Louis XIV.
+is considered by far the finest and best, showing both
+grandeur of style and pattern and exquisite workmanship.
+Under Louis XV. the lace was equally
+well made, but the patterns followed the Rococo
+designs which were now introduced into all other
+decorative work, while in the reign of the ill-fated
+Louis XVI. it went completely out of fashion,
+Marie Antoinette affecting a much simpler style of
+lace. The Revolution finally caused the complete
+overthrow of Alen&ccedil;on lace, as of all fine art work in
+France. An attempt was made by Napoleon I. to
+revive it, but its glories had passed, and the hands of
+the workers had lost their cunning, the result being
+known as the worst type of lace, stiff and ugly in
+design and coarse of execution.</p>
+
+
+<h3><i>"Point d'Argentan."</i></h3>
+
+<p>This lace is practically the same as Alen&ccedil;on with
+a variation of ground, which, to the uninitiated,
+appears coarse. A magnifying glass, however, will
+speedily dispel this illusion. The ground in itself is
+a marvellous piece of work, each of the sides of the
+mesh being covered with ten buttonhole stitches.
+Very frequently a mixed lace of Alen&ccedil;on and
+Argentan is found, the result being very fine.<span class='pagenum'><a name="Page_79" id="Page_79">{79}</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image024.jpg" width="400" height="363" alt="&quot;POINT DE FRANCE.&quot;
+
+(Author&#39;s Collection.)" title="" />
+<span class="caption">&quot;POINT DE FRANCE.&quot;
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image025.jpg" width="400" height="237" alt="POINT D&#39;ARGENTELLA." title="" />
+<span class="caption">POINT D&#39;ARGENTELLA.</span>
+</div><p><span class='pagenum'><a name="Page_81" id="Page_81">{81}</a></span><span class='pagenum'><a name="Page_80" id="Page_80"></a></span></p>
+
+
+<h3><i>Point d'Argentella.</i></h3>
+
+<p>About this lace most authorities dispute, some
+stoutly advocating its claims to be French lace
+entirely and others averring that it was made <i>in
+imitation</i> of the Point d'Alen&ccedil;on by the Genoese.
+Be this as it may, the lace known as Point
+d'Argentella is exceptionally fine even amongst
+other fine laces, and is noted most specially for
+the fine "jours" which form an essential part of the
+pattern, every effort apparently being made to give
+extra scope for their employment. The specimen
+illustrated shows some of these "jours" having the
+characteristic mayflower, lozenge, and dotted patterns.</p>
+
+<p>Much modern lace of this type is now made
+at Burano, Italy, where the coarse Italian lace
+formerly made there has been entirely superseded.
+It strongly imitates Alen&ccedil;on and Argentan lace,
+but is without the raised cord which is so typical
+of these, having the pattern outlined with flat
+buttonhole stitches only. By many connoisseurs
+this is considered the finest lace of this age, being
+far superior to modern Brussels. It is entirely handmade,
+which cannot be, unfortunately, averred for
+Brussels, as the fine machine-made net, woven from
+the exquisitely fine thread manufactured in Flanders
+and Belgium, serves as the ground for all Brussels
+lace made at the present time, except when special
+orders like Royal trousseaux are in hand. The
+lace-makers of Burano, it may be added, imitate the
+finest Venetian Rose Point, Point de Gaze, Alen&ccedil;on,
+ever produced, the prices comparing very favourably
+with the old work, though still very costly.<span class='pagenum'><a name="Page_83" id="Page_83">{83}</a></span><span class='pagenum'><a name="Page_82" id="Page_82"></a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image026.jpg" width="500" height="410" alt="POINT D&#39;ARGENTAN WITH POINT D&#39;ALEN&Ccedil;ON BORDER." title="" />
+<span class="caption">POINT D&#39;ARGENTAN WITH POINT D&#39;ALEN&Ccedil;ON BORDER.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image027.jpg" width="500" height="309" alt="ARGENTELLA LACE, SHOWING THE &quot;PARTRIDGE-EYE&quot; GROUND." title="" />
+<span class="caption">ARGENTELLA LACE, SHOWING THE &quot;PARTRIDGE-EYE&quot; GROUND.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_85" id="Page_85">{85}</a></span><span class='pagenum'><a name="Page_84" id="Page_84"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="L_VI" id="L_VI"></a>VI<br />
+<br />
+THE PILLOW<br />
+LACES OF<br />
+FRANCE</h2><p><span class='pagenum'><a name="Page_88" id="Page_88">{88}</a></span><span class='pagenum'><a name="Page_87" id="Page_87"></a></span><span class='pagenum'><a name="Page_86" id="Page_86"></a></span></p>
+
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/image028.jpg" width="450" height="284" alt="EARLY VALENCIENNES." title="" />
+<span class="caption">EARLY VALENCIENNES.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image029.jpg" width="400" height="337" alt="OLD VALENCIENNES.
+
+(Author&#39;s Collection.)" title="" />
+<span class="caption">OLD VALENCIENNES.
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_89" id="Page_89">{89}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>VI<br />
+<br />
+THE PILLOW LACES OF FRANCE</h2>
+
+<div class="blockquot"><p>Valenciennes, "Vraie" and "Fausse"&mdash;Lille&mdash;Chantilly&mdash;Blonde&mdash;Caen
+and Brittany.</p></div>
+
+
+<h3><i>Valenciennes.</i></h3>
+
+<p>Valenciennes was formerly part of Flanders,
+being in the province of Hainault. It became a
+French town in 1668 by treaty. Being a Flemish
+town, the lace made there was purely Pillow lace,
+and in fineness of thread and beauty of design it
+rivalled in its early stages some of the fine old
+Flemish laces, which are more like ornamental
+cambric than anything else.</p>
+
+<p>There are two kinds of Valenciennes lace, known
+as "Vraie" and "Fausse." These names are very
+misleading, as they merely denote the laces made in
+the town itself, or in the outskirts.</p>
+
+<p>Early Valenciennes can only be distinguished
+from Flemish laces of the same age by the difference
+in the <i>ground</i>. By reference to the little <a href="#Page_39">chart</a>
+of lace stitches the distinction will easily be seen,
+the Valenciennes being much closer and thicker in<span class='pagenum'><a name="Page_90" id="Page_90">{90}</a></span>
+the plait, and having four threads on each side of
+its diamond-shaped mesh. Conventional scrolls and
+flowers were used as designs for the toile, the
+ground and the pattern being made at the same
+time.</p>
+
+<p>This lace is said to have been worked, like that of
+Brussels, in dark, damp cellars, the moist atmosphere
+being necessary to prevent the tiny thread breaking.
+The lace-workers became nearly blind, and quite
+useless, long before they reached thirty years of age.</p>
+
+<p>So expensive was the fabric that a pair of ruffles
+for a gentleman's coat would sell for 4,000 livres.
+Madame du Barri made extravagant use of this
+lovely lace. In her wardrobe accounts are mentioned,
+in 1771, head-dress, throatlets, fichus, and
+ruffles, "all pliss&eacute; de Vraie Valenciennes." The
+amount of lace used for a head-dress alone is said
+to have cost 2,400 livres.</p>
+
+<p>The "Vraie Valenciennes" was practically indestructible,
+earning the nickname of the "Eternal
+Valenciennes" from its durability. The well-to-do
+bourgeoise used to invest her savings in real lace,
+treasuring and wearing it on all best occasions for a
+lifetime.</p>
+
+<p>The lace-makers of the town itself were so satisfied
+with their own lace that they proudly boasted that if
+a length commenced in the town of Valenciennes
+were taken and completed <i>by the same worker, and
+with the same thread</i>, outside their own damp
+atmosphere, the exact point of difference would be
+shown in the piece.<span class='pagenum'><a name="Page_91" id="Page_91">{91}</a></span></p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/image030.jpg" width="450" height="364" alt="&quot;OLD LILLE.&quot;
+
+(Author&#39;s Collection.)" title="" />
+<span class="caption">&quot;OLD LILLE.&quot;
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div>
+
+<p>The earliest Valenciennes laces show a closer<span class='pagenum'><a name="Page_93" id="Page_93">{93}</a></span><span class='pagenum'><a name="Page_92" id="Page_92"></a></span>
+design than that made later, which, by the way,
+many connoisseurs much prefer. The latter type
+is of clearer ground and more open design. The
+flowers do not follow the large scroll-like pattern
+of Flanders, but suggest the detached sprays and
+festoons of Alen&ccedil;on and Argentan. In both types
+there is no cord outlining either pattern or edge.
+All is flat as a piece of fine lawn.</p>
+
+
+<h3><i>Lille.</i></h3>
+
+<p>By no means a <i>favourite</i> lace at any time, Lille
+ranks next in merit as a hand-made lace. The mesh
+is clearer and larger than most French or Belgian
+laces, being made by the simple twisting of two
+threads on four sides. The patterns are simple,
+and are outlined with a loose flax thread of silky
+appearance. The straight edges which characterise
+Old Lille lace certainly did not lend
+elegance to it. A large manufacture in black lace
+was commenced, and the black silk mantles of the
+eighteenth century were lavishly trimmed with it.
+It is entirely out of favour at this day, however,
+only the finest white variety being sought after.</p>
+
+<p>Lace is still manufactured at Lille, but the patterns
+of Mechlin are copied, although the tiny square dots,
+one of the distinguishing points of old Lille, are still
+used.</p>
+
+
+<h3><i>Chantilly.</i></h3>
+
+<p>The white laces of Chantilly much resemble Lille,
+having the same fine, clear ground and a thick, silky-looking
+thread outlining the pattern. A little lace<span class='pagenum'><a name="Page_94" id="Page_94">{94}</a></span>
+school was established by the Duchesse de Rohan
+early in the seventeenth century, and for quite a
+hundred years white laces were made, and became
+popular. Marie Antoinette used this pretty lace
+as well as Valenciennes extensively to trim her
+favourite lawn dresses and fichus when she and
+the ladies of her Court retired to the Petit Trianon
+to play at being shepherdesses.</p>
+
+<p>About the middle of the eighteenth century
+Chantilly began to produce black silk lace of very
+fine quality. This is practically the only black lace
+for which there is any market. A Chantilly fan or
+a Chantilly shawl will always find purchasers. The
+exquisite fineness of its ground, the elegance of its
+floral festoons and bouquets, make it a desirable
+possession. With the Revolution the manufacture
+of real old black Chantilly ceased, and was only
+revived with the Empire, when, in addition to
+copying the old designs, the manufacture of the
+famous <i>blonde</i> laces was commenced.</p>
+
+
+<h3><i>French Blonde Lace.</i></h3>
+
+<p>At first these filmy silk laces were made in the
+natural colour floss silk imported from China, hence
+its name "Blonde." Some of the finest specimens are
+in this colour. Afterwards, when the art of bleaching
+the silk was discovered, it was made in a peculiarly
+silvery colour, the loosely woven silk being worked
+in patterns on what appears a ground of gossamer.
+Black Blonde was afterwards manufactured, the lace
+being very different to that of nineteenth-century
+manufacture, the mesh being large and open. This<span class='pagenum'><a name="Page_96" id="Page_96"></a></span><span class='pagenum'><a name="Page_95" id="Page_95">{95}</a></span>
+was a favourite lace with the Spaniards for mantillas,
+and much prosperity resulted to the little town of
+Chantilly. As with all other laces, the introduction
+of machinery killed the industry as an art, and the
+only Blonde laces now made are by machine, and are
+quite inartistic and inelegant. Hand-made Chantilly
+in black silk is still manufactured, but it has only
+a limited output.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image031.jpg" width="400" height="527" alt="&quot;THE EMPRESS EUGENIE&quot; WEARING BLONDE LACE.
+
+(From a Baxter print.)" title="" />
+<span class="caption">&quot;THE EMPRESS EUGENIE&quot; WEARING BLONDE LACE.
+<br />
+(<i>From a Baxter print.</i>)</span>
+</div>
+
+
+<h3><i>Other French Laces.</i></h3>
+
+<p><span class='pagenum'><a name="Page_97" id="Page_97">{97}</a></span>Lace has been made in many smaller towns in
+France, but in no instance has it been of sufficient
+artistic merit to have made a name. Caen manufactured
+Blonde lace in imitation of Chantilly.
+In Normandy the peasant women and girls in the
+eighteenth century were specially diligent, and
+made praiseworthy imitations of Mechlin, Flemish
+guipure laces, and Brussels, and also introduced
+the working of gold and silver thread and even
+beads, which was much used in churches. Some
+really exquisite Blonde lace made in this manner
+was produced at Caen, fine pearls were used in the
+place of beads, and this lace became extremely
+popular in England. The Empress Eug&eacute;nie was
+particularly fond of it, and in most of the portraits
+of her at the zenith of her beauty she is seen
+wearing decorated Blonde lace. It is said that this
+lace so soon soiled and spoiled in the making that
+only women having specially dry hands could be
+employed, and that during the summer months the
+lace was worked in the open air, and in the winter in
+rooms specially built over cow-houses, so that the<span class='pagenum'><a name="Page_98" id="Page_98">{98}</a></span>
+animals' breath might just sufficiently warm the
+workers in this smokeless atmosphere. Other towns
+engaged in lace-making were Havre, Dieppe (the
+latter town making a lace resembling Valenciennes),
+Bayeux, which carried on an extensive trade with
+the Southern Islands; Mexico and Spain taking an
+inferior and heavy Blonde lace for mantillas.</p>
+
+<p>In Bretagne so dear is lace to the heart of the
+French peasant woman that every garment is trimmed
+with lace, often of her own making; and along with
+the provision of a little "dot" for her daughter she
+makes pieces of lace for her wedding dress. A
+curious custom is noted, that the peasant woman
+often wears this treasured garment only twice, once
+for her wedding and lastly for her funeral!<span class='pagenum'><a name="Page_99" id="Page_99">{99}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="L_VII" id="L_VII"></a>VII<br />
+<br />
+THE LACES<br />
+OF FLANDERS</h2><p><span class='pagenum'><a name="Page_102" id="Page_102">{102}</a></span><span class='pagenum'><a name="Page_101" id="Page_101"></a></span><span class='pagenum'><a name="Page_100" id="Page_100"></a></span></p>
+
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image032.jpg" width="500" height="325" alt="POINT D&#39;ANGLETERRE.
+
+Period Louis XIV.
+
+(Author&#39;s Collection.)" title="" />
+<span class="caption">POINT D&#39;ANGLETERRE.
+<br />
+Period Louis XIV.
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_103" id="Page_103">{103}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>VII
+<br />
+THE LACES OF FLANDERS</h2>
+
+<div class="blockquot"><p>Early Flemish&mdash;Brussels lace&mdash;Point d'Angleterre&mdash;Cost of
+real Flanders flax thread&mdash;Popularity of Brussels lace&mdash;Point
+Gaze.</p></div>
+
+
+<p>Whether Italy or Flanders first invented both
+Needlepoint and Pillow laces will ever remain a
+moot point. Both countries claim priority, and both
+appear to have equal right. Italian Needlepoint
+without doubt evolved itself from the old Greek or
+Reticella laces, that in turn being a development of
+"Cutworke" and drawn thread work. Flanders produces
+her paintings by early artists in which the
+portraits are adorned with lace as early as the fourteenth
+century. An altar-piece by Quentin Matys,
+dated 1495, shows a girl making Pillow lace, and
+later, in 1581, an old engraving shows another girl
+busy with her pillow and bobbins. An early Flemish
+poet thus rhapsodises over his countrywomen's
+handiworks:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Of many arts, one surpasses all;<br /></span>
+<span class="i0">The threads woven by the strange power of the hand&mdash;<br /></span><span class='pagenum'><a name="Page_104" id="Page_104">{104}</a></span>
+<span class="i0">Threads, which the dropping of the spider would in vain attempt to imitate,<br /></span>
+<span class="i0">And which Pallas herself would confess she had never known."<br /></span>
+</div></div>
+
+<p>Whether Flanders imitated the Italian laces or
+not, it is unquestioned that every other lace-making
+country imitated <i>her</i>. Germany, Sweden, France,
+Russia, and England have, one after the other,
+adopted her method to such an extent that, following
+the tactics of Venice in 1698, she also issued an edict
+threatening punishment to all who would entice her
+workers away.</p>
+
+<p>So alike are the early laces of Flanders that it is
+impossible to distinguish what is known as Flemish
+Point, Brussels Point, and Point d'Angleterre. The
+last-named lace is peculiar, inasmuch as it has a
+French appellation, is named "English," and yet is
+purely Brussels in character. Two stories gather
+round this lace, which accounts for its name. One is
+that the English Government in the time of Charles
+II., seeing so much money go out of the country, forbade
+the importation of Brussels lace. The English
+lace merchants, not to be done out of their immense
+profits, smuggled it over in large quantities, and produced
+it as having been made in Devonshire, and
+sold it under the name of English Point. Another
+legend is that when Colbert, in the reign of
+Louis XIV., determined to encourage lace-making
+in his own country, made prohibitive the importation
+of any other lace than France's own manufacture, the
+French Court, which had already become enamoured
+of Brussels lace, therefore had it smuggled into<span class='pagenum'><a name="Page_106" id="Page_106"></a></span><span class='pagenum'><a name="Page_105" id="Page_105">{105}</a></span>
+England and thence to France, as <i>English laces</i>
+were at that time too insignificant to come under
+Colbert's ban.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image033.jpg" width="400" height="455" alt="POINT D&#39;ANGLETERRE.
+
+Period of Louis XIV.
+
+(Author&#39;s Collection.)" title="" />
+<span class="caption">POINT D&#39;ANGLETERRE.
+<br />
+Period of Louis XIV.
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div>
+
+<p><span class='pagenum'><a name="Page_107" id="Page_107">{107}</a></span>Whichever tale we choose to believe is of little
+consequence. It is sufficient to say that fine Point
+d'Angleterre is simply Brussels of the best period
+when the glorious Renaissance was at its height.
+It is absolutely indistinguishable from Brussels of the
+same period. The specimen lappet, illustrated, shows
+the "figure" motif which appears in "Point de
+France" and the old "Venetian Point," and which
+at once dates its manufacture.</p>
+
+<p>Practically the term Flanders or Flemish lace can
+be applied to all the laces made in Flanders and
+Belgium of the earliest periods. It is peculiarly fine;
+the specimen shown is as fine as gossamer, showing
+a total absence of Cordonnet, of course, and not even
+having the loose thread which marks the stems
+and leaves of Brussels and Angleterre. The flax of
+Flanders was at the time of the great lace industry
+known and imported to all the towns engaged in
+making it. Italy could procure nothing so fine and
+eminently suitable to the delicate work she made her
+own as this fine thread, grown in Flanders, and spun
+in dark, damp rooms, where only a single ray of light
+was allowed to enter. The thread was so fine, it is
+said, that it was imperceptible to the naked eye and
+was manipulated by touch only. The cost of this
+thread was &pound;240 a pound, and one pound could be
+made into lace worth &pound;720! Real Flanders lace
+thread even now, spun with the help of machinery,
+costs &pound;70, and is nothing like so durable as the old<span class='pagenum'><a name="Page_108" id="Page_108">{108}</a></span>
+threads. When we consider that lace to be known
+as "Old Lace" must be two hundred or three hundred
+years old, we can understand the strength of this
+fairy thread, which was like a spider's web in filminess
+and yet durable enough to last centuries of wear, and
+remain as a lasting memorial of its beauty.</p>
+
+
+<h3>BRUSSELS</h3>
+
+<p>The early Flemish laces cannot be traced to any
+particular town, but Brussels early obtained a reputation
+for the production of the soft, elegant laces
+which are variously known as "Real old Brussels,"
+"Point d'Angleterre," "Point d'Aiguille," and "Point
+de Gaze." Almost every woman, although knowing
+little about lace as an art, knows and easily recognises
+"Brussels." It has ever been the most popular lace,
+partly because its price has never been actually prohibitive,
+although always costly. Choice pieces of
+Old Brussels, with real ground, rank among the laces
+of France and Venice as pieces of price, but the
+later period, especially the kind known as Brussels
+applique, is within everybody's reach, even if only
+as a border for a best handkerchief.<span class='pagenum'><a name="Page_110" id="Page_110"></a></span><span class='pagenum'><a name="Page_109" id="Page_109">{109}</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image034.jpg" width="400" height="331" alt="&quot;OLD BRUSSELS&quot; (HAND-MADE GROUND).
+
+(Author&#39;s Collection.)" title="" />
+<span class="caption">&quot;OLD BRUSSELS&quot; (HAND-MADE GROUND).
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image035.jpg" width="500" height="357" alt="BRUSSELS LAPPET, MADE IN IMITATION OF ALEN&Ccedil;ON AND ARGENTAN." title="" />
+<span class="caption">BRUSSELS LAPPET, MADE IN IMITATION OF ALEN&Ccedil;ON AND ARGENTAN.</span>
+</div>
+
+<p>Lace made at Brussels at all periods has one
+characteristic that places it at once and makes
+identification easy at a glance. The threads of the
+toil&eacute;&mdash;that is, the pattern&mdash;follows the <i>curves</i>, instead
+of, as in other Flanders laces, being straight <i>up</i> and
+<i>down</i> and <i>across</i>, each thread being exactly at right
+angles to the other; Brussels lace also has a distinctive
+edge to its pattern. It has no Cordonnet,<span class='pagenum'><a name="Page_111" id="Page_111">{111}</a></span>
+but a little set of looped stitches worked along the
+edge of the design, afterwards whipped over to keep
+the edge in place. This is most clearly seen in every
+specimen, and, in conjunction with the curved toil&eacute;,
+at once settles the vexed question of the origin of
+Point d'Angleterre.</p>
+
+<p>The mesh or ground is, again, quite different to
+other laces. It has three varieties of ground&mdash;</p>
+
+<p>1. One, mostly used in Point d'Angleterre, being of
+fine "brides" with four or five picots, but this ground
+is also seen in Venetian and French laces.</p>
+
+<p>2. A hand-made ground made of looped buttonhole
+stitches, which is the finest and most gossamer-like
+of all; and</p>
+
+<p>3. A woven ground made on the pillow with plaited
+thread, very like Mechlin, but under the magnifying
+glass having two longer sides to its hexagonal mesh,
+and therefore being more open and clear.</p>
+
+<p>The hand, or rather needlepoint, ground was
+three times more expensive than the woven, as it
+was stronger and more lasting. The special value of
+the "vrai reseau" in our own day is that it can be
+imperceptibly repaired, the broken stitches replaced,
+whereas in the woven ground the point of junction
+must show.</p>
+
+<p>The needle-made net is so fine that one piece in
+my possession, though measuring &frac34; yard by 8
+inches can easily, in its widest part, be gathered
+and passed through a finger ring. At the present day
+this net is not made, and even the fine woven ground
+is not used except for Royal wedding orders or for
+exhibition purposes. A magnificent piece belonging<span class='pagenum'><a name="Page_112" id="Page_112">{112}</a></span>
+to Messrs. Haywards, of New Bond Street (which
+cannot be photographed, unfortunately, as it is between
+two sheets of glass, and might fall to pieces if
+taken out), was made for George IV., and not delivered,
+owing no doubt to the usual depleted state of
+that monarch's exchequer. Messrs. Haywards (whose
+courtesy is as boundless as their reputation) are
+always pleased to show this and their other splendid
+specimen collections to those interested in old lace.</p>
+
+<p>Perhaps no lace is so diversified in style as
+Brussels. At first it was purely Flemish, and
+almost indistinguishable from it. Then the Venetian
+influence crept in, and elaboration of pattern
+and the Renaissance scrolls and flower work showed
+itself. At the Louis Quatorze period the introduction
+of the "fairy people," seen at its finest and
+best in Point de France, marks a time of special
+beauty. Afterwards the influence of Alen&ccedil;on was
+shown (though it never rivalled the exquisite lace of
+this factory), and from that time to the present day
+these designs have remained for use in its best
+work.</p>
+
+<p>Some of the choicest specimens of old Brussels
+are shown in the now discarded "lappets," which
+when a lace head-piece and lappets were part of
+every gentlewoman's costume, were actually regulated
+by Sumptuary Laws as to length. The longer the
+lappets the higher the rank.<span class='pagenum'><a name="Page_113" id="Page_113">{113}</a></span></p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/image036.jpg" width="300" height="589" alt="BRUSSELS LAPPET." title="" />
+<span class="caption">BRUSSELS LAPPET.
+<br />
+Eighteenth Century.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div>
+
+<p>The great Napoleon, while reviving the lace-making
+of Alen&ccedil;on, specially admired fine old
+Brussels, and at the birth of his only son, the little
+"King of Rome," ordered a christening garment<span class='pagenum'><a name="Page_115" id="Page_115">{115}</a></span><span class='pagenum'><a name="Page_114" id="Page_114"></a></span>
+covered with the Napoleonic "N's," crowns and
+cherubs. This was sold in 1903 at Christie's for
+&pound;120. At the same sale a Court train realised
+&pound;140.</p>
+
+<p>In the "Creevy Papers, 1768-1838," mention is
+made of Lord Charles Somerset complaining of not
+having slept all night, "not having had a minute's
+peace through sleeping in 'Cambrik sheets,' the
+Brussels lace with which the pillows were trimmed
+tickling his face"! This occurred at Wynyards, the
+seat of the Earl of Londonderry.</p>
+
+<p>Queen Anne followed the extravagant fashion
+of wearing the costliest laces which William III.
+and Queen Mary carried to such an excess. In
+1710 she paid &pound;151 for 21 yards of fine Brussels
+edging, and two years later the account for Brussels
+and Mechlin laces amounted to &pound;1,418.</p>
+
+<p>In the succeeding reign the ladies of George I.'s
+period wore lappets and flounces, caps, tuckers,
+aprons, stomachers, and handkerchiefs, all made of
+Brussels.</p>
+
+<p>In the time of George II. lace was even more
+worn, but English lace began to rival Brussels, not
+in quality, but as a substitute.</p>
+
+<p>George III. and his wife, Queen Charlotte, were
+economists of the first order, and personal decoration
+was rigidly tabooed; hence the almost total extinction
+of lace as an article of apparel, while in George IV.'s
+time dress had evolved itself into shimmery silks
+and lawns, lace being merely a trimming, and the
+enormous head-dress decorated more frequently with
+a band of ribbon.<span class='pagenum'><a name="Page_116" id="Page_116">{116}</a></span></p>
+
+<p>An exquisite portrait of Louis Philippe's Queen,
+Marie Amelia, by the early Victorian painter Winterhalter
+(whose paintings are again by the revival of
+fashion coming into favour) shows this fine old
+<i>grande dame</i> in black velvet dress covered with three
+graduated flounces of Brussels lace, cap and lappets
+and "tucker" of the same lace, lace fan, and, sad to
+relate, a scarf of English machine-made net, worked
+with English run embroidery!</p>
+
+<p>Although good Queen Adelaide had a pretty fancy
+for lace, she wore little of it, and it was left to Queen
+Victoria to revive the glory of wearing Brussels to
+any extent; and she, alas! was sufficiently patriotic
+to encourage home-made products by wearing almost
+exclusively Honiton, which I personally am not good
+Englishwoman enough to admire except at its latest
+stage (just the past few years), when lace-making,
+as almost every other art work in this country, is
+emerging from what, from an artistic point of view,
+has been one long Slough of Despond.<span class='pagenum'><a name="Page_117" id="Page_117">{117}</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image037.jpg" width="400" height="549" alt="COMTESSE D&#39;ARTOIS, WIFE OF ONE OF
+LOUIS XIV.&#39;S GRANDSONS, WEARING
+FINE BRUSSELS LACE." title="" />
+<span class="caption">COMTESSE D&#39;ARTOIS, WIFE OF ONE OF
+LOUIS XIV.&#39;S GRANDSONS, WEARING
+FINE BRUSSELS LACE.</span>
+</div><p><span class='pagenum'><a name="Page_119" id="Page_119">{119}</a></span><span class='pagenum'><a name="Page_118" id="Page_118"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="L_VIII" id="L_VIII"></a>VIII<br />
+<br />
+THE MODERN<br />
+BRUSSELS LACES<br />
+AND MECHLIN</h2><p><span class='pagenum'><a name="Page_122" id="Page_122">{122}</a></span><span class='pagenum'><a name="Page_121" id="Page_121"></a></span><span class='pagenum'><a name="Page_120" id="Page_120"></a></span></p>
+
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image038.jpg" width="400" height="480" alt="AN OLD PRINT OF &quot;MARIE ANTOINETTE,&quot; SHOWING THE
+SIMPLICITY OF ADORNMENT SHE AFFECTED.
+
+&quot;MECHLIN&quot; LACE." title="" />
+<span class="caption">AN OLD PRINT OF &quot;MARIE ANTOINETTE,&quot; SHOWING THE
+SIMPLICITY OF ADORNMENT SHE AFFECTED.
+<br />
+&quot;MECHLIN&quot; LACE.</span>
+</div><p><span class='pagenum'><a name="Page_123" id="Page_123">{123}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>VIII
+<br />
+THE MODERN BRUSSELS LACES AND MECHLIN</h2>
+
+<div class="blockquot"><p>Modern Brussels, Point Gaze&mdash;Ghent&mdash;Duchesse Point&mdash;Mechlin
+(the Queen of Laces).</p></div>
+
+
+<p>Magnificent laces are still made at Brussels, but
+almost wholly on a machine-made ground, the
+workers and merchants apparently finding the old
+hand-made ground unprofitable. The machine-made
+ground is cheap, and often of mixed flax and
+cotton instead of being of purely Flanders flax
+thread, as in the old days. Both quality and
+colour suffer from this admixture, the lace washing
+badly and wearing worse.</p>
+
+<p>The most common lace is the Point Applique, in
+which the sprays, groups, and borders on the design
+are made separately by hand on the pillow, and are
+afterwards applied by tiny stitchings to the machine-made
+net. Some qualities are better than others.
+In the better class the sprays are appliqued to
+the net, which is then cut away and the interstices
+of the design filled in with hand-made modes and<span class='pagenum'><a name="Page_124" id="Page_124">{124}</a></span>
+brides, making a very pretty and showy lace. The
+best lace made in Brussels now is</p>
+
+
+<h3><i>Point Gaze</i>,</h3>
+
+<p>in which the finest modern lace is produced. Its chief
+characteristics are its superb designs, repeating many
+of the fine Renaissance patterns, its clear ground, and
+its use of shading in leaves and flowers, which, while
+it adds much to the sumptuous effect, is possibly too
+naturalistic. This lace is a mixture of hand and
+machine lace, the ground being of the best machine
+net, the flowers and sprays frequently needle made, the
+various fillings being composed of a variety of designs,
+and the shading often being produced in the needle-darning
+as in modern Ghent and Limerick. Point
+de Gaze is costly, but it has the reputation of appearing
+"worth its money" to which few other laces of
+the present day can aspire.</p>
+
+<p>Other lace-making towns in Belgium and Flanders
+are&mdash;</p>
+
+
+<h3><i>Ghent</i>,</h3>
+
+<p>which produces a fine machine-made net, worked
+and embroidered in exact imitation of the earliest
+Limerick lace. So <i>real</i> is this imitation that a fine
+flounce of 4 yds. 32 in. wide was sold at a London
+auction-room a few months ago, as "real old
+Limerick," for &pound;60!</p>
+
+<p>Ghent executes vast quantities of hand-made
+imitations of Valenciennes, a good and durable lace,
+but much more expensive than the machine-made
+varieties which flood the shops as "real Val."<span class='pagenum'><a name="Page_125" id="Page_125">{125}</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image039.jpg" width="400" height="566" alt="MECHLIN LAPPET.
+
+Eighteenth Century." title="" />
+<span class="caption">MECHLIN LAPPET.
+<br />
+Eighteenth Century.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_127" id="Page_127">{127}</a></span><span class='pagenum'><a name="Page_126" id="Page_126"></a></span></p>
+
+<p>Perhaps the only other lace worth mentioning
+in smaller and later varieties is that known as
+"Duchesse point" or "Bruges," which while being a
+showy, decorative, and cheap lace, is anything but
+satisfactory either in design, manufacture, or wear.
+It is largely composed of cotton, is heavy and
+cumbrous in design, and after washing becomes
+thick and clumsy. It is pillow-made, the flowers
+being made on the cushion and afterwards united by
+coarse and few brides.</p>
+
+<p>Almost equal in favour with old Brussels lace was</p>
+
+
+<h3>MECHLIN,</h3>
+
+<p>which was aptly termed "the Queen of Laces." Old
+Mechlin was wondrously fine, and transparent. It is
+often spoken of as "Point de Malines" which, of
+course, is entirely wrong, as it is not Point at all&mdash;being
+made entirely, all at one time, or in one piece,
+on the pillow. Much of the lace known under the
+general name of Flemish Point is really Malines or
+Mechlin, the only difference being the fine silvery
+thread which runs all through the designs of real
+Mechlin. The earliest date of the manufacture of
+Mechlin is unknown, but in 1681, it is recorded, that
+the people of Malines busied themselves with making
+a white lace known as Mechlin. It became a
+fashionable lace in England in 1699, Queen Mary
+using it considerably and Queen Anne buying it
+largely, in one instance purchasing 83 yards of it
+for &pound;247.</p>
+
+<p>It has always remained a favourite lace with<span class='pagenum'><a name="Page_128" id="Page_128">{128}</a></span>
+English royalties, Queen Charlotte almost exclusively
+using it. The other day I discovered in a bric-&agrave;-brac
+shop about twenty yards of it, old and discoloured,
+it is true, which came directly from Queen Caroline,
+the ill-used wife of George IV. In the earlier
+Mechlin, although pillow-made, the introduction of
+the "brides with picots," and also the may-flower
+patterns of Brussels, helped to make it more decorative.
+The ground or r&eacute;seau was very similar to
+Brussels hand-made, but the hexagonal mesh is
+shorter, as reference to the diagram of r&eacute;seaux
+will show.</p>
+
+<p>The exquisite "lightness" of Mechlin, so specially
+adapted to "quillings" and "pleatings," accounted for
+its popularity. It was specially suitable to the lawns
+and muslins of the eighteenth century, but little of
+this lace is left owing, no doubt, to its great favour
+except the ubiquitous "lappets," for which it was no
+doubt "the Queen of Lace."</p>
+
+<p>The immediate cause of its extinction was the
+introduction of Blonde laces, and later its final
+overthrow came from its being the easiest lace to
+reproduce by machinery.<span class='pagenum'><a name="Page_129" id="Page_129">{129}</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image040.jpg" width="500" height="599" alt="MARIE ANTOINETTE, QUEEN OF LOUIS XVI., SHOWING HOW MECHLIN LACE
+WAS USED.
+
+From an old fashion plate." title="" />
+<span class="caption">MARIE ANTOINETTE, QUEEN OF LOUIS XVI., SHOWING HOW MECHLIN LACE
+WAS USED.
+<br />
+From an old fashion plate.</span>
+</div><p><span class='pagenum'><a name="Page_131" id="Page_131">{131}</a></span><span class='pagenum'><a name="Page_130" id="Page_130"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="L_IX" id="L_IX"></a>IX<br />
+<br />
+OTHER<br />
+CONTINENTAL<br />
+LACES</h2><p><span class='pagenum'><a name="Page_133" id="Page_133">{133}</a></span><span class='pagenum'><a name="Page_132" id="Page_132"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>IX
+<br />
+OTHER CONTINENTAL LACES</h2>
+
+<div class="blockquot"><p>Spanish lace; Gold and silver laces of Spain&mdash;German laces&mdash;Russian
+laces&mdash;Maltese silk and thread laces.</p></div>
+
+
+<p>Outside the great lace-making countries of Italy,
+France, and Flanders, little lace was ever made, and
+that little of less consequence.</p>
+
+
+<h3><i>Spanish Lace.</i></h3>
+
+<p>Much of the old lace known as "Spanish Point" is
+not Spanish at all, but the best of Italian Rose
+Point on a large scale, being the variety known as
+Gros Point. It was not extensively used for
+dress purposes, as contemporary portraits show,
+but Spain being such an ultra-Romanist country,
+vast quantities of it were imported into Spain for
+church use. When Spain fell on unhappy days, in
+1830, and the religious houses were dissolved, this
+lace was eagerly bought by connoisseurs and collectors
+and became known as Spanish Point. It is not unlikely
+that the Italian lace was copied by the nuns
+of the Spanish convents; indeed, at South Kensington<span class='pagenum'><a name="Page_134" id="Page_134">{134}</a></span>
+Museum there is a set of church altar lace which is
+admittedly Spanish work and is a distinct but far
+off imitation of Italian Point.</p>
+
+<p>Spain made gold and silver laces of fine quality
+and gorgeous design. Blonde laces in both cream
+and black are almost indigenous to the soil, and a
+particular kind of black Blonde, embroidered with
+colours, specially appealed to the colour-loving
+people.</p>
+
+
+<h3><i>German Laces.</i></h3>
+
+<p>Perhaps at the present day more lace is made in
+Germany than at any other period. An enormous
+manufacture of good machine-made lace is exported
+yearly, the variety known as Saxony being both
+popular and cheap.</p>
+
+<p>Germany has no national lace, the clever <i>hausfraus</i>
+caring more to decorate their table and bed-linen
+than their persons, and using the substantial
+and practical embroideries of the cross-stitch patterns
+more than the elegant frailties of lace trimming.
+Lacis network darned into patterns has always
+been popular here, as also in Denmark, Sweden, and
+Norway.<span class='pagenum'><a name="Page_135" id="Page_135">{135}</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image041.jpg" width="400" height="454" alt="DUCHESSE LACE.
+
+Modern." title="" />
+<span class="caption">DUCHESSE LACE.
+<br />
+Modern.</span>
+</div>
+
+
+<h3><i>Russia.</i></h3>
+
+<p>The Russian laces need little more than a passing
+note. As in Germany, Lacis and Cutworke form
+the only hand-made lace known, the people contenting
+themselves with these varieties and using
+coloured threads to further decorate them. Their
+laces may be called merely Russian embroideries.
+Peter the Great did much to found a lace school,<span class='pagenum'><a name="Page_137" id="Page_137">{137}</a></span><span class='pagenum'><a name="Page_136" id="Page_136"></a></span>
+but only gold laces were made, of a barbaric
+character. Recently an attempt has been made to
+imitate the Venetian laces, with very fair results, but
+the character is very stiff and mechanical, going back
+to the primitive forms of Reticella rather than the
+elegancies of Italian Point.</p>
+
+<p>The only other Continental lace requiring note is</p>
+
+
+<h3><i>Maltese</i>,</h3>
+
+<p>a lace made entirely with bobbins and on a
+pillow. This lace is of ancient make, being known
+as early as the old Greek laces, which it strongly
+resembles. Its very popularity has killed its use as
+a fine lace, and at the present day it is copied as a
+cheap useful lace in France, England, Ireland, and
+even India. The old Maltese lace was made of the
+finest flax thread, afterwards a silk variety, which is
+well known, being made in cream. Black lace was
+also manufactured, and at the time of the popularity
+of black lace as a dress trimming it was much used.
+At the present day the lace is not of the old quality,
+cotton being frequently mixed with the flax threads.
+There is no demand for it, and it is about the most
+unsaleable lace of the day.<span class='pagenum'><a name="Page_139" id="Page_139">{139}</a></span><span class='pagenum'><a name="Page_138" id="Page_138"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="L_X" id="L_X"></a>X<br />
+<br />
+A SHORT<br />
+HISTORY OF<br />
+LACE IN<br />
+ENGLAND</h2><p><span class='pagenum'><a name="Page_141" id="Page_141">{141}</a></span><span class='pagenum'><a name="Page_140" id="Page_140"></a></span></p>
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/image042.jpg" width="450" height="592" alt="QUEEN ELIZABETH: RUFF OF VENETIAN POINT.
+
+(National Portrait Gallery.)" title="" />
+<span class="caption">QUEEN ELIZABETH: RUFF OF VENETIAN POINT.
+<br />
+(<i>National Portrait Gallery.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_143" id="Page_143">{143}</a></span><span class='pagenum'><a name="Page_142" id="Page_142"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>X
+<br />
+A SHORT HISTORY OF LACE IN ENGLAND</h2>
+
+<div class="blockquot"><p>Early samplers&mdash;Lace worn by Queen Elizabeth; by the
+early Stuarts&mdash;Extravagant use of lace in time of
+Charles II.&mdash;William and Mary's lace bill.</p></div>
+
+
+<p>Even at the risk of being considered utterly unpatriotic,
+I cannot give much more than faint praise
+to the lace-making of England up to the present
+date, when notable efforts are at last being made to
+raise the poor imitation of the Continental schools
+to something more in accordance with artistic
+conception of what a great National Art might
+become.</p>
+
+<p>As in all countries, lace-making apparently commenced
+in its early English stages by drawn-thread
+and cutwork. In many of the charming old sixteenth-century
+English samplers just as exquisite
+cut-work, and its natural successor Reticella, or
+"punto in aria" is shown, as in the finest examples
+of the Venetian schools. Unfortunately, however,
+English fine lace-making came to a sudden and
+inexplicable end, although we know that any quantity<span class='pagenum'><a name="Page_144" id="Page_144">{144}</a></span>
+of fine Venetian, exquisite Brussels, or Flemish laces,
+and the wonderful Point de France were being imported
+into the country and lavishly used.</p>
+
+<p>As early as the reign of Edward IV. lace was mentioned
+as being prohibited for importation amongst
+other items of feminine luxury, such as "ribans,
+fringes of silk and cotton," but it is considered that
+the word "laces" here means only the twisted threads
+that go to make up a lace or tie, commonly ending
+in tags or points. It must be allowed, however,
+that laces, or more probably "gimps" of gold and
+silver threads were used for trimming both lay and
+ecclesiastical garments, and in Henry VII.'s reign
+we find that importation of Venetian lace was permitted,
+but this is generally admitted still to refer to
+gold and silver lace, more probably coming from
+Genoa.</p>
+
+<p>It was not really until the time of bluff King Hal
+that lace became an article of fashion, when during
+the life of the last of his unfortunate queens he
+permits "the importation of all manner of gold and
+silver fringes, or <i>otherwise</i>, with all new 'gentillesses'
+of what facyion or value, for the pleasure of
+our dearest wyeff the Queen."</p>
+
+<p>Henry himself also began to indulge in all these
+little elegances of fashion, and wore his sleeves
+embroidered with cutwork, and handkerchiefs edged
+with gold and silver, treating himself liberally to
+"coverpanes" and "shaving-cloths" trimmed with
+gold lace.<span class='pagenum'><a name="Page_146" id="Page_146"></a></span><span class='pagenum'><a name="Page_145" id="Page_145">{145}</a></span></p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/image043.jpg" width="450" height="556" alt="EDMUND SPENSER: COLLAR TRIMMED WITH RETICELLA.
+
+Early period." title="" />
+<span class="caption">EDMUND SPENSER: COLLAR TRIMMED WITH RETICELLA.
+<br />
+Early period.</span>
+</div>
+
+<p>Little mention of white work was made in the
+inventories of Henry VIII. or his Queens, but Cardinal<span class='pagenum'><a name="Page_147" id="Page_147">{147}</a></span>
+Wolsey seems to have had more than his share
+of cutwork embroideries, judging from contemporary
+portraits.</p>
+
+<p>In Queen Mary's reign white work began to
+be more frequently spoken of, and in 1556 it is
+stated that Lady Jane Seymour presented the
+Queen with "a smock of fair white work, Flanders
+making."</p>
+
+<p>It was not until Queen Elizabeth's time that
+lace became freely mentioned; then suddenly we
+are introduced to an endless variety of lace and
+trimmings, both of gold and silver, pearl and embroideries,
+and various white work! In some of the
+old Chronicles mention was made of drawn work,
+cut-work, Crown lace, bone lace for ruffs, Spanish
+chain, parchment, hollow, and diamond lace. Many
+of these terms cannot be understood.</p>
+
+<p>The enormous ruffs worn by Queen Elizabeth
+were introduced into England in the time of her
+sister Mary. Portraits both of Philip of Spain and
+Queen Mary show ruffs, but not edged with lace.
+Queen Elizabeth's, on the contrary, are both edged
+with lace and, in some instances, covered with it.
+On her poor old effigy at Westminster Abbey, where
+her waxen image is dressed in her actual garments,
+the only lace that appears is on the enormous ruff,
+three-quarters of a yard wide, covered with a fine
+lace of the loose network kind. The rest of her
+garments are trimmed with gold and silver lace and
+<i>passementerie</i>.</p>
+
+<p>In the succeeding reign lace of a geometric design
+shows itself on the ruffs of the richest people.<span class='pagenum'><a name="Page_148" id="Page_148">{148}</a></span>
+Pictures in the National Portrait Gallery show many
+exquisite examples of the beautiful Reticella of
+Venice, which must have been very costly to the
+purchaser, as twenty-five yards or more of this fine
+lace were required to edge a ruff.</p>
+
+<p>It was in the reign of James I. and his consort,
+Anne of Denmark, that Flanders lace and the
+expensive Point laces of Italy first became widely
+popular. Then, as now, they were costly&mdash;to such
+an extent that many gentlemen sold an estate to
+buy laces for their adornment.</p>
+
+<p>It was during this reign that we first learn of a
+lace being made in England, as Queen Anne of
+Denmark on her journey south purchased lace at
+<i>Winchester</i> and <i>Basing</i>, but history mentions not
+what kind of lace it was. Apparently only a simple
+kind of edging was used, made on a pillow.</p>
+
+<p>The enormous ruffs went out of fashion with the
+death of James I. Charles I., in all his portraits,
+wears the falling collar edged with Vandyke lace.
+It was during this reign that Venetian lace reached
+its apotheosis in England. The dress of the day
+has never been surpassed, though it became much
+more elaborate and ostentatious in the time of
+Charles II. and William and Mary. Falling collars
+were specially adapted to the display of the handsome
+laces of Venice. The cuffs of the sleeves
+were likewise trimmed with the same; scarves were
+worn across the breast, trimmed with the narrower
+Reticella.<span class='pagenum'><a name="Page_149" id="Page_149">{149}</a></span></p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/image044.jpg" width="450" height="526" alt="SEVENTEENTH CENTURY FALLING COLLAR TRIMMED WITH FINE
+RETICELLA." title="" />
+<span class="caption">SEVENTEENTH CENTURY FALLING COLLAR TRIMMED WITH FINE
+RETICELLA.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div>
+
+<p>During the Commonwealth the laces of Venice
+suffered a temporary eclipse, and the plainer laces<span class='pagenum'><a name="Page_151" id="Page_151">{151}</a></span><span class='pagenum'><a name="Page_150" id="Page_150"></a></span>
+of Flanders were freely used. Cromwell himself, it
+is said, did not disdain the use of it. His effigy at
+Westminster was dressed in a fine Holland lace-trimmed
+shirt, with bands and cuffs of the same.
+This effigy, by the way, was destroyed at the
+Restoration.</p>
+
+<p>Charles II., who during his exile in France had
+become imbued with the extravagant taste of the
+French Court, gave vast orders for "Points of
+Venice and Flanders," on the plea of providing
+English lace-workers with better patterns and
+ideas.</p>
+
+<p>The falling collar certainly went out of fashion,
+but lace was liberally used on other parts of the
+dress. Lace frills of costly Point edged the knee-breeches,
+lace cravats were worn and deep falling
+cuffs. Charles II., in the last year of his reign,
+spent &pound;20 for a new cravat for his brother's birthday.</p>
+
+<p>During James II.'s reign extravagance in lace
+purchases are still mentioned, but it surely reached
+its culmination in the joint reign of William and
+Mary, when enormous sums were spent by both
+King and Queen. In one year Queen Mary's lace
+bill amounted to &pound;1,918. New methods of using
+lace were fashioned. A huge head-dress called the
+"Fontange," with upright standing ends of Venetian
+Point, double hanging ruffles falling from elbow
+sleeves, lace-trimmed aprons, lace tuckers, characterised
+the feminine dress of the day, while the
+"Steinkirk" cravat and falling cuffs of William III.'s
+day ran up accounts not much less than that of his<span class='pagenum'><a name="Page_152" id="Page_152">{152}</a></span>
+Queen. In 1690 his bill was &pound;1,603, and in 1695
+it amounted to &pound;2,459!</p>
+
+<p>The effigies of William and Mary in the Abbey,
+wear the very finest Venetian Point laces. None of
+the other figures wear such costly lace, nor in such
+profusion.<span class='pagenum'><a name="Page_153" id="Page_153">{153}</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image045.jpg" width="400" height="336" alt="COLLAR IN GROS POINT DE VENISE.
+
+Louis XIV. period." title="" />
+<span class="caption">COLLAR IN GROS POINT DE VENISE.
+<br />
+Louis XIV. period.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_155" id="Page_155">{155}</a></span><span class='pagenum'><a name="Page_154" id="Page_154"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="L_XI" id="L_XI"></a>XI<br />
+<br />
+ENGLISH<br />
+LACES</h2><p><span class='pagenum'><a name="Page_157" id="Page_157">{157}</a></span><span class='pagenum'><a name="Page_156" id="Page_156"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>XI
+<br />
+ENGLISH LACES</h2>
+
+<div class="blockquot"><p>Queen Anne and Mechlin&mdash;Establishment of lace-making in
+Bedfordshire and Buckinghamshire&mdash;Buckingham lace&mdash;Wiltshire
+lace&mdash;Devonshire lace&mdash;Modern Honiton
+revival.</p></div>
+
+
+<p>It was in Queen Anne's time that the earliest really
+good lace manufactured in England appeared. Driven
+from France by the edict of Louis XIV., the refugees
+found a home in England, and encouraged by Queen
+Anne's fondness for laces other than Venetian, they
+made and taught the English lace-workers, among
+whom they settled, the art of real lace-making,
+which up to this time had apparently been
+only half understood. Numerous lace schools now
+sprang up, the counties of Bedfordshire, Buckinghamshire,
+and Northampton specially becoming
+known. Valenciennes and Mechlin were the varieties
+of laces principally copied; a very pretty lace, very
+reminiscent of Mechlin, being the "Baby lace," which
+received its name from being so much used to trim
+babies' caps. Although very much like Valenciennes
+and Mechlin, the laces were much coarser both in<span class='pagenum'><a name="Page_158" id="Page_158">{158}</a></span>
+thread and design than their prototypes. Bedfordshire
+and Northamptonshire did not long retain the art of
+lace-making, but Buckingham lace remained a staple
+manufacture, and is much esteemed even to-day,
+many connoisseurs considering it far better as a lace
+than the somewhat clumsy laces of Devonshire. The
+specimen shown is a piece of old Buckingham lace
+closely copying the r&eacute;seau and sprigs of Lille which
+most lace-lovers consider it excels. The net of
+Buckinghamshire is an exact copy of the Lille mesh,
+being made of two threads twisted in a diamond
+pattern, the sprays being worked on the pillow at
+the same time. The patterns of the old Buckingham
+lace are not very varied, the best known being
+what is called "Spider lace," a coarse kind of
+open mesh being worked in the pattern. The
+principal town engaged in the eighteenth century
+was Newport Pagnel, which was cited as being most
+noted for making Bobbin lace. Old Brussels designs
+were used, and some quaint lace of early Flemish
+design, was made. The early English run
+lace, which was even so late as fifty years ago
+very popular, was mostly made here. Aylesbury,
+Buckingham, and High Wycombe also made
+lace, and in the last-named old town cottage lace-making
+may be seen to this day. Very quaint
+are the old lace bobbins that may be purchased
+in the "antique" shops of these lace-making towns.
+The lace-workers apparently indulged many a
+pretty fancy in shaping them in a diversity of
+ways, very few bobbins being alike. Some were
+made of bone, really prettily turned, with dotted
+and pierced patterns on them. Others were silver-studded,
+and again others were banded in silver.
+The wooden ones were always decorated, if possible,
+each one differently from the others, so that
+the worker might distinguish each thread without
+looking at it. Nearly every bobbin was ended with
+a bunch of coloured beads strung on wire, and a
+collection of these bobbins, with their "gingles,"
+often yields up a pretty and quaint necklace.
+One in my possession has a quaint bead made
+of "ancient Roman glass," worth at least ten
+shillings. One wonders how this bit of Roman
+magnificence had strayed into an English cottage
+home!<span class='pagenum'><a name="Page_159" id="Page_159">{159}</a></span><span class='pagenum'><a name="Page_160" id="Page_160"></a></span></p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/image046.jpg" width="450" height="511" alt="&quot;OLD BUCKINGHAM.&quot;
+
+(Author&#39;s Collection.)" title="" />
+<span class="caption">&quot;OLD BUCKINGHAM.&quot;
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image047.jpg" width="500" height="274" alt="EARLY DEVONSHIRE LACE.
+
+(Author&#39;s Collection.)" title="" />
+<span class="caption">EARLY DEVONSHIRE LACE.
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div>
+
+<p><span class='pagenum'><a name="Page_161" id="Page_161">{161}</a></span>Buckinghamshire is the only one of the Midland
+counties which has produced <i>wide</i> lace; the
+adjoining counties confined themselves to edgings
+at most some 6 inches wide. A flounce in my
+collection measures 21 inches, and is of very
+elegant design, and of fine quality. In Wiltshire
+lace appears to have been made at an early date
+in the eighteenth century, but little lace is left
+to show its quality. A curious piece is said to
+belong to an old family in Dorset, who vouch for
+the lace having belonged to Queen Charlotte, the
+wife of George III. Like many other traditional
+"antiques," this is undoubtedly a fairy story, as it
+claims to have been made in commemoration of
+the defeat of the Spanish Armada, <i>at contemporary
+times</i>. It is exceedingly handsome, showing
+one of Philip's ships, very suggestively surrounded
+by big sea fish and apparently resting on the<span class='pagenum'><a name="Page_162" id="Page_162">{162}</a></span>
+rocky bottom of the ocean. In the next panel
+Tilbury Fort is portrayed, and another ship, one
+of England's glory, proudly rules the waves. The
+design is undoubtedly English, and most probably
+it was made in commemoration of the historic event&mdash;but
+the lace is Point d'Argentan, and was most
+likely manufactured specially for Queen Charlotte.</p>
+
+<p>Lyme Regis at one time rivalled Honiton, the
+laces of both towns being equally prized. Queen
+Charlotte wore a "head and lappets" made here
+when she first came to England, and afterwards
+she ordered a splendid lace dress to be made.
+When, however, Queen Victoria, in her wish to
+encourage the English makers, sent an order for
+her marriage lace, not sufficient workers were found
+to produce it.</p>
+
+
+<h3>DEVONSHIRE LACE.</h3>
+
+<p>As early as 1614 the lace-makers of Devonshire
+were known. The influx of refugees from Flanders
+in the Midlands and southern counties undoubtedly
+established lace-making in both parts of the kingdom.
+Many of the Honiton lace-workers married
+these refugees, and to this day the people are of
+mixed descent. Quaint names of Flemish extraction
+appear over the shop doors.</p>
+
+<p>In the early days both men, women, and children
+seem to have pursued the art of lace-making, boys
+learning and working at it until the age of sixteen,
+when they were either apprenticed to some trade
+or went to sea.<span class='pagenum'><a name="Page_163" id="Page_163">{163}</a></span></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image048.jpg" width="400" height="246" alt="OLD HONITON (NEEDLEPOINT GROUND)." title="" />
+<span class="caption">OLD HONITON (NEEDLEPOINT GROUND).</span>
+</div>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/image049.jpg" width="450" height="491" alt="OLD HONITON.
+
+(Author&#39;s Collection.)" title="" />
+<span class="caption">OLD HONITON.
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_165" id="Page_165">{165}</a></span><span class='pagenum'><a name="Page_164" id="Page_164"></a></span></p>
+
+<p>Most of the old Devonshire laces bear distinct
+likeness to the fine Flemish lace, only the clumsiness
+of the design or the coarse workmanship differentiating
+them. It has, however, one special feature
+which gave it the name "Trolly lace," as, unlike the
+perfectly flat lace of Flanders, it has a coarse thread
+or "trolly" outlining its patterns, and being made
+of English thread, it was coarse and not very durable.</p>
+
+
+<h3><i>Honiton</i></h3>
+
+<p>has always easily ranked first amongst our British
+laces, although by many not considered equal to fine
+Bucks. Like the Midland lace, it has been always
+made with Flanders thread, and therefore has maintained
+its popularity because of its <i>wear</i> and its <i>colour</i>.
+The early Honiton workers copied "Brussels" lace,
+but because of their inability to produce an artistic
+design it has never been anything but a <i>poor</i> copy.
+Even when the Brussels influence was most direct
+the flowers and sprays were placed inartistically,
+while the scroll copies of the early Flemish schools
+can only be termed the imitative handiwork of a
+child.</p>
+
+<p>The most prized specimens of old Honiton are
+those with hand-made ground, made of Flanders
+flax. Very little of this real ground Honiton
+lace is left. Queen Victoria did much to make
+Honiton lace <i>the</i> lace of the land; but although
+a regular trade has been established, and much
+good work accomplished, Honiton of the past will
+never be regarded on the same plane as the laces
+of Venice, France, and Brussels. Even in its best<span class='pagenum'><a name="Page_166" id="Page_166">{166}</a></span>
+variety it lacks the exquisite filmy touch of Brussels,
+the dainty grace of Alen&ccedil;on, and the magnificence of
+Point de France and Venetian Point. The Honiton
+laces made since the introduction of machine-made
+net is especially poor. Flower sprigs and sprays
+are made separately on the pillow, and afterwards
+applied to the machine-made ground. These are, as a
+rule, flowers and foliage treated naturalistically, and
+are heavy and close in design. These are often
+very sparingly applied over a wide expanse of net in
+order to make as much lace with as little trouble as
+possible. This is very different to the work of the
+old Honiton lace-worker, who made every inch of it
+herself&mdash;first the sprays and scrolls, then worked the
+ground round it, and received, it is said, from the
+middleman (who purchased it for the town market)
+as many shillings as would cover the lace offered
+for sale.</p>
+
+<p>We are glad to say, however, that very praiseworthy
+efforts are being made to introduce better
+methods and more artistic designs in the many lace
+schools which are being formed in various parts of
+Devon. Mrs. Fowler, of Honiton, one of the oldest
+lace-makers in this centre, making exquisite lace,
+the technique leaving nothing to be desired, and
+also showing praiseworthy effort in shaking off the
+trammels of the traditional designs.<span class='pagenum'><a name="Page_167" id="Page_167">{167}</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image050.jpg" width="500" height="256" alt="MODERN HONITON, MADE BY MRS. FOWLER." title="" />
+<span class="caption">MODERN HONITON, MADE BY MRS. FOWLER.</span>
+</div><p><span class='pagenum'><a name="Page_169" id="Page_169">{169}</a></span><span class='pagenum'><a name="Page_168" id="Page_168"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="L_XII" id="L_XII"></a>XII<br />
+<br />
+SCOTCH<br />
+AND IRISH<br />
+LACES</h2><p><span class='pagenum'><a name="Page_171" id="Page_171">{171}</a></span><span class='pagenum'><a name="Page_170" id="Page_170"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>XII<br />
+<br />
+SCOTCH AND IRISH LACES</h2>
+
+<div class="blockquot"><p>Hamilton lace&mdash;Mary Queen of Scots&mdash;Modern lace-making
+in Ireland&mdash;Limerick lace&mdash;Carrick-ma-cross&mdash;Irish
+crotchet&mdash;Convent laces.</p></div>
+
+
+<p>Scotch lace can hardly be said to exist. At one
+time a coarse kind of network lace called "Hamilton
+lace" was made, and considerable money was obtained
+by it, but it never had a fashion, and deservedly so.
+Since the introduction of machinery, however, there
+has been considerable trade, and a tambour lace is
+made for flounces, scarfs, &amp;c. The more artistic class
+of work made by Scotswomen is that of embroidering
+fine muslin, and some really exquisite work is made
+by the common people in their homes.</p>
+
+<p>Much mention is often made of Mary Queen of
+Scots and her embroideries and laces. It must be
+remembered that she married firstly the Dauphin of
+France, and while at the French Court imbibed the
+taste for elegant apparel and costly lace trimmings.
+There is no record that she ever wore lace of her own
+country's manufacture, and, although English writers<span class='pagenum'><a name="Page_172" id="Page_172">{172}</a></span>
+often quote the lace made by her fair hands, really
+the needlework made by Queen Mary at Fotheringay
+was embroidery.</p>
+
+
+<h3><i>Irish Laces.</i></h3>
+
+<p>The early lace of Ireland was the usual cut and
+drawn work, and it was not until the earlier part of
+the nineteenth century that lace-making actually
+became a craft. In the eighteenth century many
+brave attempts were made to commence lace schools,
+and the best work was done in the convents, where
+really fine work was executed by the nuns, the
+patterns having been sent from Italy. It was not
+until 1829 that the manufacture of Limerick lace was
+first instituted. This really is not lace at all, as it is
+merely chain-stitch worked in patterns on machine-made
+net.</p>
+
+<p>This pretty so-called lace was first made at
+Limerick by an Oxford man, who established a
+school there, taking with him twenty-four girls as
+teachers. It quickly became very popular, in the
+early "fifties" every woman of either high or low
+degree possessing herself of at least a lace collar
+or fichu of Limerick lace.</p>
+
+<p>In 1855 more than 1,500 workers were employed,
+but decidedly the best lace of the manufacture belongs
+to the time prior to this date. The quality of the
+net ground has also deteriorated, or perhaps the best
+net has not been purchased.<span class='pagenum'><a name="Page_173" id="Page_173">{173}</a></span></p>
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/image051.jpg" width="450" height="562" alt="LIMERICK &quot;FILLINGS.&quot;" title="" />
+<span class="caption">LIMERICK &quot;FILLINGS.&quot;</span>
+</div>
+
+<p>Very dainty little sprays and flowers are produced
+in the fine chain or tambour stitch, the hearts of the
+flowers or the centres of the scallops being worked<span class='pagenum'><a name="Page_175" id="Page_175">{175}</a></span><span class='pagenum'><a name="Page_174" id="Page_174"></a></span>
+over in an endless variety of extra stitches, as will be
+seen in the illustration.</p>
+
+<p>Another variety of lace is Carrick-ma-cross, which
+was contemporary with Limerick. This is merely
+embroidery again, but has more claim to the title of
+lace, as the tiny little flowers and scrolls are connected
+with brides made of buttonhole stitch ornamented
+with picots. This is really a very handsome
+lace, its only drawback being that it will not <i>wash</i>.
+The fine lawn of which it is made is buttonholed
+round and then cut away. This, in cleaning or
+washing, <i>contracts</i> and leaves the buttonhole edging,
+and in a few cleanings it is a mass of unmendable
+rags.</p>
+
+<p>Slightly more serviceable is another variety of
+Carrick-ma-cross, on which the lawn is appliqu&eacute;d to a
+machine-made net, the pattern outlined with buttonhole
+stitches, and the surplus lawn cut away, leaving
+the network as a grounding, various pretty stitchings
+filling up the necessary spaces.</p>
+
+<p>Yet another kind of lace is made, and is really
+the only real lace that Ireland can claim. This is the
+Irish crotchet, which in its finer varieties is a close
+imitation of Venetian Point, but made with fine
+thread and with a crotchet needle. Some of the
+best is really worth purchasing, but it is costly,
+realising as much as five guineas per yard. A very
+delicate "Tatting" also comes from the Emerald Isle,
+and in comparing English and Irish laces one is inevitably
+struck with the reflection that there is more
+"artistry" in the production of Irish laces and embroidery
+than in England with all her advantages.<span class='pagenum'><a name="Page_176" id="Page_176">{176}</a></span>
+The temperamental differences of the two races are
+distinctly shown in this, perhaps more than any
+other art.</p>
+
+<p>Much really notable work is now being executed
+in the Irish lace schools. At Youghal, co. Monaghan,
+an exact replica of old Venetian Point is being
+worked. Various fine specimens from the school
+occupy a place at South Kensington Museum, and
+the lace industry of Ireland may be said to be in a
+healthy condition.<span class='pagenum'><a name="Page_177" id="Page_177">{177}</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image052.jpg" width="500" height="667" alt="CARRICK-MA-CROSS LACE.
+
+(Author&#39;s Collection.)" title="" />
+<span class="caption">CARRICK-MA-CROSS LACE.
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_179" id="Page_179">{179}</a></span><span class='pagenum'><a name="Page_178" id="Page_178"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="L_XIII" id="L_XIII"></a>XIII<br />
+<br />
+HOW TO<br />
+IDENTIFY<br />
+LACE</h2><p><span class='pagenum'><a name="Page_182" id="Page_182">{182}</a></span><span class='pagenum'><a name="Page_181" id="Page_181"></a></span><span class='pagenum'><a name="Page_180" id="Page_180"></a></span></p>
+
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 398px;">
+<img src="images/image053.jpg" width="398" height="500" alt="THE CENTRE STRIP IS OLD &quot;RETICELLA,&quot; WITH GENOA
+BORDERS.
+
+(Author&#39;s Collection.)" title="" />
+<span class="caption">THE CENTRE STRIP IS OLD &quot;RETICELLA,&quot; WITH GENOA
+BORDERS.
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_183" id="Page_183">{183}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>XIII
+<br />
+HOW TO IDENTIFY LACE</h2>
+
+<div class="blockquot"><p>Style&mdash;Historical data&mdash;R&eacute;seaux.</p></div>
+
+
+<p>The great difficulty in attempting to identify any
+specimen of lace is that from time to time each
+country experimented in the manners and styles
+of other lace-making nations. The early Reticella
+workers copied what is known as the "Greek
+laces," which were found in the islands of the
+Grecian Archipelago. Specimens of these laces
+found in the excavations of the last thirty years
+show practically no difference in method and style.
+France copied the Venetian laces, and at one period
+it is impossible to say whether a given specimen
+was made at Alen&ccedil;on or Venice. Italy, in turn,
+imitated the Flemish laces&mdash;to such an extent that
+even the authorities at South Kensington Museum,
+with all their leisure and opportunities for study
+and the magnificent specimens at hand for identification,
+admit that certain laces are either "Italian or
+Flemish." Valenciennes was once a Flemish town,
+and though now French, preserves the Flemish<span class='pagenum'><a name="Page_184" id="Page_184">{184}</a></span>
+character of lace, some specimens of Mechlin being
+so like Valenciennes as to baffle certainty.</p>
+
+<p>Later, Brussels borrowed the hand-made grounds
+of France and Venice, and still later England copied
+Brussels, the guipures of Flanders, and the ground
+and style of Lille! All this makes the initial stages
+of the study of lace almost a hopeless quest. The
+various expensive volumes on lace, although splendidly
+written and gorgeously illustrated, leave the student
+with little more than an interesting and historical
+knowledge on which to base the actual study of lace.
+Here I may refer my readers to the one and only
+public collection of lace, I believe, in England&mdash;that
+of the South Kensington Museum, where specimens
+of lace from all countries and of all periods are shown,
+and where many magnificent bequests, that of Mrs.
+Bolckow especially, make the actual study of lace
+a possibility.</p>
+
+<p>It is to be hoped that the governing body of
+the museum will, in its own good time, make
+this a pleasure instead of a pain. The specimens,
+the <i>most important to the student</i>, are placed in a
+low, dark corridor. Not a glimmer of light can
+be obtained on some of the cases, which also are
+upright, and placed so closely together that on
+attempting to see the topmost specimen on one side
+the unfortunate student literally bangs her head into
+the glass of the next one. A gentle complaint at the
+Directors' office concerning the difficulty brought
+forth the astonishing information that there was
+no room at their disposal, but that in good time
+better light might be found. As these cases have<span class='pagenum'><a name="Page_186" id="Page_186"></a></span><span class='pagenum'><a name="Page_185" id="Page_185">{185}</a></span>
+been in identically the same place for the past fifteen
+years, one hopes that the "good time" may come
+before one becomes a "spectacled pantaloon" with
+no desire to see the wonders of that Palace of Art.</p>
+
+<div class="figcenter" style="width: 407px;">
+<img src="images/image054.jpg" width="407" height="500" alt="POINT D&#39;ANGLETERRE.
+
+Style Louis XV. Eighteenth Century" title="" />
+<span class="caption">POINT D&#39;ANGLETERRE.
+<br />
+Style Louis XV. Eighteenth Century
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div>
+
+<p><span class='pagenum'><a name="Page_187" id="Page_187">{187}</a></span>This little protest is made in the hope that the
+"Lords of the Committee" may possibly have their
+attention drawn to what amongst the lace-lovers
+and students in this country is a "standing grievance."</p>
+
+<p>It is almost impossible, even from the best of
+photographic illustrations, to learn all the intricacies
+of identification. The photographs clearly show
+style, but it needs specimens of the actual lace
+to show method of working. From the illustrations
+in this book, specially selected from the South
+Kensington Collection, and from specimens in my
+own collection, every variety of style may be
+easily understood, as they have been particularly
+selected to show each point of difference. Commencing
+with the earliest form of lacework&mdash;<i>i.e.</i>,
+"cutworke"&mdash;nothing will better show this than
+the "Sampler" specimen, which, half way down,
+shows two rows entirely typical of this kind of
+early lace-making&mdash;for such it is. A little lower,
+examples of drawn threadwork are seen, while
+the upper portion illustrates satin stitch patterns,
+which more properly belong to embroidery.</p>
+
+<p>The ancient collar from the South Kensington
+Collection, page <a href="#Page_149">149</a>, shows some of the finest
+developments of cutwork, when the foundation of
+linen was entirely dispensed with. The work is
+exceedingly fine, the threads being no coarser, indeed
+in many cases less so, than the fine linen it adorns.<span class='pagenum'><a name="Page_188" id="Page_188">{188}</a></span>
+This is known as Reticella, or "punto in aria."
+The last name is applicable to all the laces of Venice
+which succeeded Reticella, and means lace literally
+made out of nothing or without any building
+foundation.</p>
+
+<p>The specimen is still of the same class, but
+where before the design was simple geometric
+square and pointed as in all the early lace, it now
+takes on the lovely flowing scroll of the Renaissance
+that marks the latter half of the seventeenth
+century.</p>
+
+<p>The same grand styles may be noted all through
+the great period of Italian Needlepoint lace. It will
+be seen in a lesser degree in the Guipure laces of
+Milan and Genoa, but here the cramping influence
+of the Flemish school shows itself distinctly.<span class='pagenum'><a name="Page_189" id="Page_189">{189}</a></span></p>
+
+
+<div class="figcenter" style="width: 450px;">
+<img src="images/image055.jpg" width="450" height="453" alt="ITALIAN ECCLESIASTICAL LACE." title="" />
+<span class="caption">ITALIAN ECCLESIASTICAL LACE.</span>
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image056.jpg" width="500" height="316" alt="FLEMISH OR GENOESE ECCLESIASTICAL LACE." title="" />
+<span class="caption">FLEMISH OR GENOESE ECCLESIASTICAL LACE.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div>
+
+<p>The same bold lines may be noted in the early
+Needlepoint lace of France, which had not then
+become sufficiently sure of her capacity to develop
+a style of her own, and all show the Renaissance
+spirit. Afterwards when the superb Point de
+France was at its height of manufacture along with
+grand outline and exquisite handicraft, the influence
+of the mighty monarch Louis XIV. asserted itself
+and although the lace itself commands unbounded
+admiration, fantastic little notions, symbolical and
+naturalistic, showed itself&mdash;as an illustration page
+<a href="#Page_75">75</a>: little figures representing "the Indian," "canopied
+crown over a sealed lady," trees growing all
+manner of bizarre fruit and flowers, all symbolical of
+Louis the Magnificent's unbounded power and sway.
+In the South Kensington Museum there is a still<span class='pagenum'><a name="Page_191" id="Page_191">{191}</a></span><span class='pagenum'><a name="Page_190" id="Page_190"></a></span>
+finer specimen, which has not yet been photographed,
+I believe&mdash;a magnificent flounce, about eighteen
+inches wide (really two boot top pieces joined), of
+what is known as pseudo-Oriental character, which
+shows amongst the usual exquisite scrolling no less
+than seven different figures on each piece&mdash;viz., an
+Indian, a violinist in dress of Louis XIV. period,
+a lady riding on a bird, two other ladies, one with
+a pet dog and the other a parrot, a lady violinist, and
+another lady seated before a toilet-table. These little
+figures are not more than three-quarters of an inch
+high, but are worked with such minuteness that even
+the tiny features are shown. This fantastic adoption
+of the human figure was copied in Italy and Flanders.
+The finest specimens of Point d'Angleterre (Brussels)
+show the same designs; and it may broadly be
+stated that all lace with figures is of the Louis XIV.
+period, and over two hundred years old.</p>
+
+<p>Succeeding this period came the dainty elegance of
+the French laces, when the workers of Alen&ccedil;on and
+Argentan had developed a purely French style. Note
+the Point d'Alen&ccedil;on, illustration page <a href="#Page_83">83</a>, where the
+characteristics of the period are fully shown. The
+illustration shows a mixed lace, which only recently has
+been acknowledged by the South Kensington people
+as Point d'Argentan. Along with the typical Argentan
+ground of the upper portion is the fine Alen&ccedil;on
+mesh and varied jours of the border. This also
+is Louis XIV. style. The lappet shown next is
+exceedingly instructive, as till quite lately the people
+who professed to understand lace agreed to call
+this Genoese, although it was quite unlike anything<span class='pagenum'><a name="Page_192" id="Page_192">{192}</a></span>
+else made there. This lappet was so labelled at
+South Kensington, but now is admittedly Argentella
+(or little Argentan). It is remarkably like Alen&ccedil;on,
+being of the same period, the only points of difference
+being that the design is not outlined with a raised
+Cordonnet (though in different places of the design
+a raised and purled Cordonnet is often stitched on
+it) and the special ground (partridge eye) which
+is agreed to denote "Argentella" lace&mdash;page <a href="#Page_83">83</a>.
+It is sometimes called the may-flower ground, but
+this is somewhat misleading as that design occurs
+in other laces. The only other great style is that
+of Flanders, which at its earliest period had received
+no influence from the Renaissance that had seized
+the southern countries of Europe and was still in
+the grip of medi&aelig;val art. It was not until Italian
+influence permeated France that Flemish lace perceptibly
+altered in character.</p>
+
+<p>These are to all intents and purposes the three
+great styles of lace. England had no style: she
+copied Flemish, Brussels, and Mechlin laces. Ireland,
+on the contrary, copied Italian in her Irish
+crotchet and Carrick-ma-cross (in style only, but
+not workmanship), and adapted Lille and Mechlin
+and Brussels and Buckingham in her Limerick
+lace.</p>
+
+<p>The student must next make herself familiar with
+the methods pursued by the old lace-workers, and
+here the difficulty commences. All lace is either
+Needlepoint, pillow-made, or machine-made. <i>Needlepoint</i>
+explains itself. Every thread of it is made
+with a needle on a parchment pattern, and only two<span class='pagenum'><a name="Page_194" id="Page_194"></a></span><span class='pagenum'><a name="Page_193" id="Page_193">{193}</a></span>
+stitches are used, buttonhole and a double-loop
+which is really a buttonhole stitch.</p>
+
+<div class="figcenter" style="width: 341px;">
+<img src="images/image057.jpg" width="341" height="500" alt="BRUSSELS LAPPET.
+
+Nineteenth Century." title="" />
+<span class="caption">BRUSSELS LAPPET.
+<br />
+Nineteenth Century.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div>
+
+<p><span class='pagenum'><a name="Page_195" id="Page_195">{195}</a></span>This can be clearly understood by referring to
+Charts Nos. <a href="#Page_36">I.</a> and <a href="#Page_39">II.</a>, where the <i>two Brussels
+grounds</i> are shown. The Needlepoint ground, No. <a href="#Page_36">I.</a>,
+is formed by a buttonhole stitch, which loops over
+again before taking the next. The pillow-made
+ground, No. <a href="#Page_39">II.</a>, shows the threads plaited or twisted
+together to form a hexagonal or a diamond-shaped
+network. This is all the difference between needle-made
+and pillow-made lace, and in itself helps to
+identify in many instances its country and period
+when it was produced. All the early Italian laces
+were Needlepoint, and all the early French laces
+were the same. All the Flemish laces (including
+Brussels) were pillow-made, and mixed laces in any
+of these countries are of later make. Italy adapted
+the Flemish pillow-lace, and produced Genoese
+and Milanese guipures, in addition to the coarse
+imitation of Reticella which she now made by
+plaiting threads on the pillow. Brussels adopted
+the needle-made motifs and grounds of Italy, and
+produced perhaps her finest lace, weaving her beautiful
+designs and outlines on the pillow, and afterwards
+filling the spaces with needle-made jours and brides,
+as in Point d'Angleterre.</p>
+
+<p>A study of Chart <a href="#Page_39">II.</a> will show the different style
+of grounds or r&eacute;seaux of both Needlepoint and pillow-made
+lace, the buttonhole grounds being either of
+"brides" with or without picots, or buttonhole
+loops, as in Brussels, and Alen&ccedil;on (with a straight
+thread whipping across to strengthen the ground),<span class='pagenum'><a name="Page_196" id="Page_196">{196}</a></span>
+loops buttonholed over all as in Argentan, or made
+of tiny worked hexagons with separate buttonholed
+threads around them as in Argentella. The pillow-made
+grounds are made of two plaited or twisted
+threads, except in the case of Valenciennes, when
+it is made of four threads throughout (hence its
+durability). In Brussels, it will be noted, the threads
+are twisted twice to commence the mesh. These
+meet two other threads, and are plaited four times,
+dividing into two again, and performing the same
+twist, the whole making a hexagon rather longer
+than round. Mechlin has precisely the same ground,
+only that the threads are plaited <i>twice</i> instead of four
+times, as in Brussels, making the hexagon roundish
+instead of long.</p>
+
+<p>The ground of Lille lace is of exactly the same
+shape as Valenciennes, but is composed of two
+threads twisted loosely twice each side of the
+diamond, and that of Valenciennes being made of
+four threads plaited.</p>
+
+<p>With the aid of these little charts, a remembrance
+of the various styles and a few actual specimens of
+lace, and <i>a powerful magnifying glass</i>, it is not beyond
+the power of any reader of this little book to become
+expert in the identification of old lace.<span class='pagenum'><a name="Page_197" id="Page_197">{197}</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image058.jpg" width="500" height="299" alt="REAL &quot;POINT DE GAZE&quot; (NEEDLE-MADE GROUND).
+
+(Author&#39;s Collection.)" title="" />
+<span class="caption">REAL &quot;POINT DE GAZE&quot; (NEEDLE-MADE GROUND).
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_199" id="Page_199">{199}</a></span><span class='pagenum'><a name="Page_198" id="Page_198"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="L_XIV" id="L_XIV"></a>XIV<br />
+<br />
+SALE<br />
+PRICES</h2><p><span class='pagenum'><a name="Page_201" id="Page_201">{201}</a></span><span class='pagenum'><a name="Page_200" id="Page_200"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>XIV<br />
+<br />
+SALE PRICES</h2>
+
+
+<p>Lace is such an article of luxury, and, as a rule,
+only belonging to the wealthiest class, that it seldom
+or ever comes into the open market. In 1907 two
+collections were dispersed at Christie's&mdash;those of
+Mrs. Massey-Mainwaring and Mrs. Lewis Hill.</p>
+
+<p>The most costly laces are the Venetian Points,
+some of the fine Rose Points being priceless. It is
+so fragile that little of it remains, and the smallest
+piece is eagerly snapped up by collectors.</p>
+
+<p>In 1904 at Christie's lace sold for the following
+prices&mdash;</p>
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align='left'></td><td align='center'>&pound;</td></tr>
+<tr><td align='left'>A 58-inch length of 24-ins. deep Point de Venise</td><td align='left'>600</td></tr>
+<tr><td align='left'>A 4-yards length of Rose Point, 11 inches deep</td><td align='left'>420</td></tr>
+</table></div>
+
+<p>The same year&mdash;</p>
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align='left'></td><td align='center'>&pound;</td></tr>
+<tr><td align='left'>4 yards of Point d'Argentan, 25 inches deep</td><td align='right'>460</td></tr>
+<tr><td align='left'>44 inches Point d'Alen&ccedil;on, 17 inches deep</td><td align='right'>43</td></tr>
+<tr><td align='left'>2&frac12; yards Point d'Alen&ccedil;on, 14 inches deep</td><td align='right'>46</td></tr>
+</table></div>
+
+<p><span class='pagenum'><a name="Page_202" id="Page_202">{202}</a></span></p>
+
+<p>In 1907, March 11, <i>Massey-Mainwaring Sale</i> at
+Christie's&mdash;</p>
+
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align='left'></td><td align='center' colspan='3'>sold for</td></tr>
+<tr><td align='left'></td><td align='right'>&pound;</td><td align='right'>s.</td><td align='right'>d.</td></tr>
+<tr><td align='left'>1&frac12; yards Venetian Gros Point, 8 inches
+deep</td><td align='right'>16</td><td align='right'>16</td><td align='right'>0</td></tr>
+<tr><td align='left'>5 yards length of Reticella, 7&frac12; inches
+deep</td><td align='right'>33</td><td align='right'>12</td><td align='right'>0</td></tr>
+<tr><td align='left'>4 short lengths</td><td align='right'>42</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>7 pieces of Point d'Alen&ccedil;on</td><td align='right'>21</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>4 yards narrow Point d'Argentan</td><td align='right'>15</td><td align='right'>15</td><td align='right'>0</td></tr>
+<tr><td align='left'>3 pairs Point d'Argentan lappets</td><td align='right'>15</td><td align='right'>15</td><td align='right'>0</td></tr>
+<tr><td align='left'>30 yards narrow Mechlin in odd lengths</td><td align='right'>21</td><td align='right'>0</td><td align='right'>0</td></tr>
+</table></div>
+
+<p>April 15th, the <i>Lewis-Hill Sale</i> at Christie's:&mdash;</p>
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align='left'></td><td align='right' colspan='3'>sold for</td></tr>
+<tr><td align='left'></td><td align='right'>&pound;</td><td align='right'>s.</td><td align='right'>d.</td></tr>
+<tr><td align='left'>4 yards Venetian Point, 15&frac12; inches deep</td><td align='right'>68</td><td align='right'>5</td><td align='right'>0</td></tr>
+<tr><td align='left'>4 yards Venetian Point, 8&frac12; inches deep</td><td align='right'>52</td><td align='right'>10</td><td align='right'>0</td></tr>
+<tr><td align='left'>3 yards Spanish Point, 6&frac12; inches deep</td><td align='right'>73</td><td align='right'>10</td><td align='right'>0</td></tr>
+<tr><td align='left'>An Old Brussels scarf in two pieces</td><td align='right'>10</td><td align='right'>10</td><td align='right'>0</td></tr>
+<tr><td align='left'>6 yards Brussels applique</td><td align='right'>23</td><td align='right'>10</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Point Gaze parasol-cover</td><td align='right'>6</td><td align='right'>16</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Brussels flounce</td><td align='right'>12</td><td align='right'>1</td><td align='right'>6</td></tr>
+<tr><td align='left'>3 yards Honiton flounce, 17 inches deep</td><td align='right'>69</td><td align='right'>6</td><td align='right'>0</td></tr>
+<tr><td align='left'>Another similar</td><td align='right'>69</td><td align='right'>6</td><td align='right'>0</td></tr>
+<tr><td align='left'>6 yards Honiton lace in three pieces</td><td align='right'>24</td><td align='right'>3</td><td align='right'>0</td></tr>
+<tr><td align='left'>An old lace coverlet</td><td align='right'>25</td><td align='right'>4</td><td align='right'>0</td></tr>
+<tr><td align='left'>Another ditto</td><td align='right'>26</td><td align='right'>5</td><td align='right'>0</td></tr>
+<tr><td align='left'>A lace altar-frontal</td><td align='right'>21</td><td align='right'>1</td><td align='right'>0</td></tr>
+</table></div>
+
+<p>With the exception of the Honiton flounces, which<span class='pagenum'><a name="Page_203" id="Page_203">{203}</a></span>
+sold beyond their market value, all the above pieces
+were bought by London lace dealers!</p>
+
+<p>The famous collection of the late Mrs. Hailstone
+was sold in 1909. This lady had for many years
+been known as a lace collector, and the sale of her
+effects was eagerly anticipated. The result was extremely
+interesting to the collectors, as Mrs. Hailstone
+had collected specimen lengths of almost every
+known lace. No huge prices obtained, but the sale
+may be regarded as representative, and the prices
+quoted as being open-market value.</p>
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align='left'></td><td align='right'>&pound;</td><td align='right'>s.</td><td align='right'>d.</td></tr>
+<tr><td align='left'>A set of bed-hangings, forming six curtains, made of Italian lace and
+linen</td><td align='right'>40</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A large porti&egrave;re curtain of Italian lacis-work</td><td align='right'>10</td><td align='right'>10</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Point d'Alen&ccedil;on fichu</td><td align='right'>30</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Point d'Alen&ccedil;on cravat end, a pair of
+sleeves, one odd piece</td><td align='right'>18</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A pair of Argentan lappets and six yards lace</td><td align='right'>12</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A panel fine raised Venetian Point,
+22 inches wide, 28 inches long</td><td align='right'>24</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Berthe, Point de Venise, 1 yard
+120 inches, 12 inches deep</td><td align='right'>25</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Point de Venise Berthe</td><td align='right'>36</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A 1 yard 13 inches x 7 inches panel
+Venetian lace</td><td align='right'>50</td><td align='right'>0</td><td align='right'>0<span class='pagenum'><a name="Page_204" id="Page_204">{204}</a></span></td></tr>
+<tr><td align='left'>Two specimen pieces, 3&frac14; inches, all of
+Point de Venise &agrave; r&eacute;seau</td><td align='right'>14</td><td align='right'>10</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Buckinghamshire collar, sleeves, and pieces</td><td align='right'>5</td><td align='right'>5</td><td align='right'>0</td></tr>
+<tr><td align='left'>A specimen of old Honiton, baby's
+cap, bodice, and handkerchief</td><td align='right'>3</td><td align='right'>5</td><td align='right'>0</td></tr>
+<tr><td align='left'>An old Honiton baby's robe, said to have belonged to Princess Charlotte</td><td align='right'>15</td><td align='right'>10</td><td align='right'>0</td></tr>
+<tr><td align='left'>Seven volumes of lace specimens of
+old and modern lace</td><td align='right'>35</td><td align='right'>0</td><td align='right'>0</td></tr>
+</table></div>
+
+<p>In December, 1910, probably the most valuable
+collection ever placed upon the market was dispersed
+at Messrs. Christie's. The late Sir William Abdy
+Bt., had for many years devoted his time and money
+to the collection of valuable lace, such as now can
+only be seen in the great national collections. The
+prices obtained are significant of the huge sums
+which must be paid to obtain wearable pieces of
+valuable lace such as skirt lengths, 3-&nbsp;or 4-yard
+lengths of deep flouncings, shawls, coverlets, aprons, &amp;c.</p>
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align='right'></td><td align='right'>&pound;</td><td align='right'>s.</td><td align='right'>d.</td></tr>
+<tr><td align='left'>A fine Point d'Alen&ccedil;on skirt, 2&frac12; yards,
+44 inches deep</td><td align='right'>160</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A fine Point d'Alen&ccedil;on scarf, 2 yards
+9 inches &times; 10 inches deep</td><td align='right'>72</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Point d'Argentan Berthe, 9&frac12; inches deep</td><td align='right'>39</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Point d'Argentan flounce, 6 yards 30
+inches &times; 5&frac12; inches deep</td><td align='right'>140</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Point d'Argentan flounce, 2 yards 26
+inches long &times; 25 inches deep</td><td align='right'>210</td><td align='right'>0</td><td align='right'>0<span class='pagenum'><a name="Page_205" id="Page_205">{205}</a></span></td></tr>
+<tr><td align='left'>A Point d'Argentan flounce, 3 yards 28
+inches long &times; 24 inches deep</td><td align='right'>310</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Point d'Argentan flounce, 3 yards 35
+inches long &times; 25 inches deep</td><td align='right'>431</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Point d'Argentan flounce, 3 yards 16
+inches long &times; 24&frac12; inches deep</td><td align='right'>290</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>An Italian gold and thread lace flounce,
+4 yards long, 29 inches deep</td><td align='right'>740</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A length of Italian Rose Point, 4 yards
+15 inches long, 3 inches deep</td><td align='right'>70</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>An old Italian Rose Point flounce, 3
+yards 31 inches long, 17&frac12; inches deep</td><td align='right'>660</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>An old Italian Rose Point square, 31
+inches &times; 34 inches</td><td align='right'>180</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>An old Italian Rose Point flounce, 3
+yards 19 inches long, 7&frac12; inches deep</td><td align='right'>520</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>An old Italian Rose Point panel, 34
+inches &times; 9 inches</td><td align='right'>95</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Point de Venise lappet &agrave; r&eacute;seau, 46
+inches long, 5&frac14; inches wide</td><td align='right'>22</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>Point de Venise trimming, 8 yards long
+&times; 4 inches deep</td><td align='right'>65</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A piece of flat Venetian insertion, 4
+yards &times; 3&frac34; inches deep</td><td align='right'>92</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Rose Point flounce, 4 yards long &times; 5
+inches deep</td><td align='right'>200</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Rose Point flounce, 3 yards 31 inches
+long &times; 22 inches deep</td><td align='right'>600</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Rose Point flounce, 4 yards 7 inches
+long &times; 24 inches deep</td><td align='right'>540</td><td align='right'>0</td><td align='right'>0<span class='pagenum'><a name="Page_206" id="Page_206">{206}</a></span></td></tr>
+<tr><td align='left'>A Rose Point flounce, 3 yards 32 inches
+long &times; 15 inches deep</td><td align='right'>560</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Rose Point flounce, 4 yards 11 inches long &times; 18 inches deep, and a pair of
+sleeves en suite</td><td align='right'>650</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Rose Point flounce, 4 yards 3 inches
+long &times; 11&frac12; inches deep</td><td align='right'>510</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A raised Point de Venise square, 1 yard
+24 inches long &times; 1 yard 6 inches wide</td><td align='right'>450</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>An Old Brussels apron, 41 inches wide,
+37 inches deep</td><td align='right'>145</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A specimen piece of early Valenciennes,
+2 yards long &times; 7 inches deep</td><td align='right'>42</td><td align='right'>0</td><td align='right'>0</td></tr>
+</table></div>
+
+<p>The following prices have been given by the South
+Kensington authorities for specimens shown:&mdash;</p>
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align='left'></td><td align='right'>&pound;</td><td align='right'>s.</td><td align='right'>d.</td></tr>
+<tr><td align='left'>A Venetian Point altar-frontal,
+8 &times; 3 feet</td><td align='right'>350</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Venetian chasuble, stole, maniple,
+and chalice veil</td><td align='right'>200</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A 2 yards &times; 5/8 yard Venetian flounce</td><td align='right'>125</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Gros Point collar</td><td align='right'>21</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Brussels lappet</td><td align='right'>23</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A drawn-thread jacket</td><td align='right'>10</td><td align='right'> 10</td><td align='right'>0</td></tr>
+<tr><td align='left'>Linen cutwork tunic</td><td align='right'>20</td><td align='right'>0</td><td align='right'>0</td></tr>
+</table></div>
+<p><span class='pagenum'><a name="Page_208" id="Page_208">{208}</a></span><span class='pagenum'><a name="Page_207" id="Page_207"></a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image059.jpg" width="500" height="318" alt="EGYPTIAN EMBROIDERY.
+
+Found in a tomb at Thebes." title="" />
+<span class="caption">EGYPTIAN EMBROIDERY.
+<br />
+Found in a tomb at Thebes.</span>
+</div><p><span class='pagenum'><a name="Page_209" id="Page_209">{209}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CHATS_ON_NEEDLEWORK" id="CHATS_ON_NEEDLEWORK"></a>CHATS ON NEEDLEWORK</h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="N_I" id="N_I"></a>I<br />
+<br />
+OLD ENGLISH EMBROIDERY</h2>
+
+<div class="blockquot"><p>Needlework pioneer art&mdash;Neolithic remains&mdash;Earliest known
+English specimens&mdash;Bayeux tapestry.</p></div>
+
+
+<p>While the subject of lace-making has been treated
+as almost cosmopolitan, that of embroidery, in this
+volume, must be regarded as purely national! I
+purposely refrain from introducing the embroideries
+of other countries, other than mentioning the ancient
+civilisations which shared the initial attempts to
+decorate garments, hangings, &amp;c. (of which we really
+know very little), and shall confine myself to the
+needlework of this country, more especially as it is
+the one art and craft of which England may be
+unfeignedly proud. It is assumed that needlecraft
+was the pioneer art of the whole world, that the early
+attempts to decorate textiles by embroideries of
+coloured silks, and the elaborate use of gold and<span class='pagenum'><a name="Page_210" id="Page_210">{210}</a></span>
+silver threadwork, first suggested painting, sculpture,
+and goldsmith's work. Certainly early Egyptian
+paintings imitated embroideries, and we have good
+ground for supposing that stained glass was a direct
+copy of the old ecclesiastical figures or ancient
+church vestments. The Neolithic remains found in
+Britain show that at a very early period the art of
+making linen-cloth was understood. Fragments of
+cloth, both of linen and wool, have been discovered in
+a British barrow in Yorkshire, and early bone needles
+found at different parts of the country are plentiful in
+our museums. There is no doubt that we owe much
+of our civilisation to the visit of the Ph&oelig;nicians, those
+strange people, who appear to have carried all the
+arts and crafts of ancient Babylon and Assyria to
+the wonder isles of the Greek Archipelago, to Egypt,
+to Southern Spain, and to Cornwall and Devonshire.
+These people, dwelling on the maritime border of
+Palestine, were the great traders of their age, and
+while coming to this country (then in a state of
+wildest barbarism) for tin left in exchange a knowledge
+of the arts and appliances of civilisation
+hitherto not understood. The Roman Invasion
+(45 <span class="smcap lowercase">B.C.</span>) brought not only knowledge of craftsmanship
+but also Christianity. St. Augustine, to whom the
+conversion of the Britains is credited, carried with him
+a banner embroidered with the image of Christ. After
+the Romans had left the country, and it had become
+invaded by the Celts and the Danes, and had again
+been taken possession of by the Saxons, a period of
+not only rest but advancement arrived, and we see
+early in the seventh century the country prosperous<span class='pagenum'><a name="Page_212" id="Page_212"></a></span><span class='pagenum'><a name="Page_211" id="Page_211">{211}</a></span>
+and settled. Aldhelm, Bishop of Sherborne, wrote a
+poem in which he speaks of the tapestry-weaving and
+the embroidery which the women of England occupied
+their lives.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/full_image060.jpg"><img src="images/image060.jpg" width="500" height="104" alt="A LENGTH OF THE FAMOUS BAYEUX TAPESTRY." title="" /></a>
+<span class="caption">A LENGTH OF THE FAMOUS BAYEUX TAPESTRY.</span>
+</div>
+
+<p><span class='pagenum'><a name="Page_213" id="Page_213">{213}</a></span>The earliest specimen of embroidery known to
+have been executed in England is that of the stole
+and maniple of St. Cuthbert, which is now
+treasured at Durham Cathedral. These were worked
+by Aelfled, the Queen of Edward the Elder, Alfred
+the Great's son. She worked them for Bishop
+Fridhestan in 905 <span class="smcap lowercase">A.D.</span> Her son Athelstan, after her
+death, visited the shrine of St. Cuthbert, at Chester-le-street,
+and in an inventory of the rich gifts which
+he left there, there is recorded "one stole with a
+maniple," amongst other articles. These very
+embroideries were removed from the actual body of
+St. Cuthbert in 1827. They are described by an eyewitness
+as being "of woven gold, with spaces left
+vacant for needlework embroideries." Exquisitely
+embroidered figures are in niches or clouds. The
+whole effect is described as being that of a fine
+illuminated MS. of the ninth century, and indescribably
+beautiful. Another great prelate, St.
+Dunstan, Archbishop of Canterbury, designed
+embroideries for the execution of pious ladies of
+his diocese (924 <span class="smcap lowercase">A.D.</span>).</p>
+
+<p>Emma, Queen of Ethelred the Unready, and afterwards
+of Canute, designed and embroidered many
+church vestments and altar-cloths, and Editha, wife
+of Edward the Confessor, embroidered the King's
+coronation mantle.</p>
+
+<p>The great and monumental Bayeux tapestry<span class='pagenum'><a name="Page_214" id="Page_214">{214}</a></span>&mdash;which
+is miscalled, as it is <i>embroidery</i>&mdash;was the work
+of Queen Matilda, who, like Penelope, wove the
+mighty deeds of her husband and king in an immense
+embroidery. This piece of needlecraft comes
+upon us as a shock, rather than an admiration, after
+the exquisite embroideries worked by and for the
+Church. It is interesting, however, as a valuable
+historic "document," showing the manners and
+customs of the time. The canvas is 227 feet long
+and 20 inches wide, and shows events of English
+history from the accession of Edward the Confessor
+to the defeat of Harold, at Hastings. It is extremely
+crude; no attempt is made at shading, the figures
+being worked in flat stitch in coloured wools, on
+linen canvas. Certainly it is one of the quaintest
+and most primitive attempts of working pictures by
+needlecraft.</p>
+
+<p>The evidence of the costumes, the armour, &amp;c., are
+supposed to tell us that this tapestry was worked many
+years after the Conquest, but it can be traced by
+documentary evidence as having been seen in Bayeux
+Cathedral as far back as 1476. In the time of
+Napoleon I. it was removed from the cathedral and
+was actually used as a covering for a transport
+waggon. Finally, however, it was exhibited in the
+Mus&eacute;e Napoleon, in 1803, and was afterwards
+returned to Bayeux. In 1840 it was restored and
+relined, and is now in the H&ocirc;tel de Ville at Bayeux!<span class='pagenum'><a name="Page_215" id="Page_215">{215}</a></span></p>
+
+<div class="figcenter" style="width: 418px;">
+<img src="images/image061.jpg" width="418" height="500" alt="KING HAROLD.
+
+(From the Bayeux Tapestry.)" title="" />
+<span class="caption">KING HAROLD.
+<br />
+(From the Bayeux Tapestry.)</span>
+</div><p><span class='pagenum'><a name="Page_217" id="Page_217">{217}</a></span><span class='pagenum'><a name="Page_216" id="Page_216"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="N_II" id="N_II"></a>II<br />
+<br />
+THE GREAT<br />
+PERIOD OF<br />
+EMBROIDERY</h2>
+
+
+<p><span class='pagenum'><a name="Page_219" id="Page_219">{219}</a></span><span class='pagenum'><a name="Page_218" id="Page_218"></a></span></p>
+<hr style="width: 65%;" />
+<h2>II<br />
+<br />
+THE GREAT PERIOD OF EMBROIDERY</h2>
+
+<div class="blockquot"><p>"Opus Anglicanum"&mdash;The Worcester fragments&mdash;St. Benedict&mdash;Legend
+of Pope Innocent&mdash;The "Jesse" cope&mdash;The "Syon" cope.</p></div>
+
+
+<p>The great period of English embroidery is supposed
+to have been from the twelfth to the thirteenth
+century. Very little remains to show this, except a
+few fragments of vestments from the tombs of the
+bishops dating from the twelfth and thirteenth
+centuries, and other data obtained from various
+foreign inventories of later date referring to the use
+of "Opus Anglicanum." Some portion of the
+Worcester fragments may be seen in the South
+Kensington Museum, and can only be described as
+being so perfect in workmanship, colour, and style as
+even at this day to be more like a magnificent piece
+of goldsmith's work than that of needlecraft. The
+background is apparently one mass of thread of fine
+gold worked in and out of a silken mesh, the
+embroidery appearing just as clear and neat in
+manipulation as an illumination. The coloured
+photographs, which may be seen in the same room,<span class='pagenum'><a name="Page_220" id="Page_220">{220}</a></span>
+of the stole and maniple of St. Cuthbert are of
+precisely the same work. Judging from these, and
+the embroidered orphrey which the authorities
+bought from the Hockon Collection for &pound;119 1s. 10d.
+and which is only 4 feet 8 inches long, there is no
+doubt that this was, <i>par excellence</i>, the finest period.
+The work can only be described as being like an old
+Italian painting on a golden ground. We see precisely
+such design and colouring in ancient paintings
+for altars as in the old Italian Triptychs. This style
+was carried out as literally as possible. Even the
+defects, if so they may be called, are there, and a
+slight topheaviness of the figures serves but to accentuate
+the likeness.</p>
+
+<p>There is a legend that during the times of the
+Danish incursions St. Benedict travelled backwards
+and forwards through France and Italy, and brought
+with him during his <i>seven</i> journeys artificers in <i>glass</i>
+and <i>stone</i>, besides costly books and copies of the
+Scriptures. The chief end and aim of monastic life,
+both of monk and nun, in those early days was to
+embroider, paint, and illuminate their sacred books,
+vestments, and edifices with what was to them a
+newly-inspired faith.</p>
+
+<p>Dr. Rock, in his "Church of Our Fathers," says
+that from the twelfth century to the time of Henry
+VIII. that only the best materials that could be
+found in our country or that of other lands were
+employed, and that the art that was used on them
+was the best that could be learnt or given. The
+original fabrics often came from Byzantium or were
+of Saracenic origin.<span class='pagenum'><a name="Page_221" id="Page_221">{221}</a></span></p>
+
+<div class="figcenter" style="width: 362px;">
+<img src="images/image062.jpg" width="362" height="500" alt="FROM THE &quot;JESSE&quot; COPE (South Kensington Museum).
+
+English, early Fourteenth Century." title="" />
+<span class="caption">FROM THE &quot;JESSE&quot; COPE (<i>South Kensington Museum</i>).
+<br />
+English, early Fourteenth Century.</span>
+</div><p><span class='pagenum'><a name="Page_223" id="Page_223">{223}</a></span><span class='pagenum'><a name="Page_222" id="Page_222"></a></span></p>
+
+<p>The story of Pope Innocent III., who, seeing
+certain vestments and orphreys, and being informed
+that they were English, said, "Surely England must
+be a garden of delight!" must be quoted to show how
+English work was appreciated in those early days.</p>
+
+<p>The choicest example in this country of this
+glorious period of English embroidery is the famous
+Syon cope, which is supposed to rank as the most
+magnificent garment belonging to the Church. It
+may be regarded as a typical example of real
+English work, the "Opus Anglicanum" or "Anglicum,"
+which, although used for other purposes, such
+as altar-cloths and altar-frontals, found apparently
+its fullest scope in these large semicircular mantles.</p>
+
+<p>Amongst the many copes treasured at South
+Kensington there are none, amidst all their splendour,
+as fine as this, although the fragment of the "Jesse"
+cope runs it very closely. There are many copes of
+this period in different parts of the Continent&mdash;the
+Daroca Cope at Madrid, one at Ascagni, another
+at Bologna, at St. Bertrand-de-Comminges, at "St.
+John Lateran" at Rome, at Pienza and Toleda,
+and a fragment of one with the famous altar-frontal
+at Steeple Aston. These are all assumed
+to be of "Opus Anglicanum," and they may be
+described as being technically perfect, the stitches
+being of fine small tambour stitch, beautifully even,
+and the draperies exquisitely shaded.</p>
+
+<p>The illustration showing the Syon Cope requires
+some little explanation. It is wrought on linen,
+embroidered all over with gold and silver thread and
+coloured silk. It is 9 feet 7 inches long, 4 feet 8 inches<span class='pagenum'><a name="Page_224" id="Page_224">{224}</a></span>
+wide. The whole of the cope except the border
+is covered with interlacing quatrefoils outlined in
+gold. The ground of these quatrefoils is covered
+with red silk and the spaces between them with
+green silk. Each quatrefoil is filled with scenes
+from the life of Christ, the Virgin, and figures of
+St. Michael and of the Apostles. On the green
+spaces are worked figures of six-winged angels standing
+on whorls. The chief place on the quatrefoils
+is given to the crucifixion, where the body of the
+Saviour is worked in silver and cloth of gold. The
+Virgin, arrayed in green tunic and golden mantle, is
+on one side and St. John, in gold, on the other.
+Above the quatrefoil is another representing the
+Redeemer seated on a cushioned throne with the
+Virgin, and below another representing St. Michael
+overcoming Satan. Other quatrefoils show "Christ
+appearing to St. Mary Magdalen," "The Burial
+of the Virgin," "The Coronation of the Virgin,"
+"The Death of the Virgin with the Apostles surrounding
+her," "The Incredulity of St. Thomas,"
+"St. Simon," "St. Bartholomew," "St. Peter," "St.
+Paul," "St. Thomas," "St. Andrew," and "St. James."
+Portions of four other Apostles may be seen, but
+at some period the cope has been cut down. In its
+original state the cope showed the twelve Apostles.
+The lower portion has been cut away and reshaped,
+and round this is an edging apparently made out of
+a stole and maniple which point to a later date,
+as they are worked chiefly in cross-stitch. On the
+orphrey are emblazoned the arms of Warwick, Castile
+and Leon, Ferrars, Geneville Everard, the badge of<span class='pagenum'><a name="Page_226" id="Page_226"></a></span><span class='pagenum'><a name="Page_225" id="Page_225">{225}</a></span>
+the Knights Templars, Clifford, Spencer, Lindsay,
+Le Botelier, Sheldon, Monteney of Essex, Champernoun,
+Everard, Tyddeswall Grandeson, Fitz Alan,
+Hampden, Percy, Clanvowe, Ribbesford, Bygod,
+Roger de Mortimer, Grove, B. Bassingburn, and
+many others not recognisable. These coats of arms,
+it is suggested, belonged to the noble dames who
+worked the border. The angels which fill the intervening
+spaces are of the six-winged varieties, each
+standing on whorls or wheels.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/full_image063.jpg"><img src="images/image063.jpg" width="500" height="297" alt="THE &quot;SYON&quot; COPE." title="" /></a>
+<span class="caption">THE &quot;SYON&quot; COPE.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div>
+
+<p><span class='pagenum'><a name="Page_227" id="Page_227">{227}</a></span>The cope is worked in a fine tambour or chain
+stitch principally. All the faces, bodies, and draperies
+are composed of this. A specially noticeable point is
+that the faces are worked spirally, beginning in the
+centre of the cheek and being worked round and
+round, conforming with the muscles of the face. The
+garments are worked according to the hang of the
+drapery, very fine effects being obtained. After the
+work has been completed a hot iron something like a
+little iron rod with a bulbous end has been pressed
+into the cheeks, under the throat, and in different
+parts of the nude body. Occasionally, but seldom,
+the same device may be seen in the drapery. All
+the work is exquisitely fine and perfectly even. The
+groundwork of the quatrefoils is of gold-laid or
+"couch" work, as is also that of the armorial bearings.</p>
+
+<p>The name "Syon" is somewhat misleading, as the
+Cope was not made here, but came into the hands of
+the Bridgettine nuns in 1414, when Henry V. founded
+the convent of "Syon" at Isleworth. Its origin
+and date will ever be a matter of conjecture, but
+Dr. Rock infers that Coventry may have been the<span class='pagenum'><a name="Page_228" id="Page_228">{228}</a></span>
+place of its origin. Taking Coventry as a centre
+with a small radius, several of the great feudal houses
+the arms of which are on the border of the cope may
+be found, and Dr. Rock further supposes that Eleanor,
+widow of Edward the First, may have become a
+sister of the fraternity unknown, as her arms, Castile
+and Leon, are on it. "The whole must have taken
+long in working, and the probability is that it was
+embroidered by nuns of some convent which stood
+on or near Coventry." However this may be, it is
+certain that this splendid piece of English work
+came into the hands, by some means, of the nuns of
+Syon, and after remaining with them at Isleworth till
+Elizabeth's time, it was carried by them through
+Flanders, France, and Portugal. They remained
+at the latter place till the same persecution which
+dispersed the famous Spanish Point lace over the
+length and breadth of the Continent, and about
+eighty years ago it was brought back to England,
+and was given by the remaining members of the
+Order to the Earl of Shrewsbury. After further
+vicissitudes of a varied character it was bought by
+the South Kensington Museum for &pound;110, and now
+sheds the glory of its golden threads in a dark
+transept unnoticed except by the student.<span class='pagenum'><a name="Page_229" id="Page_229">{229}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="N_III" id="N_III"></a>III<br />
+<br />
+ECCLESIASTICAL<br />
+EMBROIDERIES<br />
+AND<br />
+VESTMENTS</h2><p><span class='pagenum'><a name="Page_232" id="Page_232">{232}</a></span><span class='pagenum'><a name="Page_231" id="Page_231"></a></span><span class='pagenum'><a name="Page_230" id="Page_230"></a></span></p>
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/full_image064.jpg"><img src="images/image064.jpg" width="500" height="344" alt="HALF OF THE STEEPLE ASTON ALTAR FRONTAL." title="" /></a>
+<span class="caption">HALF OF THE STEEPLE ASTON ALTAR FRONTAL.
+<br />
+English, Fourteenth Century.</span>
+</div><p><span class='pagenum'><a name="Page_233" id="Page_233">{233}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>III<br />
+<br />
+ECCLESIASTICAL EMBROIDERIES AND VESTMENTS</h2>
+
+<div class="blockquot"><p>The Pierpont Morgan purchase&mdash;The Steeple Aston Altar-frontal&mdash;The
+"Nevil" Altar-frontal at S. K. M.&mdash;City
+palls&mdash;Diagram of vestments.</p></div>
+
+
+<p>Other copes of the same period are in the Madrid
+Museum, two copes at Bologna, and the "Ascoli"
+cope recently purchased by Mr. J. Pierpont
+Morgan and generously returned by him. Some
+cushions from Catworth Church, Huntingdon, now
+at the South Kensington Museum, were probably
+cut from copes, and bought by permission of the
+Bishop of Ely for &pound;27. A long band of red
+velvet at South Kensington Museum embroidered
+with gold and silver and coloured silk has evidently
+been made from the "Apparels" of an alb.
+It is in two pieces, each piece depicting five scenes
+divided by broad arches. The first five are from
+the life of the Virgin, and are: "The Angel appearing
+to Anna," "The Meeting of Anna and Joachim,"
+"Birth of the Virgin," "Presentation of the Virgin,"
+"Education of the Virgin." In the second piece
+are: "The Annunciation," "The Salutation," "The<span class='pagenum'><a name="Page_234" id="Page_234">{234}</a></span>
+Nativity," "The Angel appearing to the Shepherds,"
+and the "Journey of the Magi."</p>
+
+<p>Another piece of similar work is the altar-frontal
+of Steeple Aston, which was originally a cope, and
+the cope now at Stonyhurst College, originally
+belonging to Westminster Cathedral. It is made of
+one seamless piece of gold tissue.</p>
+
+<p>During this great period of English embroidery
+certain characteristics along with its superb workmanship
+must be noticed. The earlier the work the
+finer the modelling of the figures. In the figures
+of the St. Cuthbert and the Worcester fragments
+the proportions of the figures are exquisite; at
+a later date, while the work is just as excellent,
+the figures become unnatural, the heads being
+unduly large, the eyes staring, and the perspective
+entirely out of drawing. Until the fourteenth
+century this comes so gradually as to be
+scarcely noted; but after and through the fifteenth
+century this becomes so marked as to be almost
+grotesque, and only the genuine religious fervour
+with which these poor remnants have been
+worked prevents many of them being ridiculous.
+The faces gradually show less careful drawing
+and working, and the figures become squat and
+topheavy. The emblems of the saints are often
+omitted.<span class='pagenum'><a name="Page_235" id="Page_235">{235}</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/full_image065.jpg"><img src="images/image065.jpg" width="500" height="335" alt="THE &quot;NEVIL&quot; ALTAR FRONTAL." title="" /></a>
+<span class="caption">THE &quot;NEVIL&quot; ALTAR FRONTAL.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div>
+
+<p>This decline in the embroiderer's art is specially
+noticeable in an extraordinary panel to be seen
+at South Kensington Museum, where an altar-frontal
+of stamped crimson velvet is appliqued in groups
+of figures in gold, silver, and silks. In the middle is<span class='pagenum'><a name="Page_237" id="Page_237">{237}</a></span><span class='pagenum'><a name="Page_236" id="Page_236"></a></span>
+the Crucifixion, with the Virgin and St. John standing
+on a strip covered with flowers. On the left
+is Ralph Nevil, fourth Earl of Westmoreland, 1523,
+kneeling, and behind him his seven sons. On the
+right is Lady Catherine Stafford, his wife, also
+kneeling, and behind her kneel her thirteen
+daughters. The frontal cost the museum &pound;50
+and is well worth it as an historical document.
+Other important embroideries of the period to be
+found in England are at Cirencester Cathedral,
+Ely Cathedral, Salisbury and Carlisle Cathedrals,
+Chipping Norton and Little Dean in Gloucestershire,
+East Langdon in Kent, Buckland and
+Stourton in Worcester, Littleworth in Leicestershire,
+Lynn in Norfolk, and the Parish Church
+at Warrington.</p>
+
+<p>Many of the palls belonging to the great city
+companies belong to this date. The Saddlers'
+Company's pall is of crimson velvet embroidered
+with angels surrounding "I.H.S.," and arms of the
+Company. The Fishmongers' Pall, made at the end
+of the fifteenth century, has at one end the figure of
+St. Peter (the patron saint of fishermen) enthroned,
+and angels on either side, and at the other end
+St. Peter receiving the keys from our Lord. The
+Vintners' Pall is made of Italian velvet and cloth
+of gold and embroidered with St. Martin of
+Tours.</p>
+
+<p>Religious influence characterised the embroideries
+of England practically from the ninth to the
+sixteenth centuries. Practically all needlework
+prior to 1600 is entirely ecclesiastical, and from its<span class='pagenum'><a name="Page_238" id="Page_238">{238}</a></span>
+limited range in choice of subjects barely does
+justice to the fine work this period produced.</p>
+
+<p>Dr. Rock says that "few persons of the present
+day have the faintest idea of the labour, the
+money, the time, often bestowed on old embroideries
+which had been designed by the hands of
+men and women each in their own craft the best
+and ablest of the day."</p>
+
+<p>We do not know the length of time these ancient
+vestments occupied in the making, but twenty-six
+years is stated to be the period of making the vestments
+for the Church of San Giovanni, in Florence.
+This is all worked in close stitches similar to our
+English work.</p>
+
+
+<h3><i>Ancient Church Vestments.</i></h3>
+
+<p>The names of the ecclesiastical vestments are
+somewhat puzzling to those of us who do not belong
+to the Romish Church, or even to the English
+High Church. The vestments described are, we
+believe, in use in the Romish churches now as in
+the early times when church embroidery was the
+pleasure and the labour of all classes of English
+women. The accompanying diagram will better
+illustrate the use of these vestments than a page
+of writing.<span class='pagenum'><a name="Page_240" id="Page_240">{240}</a></span><span class='pagenum'><a name="Page_239" id="Page_239"></a></span></p>
+
+
+<div class="figcenter" style="width: 232px;">
+<img src="images/image066.jpg" width="232" height="500" alt="ECCLESIASTICAL VESTMENTS." title="" />
+<span class="caption">ECCLESIASTICAL VESTMENTS.
+<br />
+1. Amice.<br />
+2. Orphreys.<br />
+3. Chasuble.<br />
+4. Sleeves of Alb.<br />
+5 and 9. Apparel of Alb.<br />
+6. Maniple.<br />
+7. Stole.<br />
+8. Alb.<br />
+<br />
+From &quot;A Guide to Ecclesiastical Law,&quot;
+by kind permission of Mr. Henry Miller.</span>
+</div>
+
+<hr style='width: 45%;' />
+
+<p>The Alb is often trimmed handsomely with lace,
+the apparels are stitched on to the front. The
+Stoles ought to have three crosses embroidered on
+it and be 3 yards long. Over this comes the<span class='pagenum'><a name="Page_241" id="Page_241">{241}</a></span>
+Chasuble, which is the last garment the priest
+puts on before celebrating Mass. The Cope is a
+huge semi-circular 10 ft. wide cape. The Maniple
+is a strip of embroidery 3 ft. 4 in. long worn over
+the left wrist of the priest.<span class='pagenum'><a name="Page_243" id="Page_243">{243}</a></span><span class='pagenum'><a name="Page_242" id="Page_242"></a></span></p>
+
+<div class="figcenter" style="width: 317px;">
+<a href="images/full_image067.jpg"><img src="images/image067.jpg" width="317" height="500" alt="ECCLESIASTICAL VESTMENTS" title="" /></a>
+<span class="caption">ECCLESIASTICAL VESTMENTS.
+<br />
+English, Fifteenth or early Sixteenth Century.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_245" id="Page_245">{245}</a></span><span class='pagenum'><a name="Page_244" id="Page_244"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="N_IV" id="N_IV"></a>IV<br />
+<br />
+TUDOR<br />
+EMBROIDERY</h2><p><span class='pagenum'><a name="Page_247" id="Page_247">{247}</a></span><span class='pagenum'><a name="Page_246" id="Page_246"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>IV<br />
+<br />
+TUDOR EMBROIDERY</h2>
+
+<div class="blockquot"><p>The influences of the Reformation&mdash;Queen Catherine of
+Aragon's needlecraft&mdash;The gorgeous clothes of
+Henry VIII.&mdash;Field of the Cloth of Gold&mdash;Queen
+Elizabeth's embroideries.</p></div>
+
+
+<p>After the Reformation and the wholesale destruction
+of the cathedrals, monasteries, and churches,
+the gentle dames of England found their occupation
+gone. The priestly vestments, the sumptuous altar-cloths,
+and gorgeous hangings were now needless.
+Those which had been the glory of their owners,
+and the pictorial representations of Biblical life to the
+uneducated masses of people, had been ruthlessly
+torn down and destroyed for the sake of the gold
+to be found on them. As in the time immediately
+preceding the French Revolution, costly embroideries
+were unpicked, and the amount of gold and silver
+obtained from them became a source of income and
+profit to their destroyers.</p>
+
+<p>Apart from her household, women had no other
+interests in those days, unless we accept such
+anomalies as Lady Jane Grey, who was a marvel<span class='pagenum'><a name="Page_248" id="Page_248">{248}</a></span>
+of learning and wisdom. All their long leisure
+hours had been spent, not in improving their minds,
+but in beautifying the churches with specimens of
+their skill. Catherine of Aragon, one of the unfortunate
+queens of Henry VIII., was a notable needlewoman,
+and spent much of her short, unhappy time
+as Queen of England in embroidery. The lace-making
+of Northampton is said to have been
+commenced by her during her period of retirement
+after her divorce. The "Spanish stitch," which was
+known and used in embroidery of that period, was
+introduced by her from her own country, and many
+examples of her skill in embroidery are to be seen in
+the British Museum and the various homes belonging
+to our old nobility.</p>
+
+<p>During the reign of Henry VIII. dress became
+very sumptuous, as the contemporary pictures of the
+times show. Indeed, all the fervour and feeling
+which ladies had worked in religious vestments now
+seemed to find refuge in the over-elaboration of
+personal wear. Very little lace was used, and that
+of only a primitive description, so that effect was
+produced by embroidery in gold and silver threads
+and the use of pearls and precious stones. The
+dress of the nobles in the time of Henry VIII.
+was especially gorgeous, the coats being thickly
+padded and quilted with gold bullion thread, costly
+jewels afterwards being sewn in the lozenges. It is
+related that after his successful divorce King Henry
+gave a banquet to celebrate his marriage to Anne
+Boleyn, and wore a coat covered with the jewelled
+letters "H," and in the height of his satisfaction<span class='pagenum'><a name="Page_249" id="Page_249">{249}</a></span>
+allowed the ladies to cut or tear away the jewels as
+souvenirs of his triumph over Wolsey and Catherine.
+It is said that he was left in his underwear, so great
+was the competition for these favours! Robes made
+of gold tissue, then called Cloth of Gold, were used,
+and in Henry's meeting with Francis I. the English
+and French armies vied with each other as to which
+should present a greater magnificence. The name
+"the Field of the Cloth of Gold" remains as a
+guarantee of its splendour.</p>
+
+<p>Under the more austere and religious rule of
+Queen Mary we might suppose that ecclesiastical
+embroidery would have somewhat regained a foothold.
+But the landmarks had been entirely swept
+away, and we have little to record of the reign,
+except that Mary herself was a clever needlewoman
+and worked much of her heartache, at the neglect of
+her Spanish husband, into her needlework. Her
+jealousy of her sister Elizabeth caused the latter to
+spend her life away from the pomps and ceremonies
+of the Court, and she has left many records of her
+handiwork, some well authenticated, as, for example,
+the two exquisite book-covers in the British Museum.
+Queen Elizabeth cannot, however, be said to have
+been in any way a patroness of the art of needlecraft.
+Her talent seems rather to have been devoted to
+affairs of State&mdash;and her wardrobe! On her death,
+at seventy years of age, she left over one thousand
+dresses, most of which must have been a cruel weight,
+so overburdened were they with stiff bullion and
+trimmed with large pearls and jewels. Her dresses
+were literally diapered with gold and silver "gimps"<span class='pagenum'><a name="Page_250" id="Page_250">{250}</a></span>
+inset with heavier stones, but little real embroidery is
+shown.</p>
+
+<p>Mary Queen of Scots, on the contrary, was a born
+needlewoman. During her married life in France
+she learned the gentle arts of embroidery and lace-making,
+accomplishments which, as in many humbler
+women's lives, have served their owners in good stead
+in times of loneliness and trouble. The Duke of
+Devonshire possesses specimens of Queen Mary's
+skill, worked during the long, dreary days of her
+imprisonment at Fotheringay. It is said that Queen
+Elizabeth was not above helping herself to the
+wardrobe and laces that the unfortunate Queen of
+Scotland brought with her from France.</p>
+
+<p>Much embroidery must have been worked for the
+adornment of the house after the Reformation, but
+beyond an occasional old inventory nothing is left
+to show it. After the Reformation greater luxury
+in living obtained, and instead of the clean or rush-strewn
+floors some kind of floor-covering was used.
+Furniture became much more ornamental, and the
+use of hangings for domestic purposes was common.
+Not a thread of these hand-worked hangings remain,
+but we have the immense and immediate use of
+tapestry, which first became a manufacture of England
+in the reign of Henry VIII. It is easy to
+conceive that English women would readily seize
+upon the idea supplied in tapestry and adapt its
+designs to that of embroidery. It is certain that
+hangings for the old four-post beds were embroidered,
+as in the inventory of Wolsey's great palace
+at Hampton Court there is mention of 230 bed-<span class='pagenum'><a name="Page_251" id="Page_251">{251}</a></span>hangings
+of English embroidery. Nothing of this
+remains, so that its style is simply conjectural; and
+we can only suppose these hangings to have been
+replicas of the magnificent velvet and satin hangings,
+covered with laid or couched gold and silver threads,
+such as Catherine of Aragon would bring with her
+from Spain. This also would account for their absolute
+disappearance. The value of the gold and silver
+in embroidery has always been a fertile source of
+wealth to the destroyer of ancient fabrics, while many
+embroideries worked only in silks have escaped this
+vandalism.<span class='pagenum'><a name="Page_253" id="Page_253">{253}</a></span><span class='pagenum'><a name="Page_252" id="Page_252"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="N_V" id="N_V"></a>V<br />
+<br />
+EARLY<br />
+NEEDLEWORK<br />
+PICTURES AND<br />
+ACCESSORIES</h2><p><span class='pagenum'><a name="Page_256" id="Page_256">{256}</a></span><span class='pagenum'><a name="Page_255" id="Page_255"></a></span><span class='pagenum'><a name="Page_254" id="Page_254"></a></span></p>
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/full_image068.jpg"><img src="images/image068.jpg" width="500" height="244" alt="EARLY &quot;PETIT POINT&quot; PICTURE." title="" /></a>
+<span class="caption">EARLY &quot;PETIT POINT&quot; PICTURE.
+<br />
+Late Sixteenth Century.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_257" id="Page_257">{257}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>V<br />
+<br />
+EARLY NEEDLEWORK PICTURES AND ACCESSORIES</h2>
+
+<div class="blockquot"><p>"Petit point"&mdash;old list of stitches&mdash;Stuart bags&mdash;Gloves&mdash;Shoes&mdash;Caps.</p></div>
+
+
+<p>Towards the end of James I.'s reign it is supposed
+that the earliest needlework pictures appeared.
+They were obviously literal copies of the tapestries
+which had now become of general use in the homes
+of the wealthy, being worked in what is known as
+"petit point," or "little stitch." This stitch was
+worked on canvas of very close quality, with fine
+silk thread, one stitch only being taken over the
+junction of the warp and the weft of the canvas
+instead of the "cross stitch" of later days. Very
+few of these specimens are left of an early date.
+A panel, measuring 30 inches by 16 inches, in perfect
+condition, and dated 1601, was sold at Christie's
+Rooms this year for &pound;115. The purchaser, Mr.
+Stoner, of King Street, sold it next day at a very
+considerable profit.</p>
+
+<p>At this period the workers of these pictures did
+not draw upon Biblical subjects for their inspiration<span class='pagenum'><a name="Page_258" id="Page_258">{258}</a></span>
+(with great advantage to the picture, it may be
+stated). The subjects were either fanciful adaptations
+from real life, with the little people dressed in
+contemporary costume, or dainty little mythological
+subjects, such as the "Judgment of Paris," "Corydon
+wooing Phyllis," with most absurd little castles of
+Tudor construction in impossible landscapes, where
+the limpid stream meandered down fairy-like hills
+into a shining lake, which held dolphins under the
+water and water-fowl above it. The illustration
+depicts such a specimen, and shows one of these
+tiny pictures worked in no less than ten different
+stitches of lacework, in addition to the usual petit
+point. The number of these stitches is legion. In
+the reign of Charles I., John Taylor, the water-poet,
+wrote in 1640:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"For tent worke, raised worke, first worke, laid worke, net worke,<br /></span>
+<span class="i0">Most curious purl, or rare Italian cut worke,<br /></span>
+<span class="i0">Fire, ferne stitch, finny stitch, new stitch, chain stitch,<br /></span>
+<span class="i0">Brave bred stitch, fisher stitch, Irish stitch, and Queen stitch,<br /></span>
+<span class="i0">The Spanish stitch, Rosemary stitch, and mowle stitch,<br /></span>
+<span class="i0">The smarting whip stitch, back stitch, and cross stitch;<br /></span>
+<span class="i0">All these are good, and this we must allow,<br /></span>
+<span class="i0">And they are everywhere in practice now."<br /></span><span class='pagenum'><a name="Page_259" id="Page_259">{259}</a></span>
+</div></div>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/full_image069.jpg"><img src="images/image069.jpg" width="500" height="327" alt="VERY EARLY &quot;PETIT POINT&quot; PICTURE." title="" /></a>
+<span class="caption">VERY EARLY &quot;PETIT POINT&quot; PICTURE.
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div>
+
+<p>These are not <i>all</i> the stitches in vogue during the
+first era of needlework pictures. A single glance at
+one of the early specimens, though it may not <i>charm</i>,
+fills one with amazement at the amount of toil,
+ingenuity, patience, and downright <i>love</i> for the work
+the ancient needlewoman must have possessed.<span class='pagenum'><a name="Page_261" id="Page_261">{261}</a></span><span class='pagenum'><a name="Page_260" id="Page_260"></a></span>
+Not only pictures, however, were made in petit
+point. Many dainty little accessories of the toilet
+gave scope to the delicate fancy and nimble fingers
+of the ladies who had found solace from the cessation
+of their labours for the priesthood in making dainty
+little handbags and other pretty articles, each a marvel
+of minute handicraft. One bag in my possession measures
+only four inches square, and is worked on
+fine canvas, about forty threads to the square inch,
+the design being the favourite Tudor rose, each petal
+worked in lace stitch, and raised from the centre which
+is made of knots worked with golden hair, flat green
+leaves exquisitely shaded, and a charming bit of the
+worker's skill in the shape of a pea's pod, open and
+raised, showing the tiny little peas in a row. An
+exquisitely worked butterfly with raised wings in
+lace stitch is on the other side. The grounding of
+the whole is run with flat gold thread, making a
+"cloth of gold" ground, strings made of similarly
+worked canvas, with gold thread and silk tassels
+complete a bag fit for the Princess Golden Locks of
+our fairy tales. This little bag cost the writer
+5 guineas, and was cheap at the price. The South
+Kensington Museum have several specimens, and
+although many are very exquisite, there is not one
+quite so perfect in design nor in such condition.
+Other little trifles made in similar style are the
+embroidered gauntlets of the buff leather glove worn
+at the time. These have become rarer than any
+other embroideries, as they were not merely for
+ornament but for actual wear. Four or five of these
+gauntlet gloves are in the South Kensington Collec<span class='pagenum'><a name="Page_262" id="Page_262">{262}</a></span>tion,
+but are of a later date than the "petit point"
+period.</p>
+
+<p>The use of gloves in England was not very general,
+we may infer, in the earlier ages of embroidery.
+There are certain evidences, however, showing that
+the glove was part of the priestly outfit, remains of
+gloves having been found on the bones of Thomas &agrave;
+Becket when they were transferred from the crypt
+of Canterbury Cathedral to the special shrine prepared
+for them; and a crimson leather pair, bearing
+the sacred monogram in embroidered gold, are preserved
+in the New College, Oxford, belonging to the
+founder, William of Wykeham, who opened the
+college in 1386.</p>
+
+<p>It was not until the fourteenth century that the
+wearing of gloves became general, and practically
+nothing remains to show what manner of hand-covering
+was worn until the Tudor period. Henry VIII.
+was exceptionally lavish and extravagant in the use
+of handsomely embroidered gloves, and few of his
+portraits show him without a sumptuous glove in
+one hand. He had gloves for all functions&mdash;like a
+modern fashionable woman. A pair of hawking
+gloves belonging to him are in the Ashmolean
+Museum, Oxford, and in South Kensington is one of
+a pair presented by Henry to his friend and Councillor
+Sir Anthony Denny. It is of buff, thin leather,
+with a white satin gauntlet, embroidered with blue
+and red silk in applique work, decorated with seed-pearls
+and spangles, and trimmed with gold lace.
+The Tudor rose, the crown, and the lion are
+worked amidst a splendour of gold and pearls.<span class='pagenum'><a name="Page_263" id="Page_263">{263}</a></span></p>
+
+<div class="figcenter" style="width: 255px;">
+<a href="images/full_image070.jpg"><img src="images/image070.jpg" width="255" height="500" alt="A STUART GLOVE." title="" /></a>
+<span class="caption">A STUART GLOVE.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_265" id="Page_265">{265}</a></span><span class='pagenum'><a name="Page_264" id="Page_264"></a></span></p>
+
+<p>Queen Elizabeth must have inherited her love for
+gorgeous apparel along with her strong personality
+and masterful spirit, as her expenditure for gloves
+alone was proverbial. The favourite offering to her
+was a pair of gloves, but she was not above accepting
+shoes, handkerchiefs, laces, and even gowns from her
+faithful and admiring subjects. On her visit to
+Oxford in 1578 she was presented by the Chancellor
+of the University with a pair of perfumed gloves,
+embroidered with gold and set with jewels, which
+cost the University sixty shillings, an immense sum
+in those days. Other historic gloves are in the
+various museums of the country, seldom or never
+coming into the open market. In the Braikenridge
+Collection sold at Christie's in February of
+this year I was able to secure one for &pound;2 12s. 6d.,
+immediately afterwards being offered double the
+price for it.</p>
+
+<p>The gloves belonging to Charles I. and Queen
+Henrietta Maria were very ornamental, and it is
+said that even Oliver Cromwell, with all his austerity,
+was not proof against the fascination of the
+decorated glove.</p>
+
+<p>With Charles II. the embroidered gloves seem to
+have vanished along with the stumpwork pictures,
+of which more anon.</p>
+
+<p>Dainty shoes were embroidered in those old times.
+These, being articles of wear, like the gloves, are very
+rare. The same fine petit point work is seen on
+them; seed-pearls and in-run gold threads adorn
+them, and frequently the Tudor rose, in raised work,
+forms the shoe knot. Two pairs in Lady Wolseley's<span class='pagenum'><a name="Page_266" id="Page_266">{266}</a></span>
+Collection, sold in 1906, fetched six guineas, and
+nine and a half guineas. Tiny pocket-books were
+covered with this pretty work, and charming covers
+almost as fresh as when they were worked are occasionally
+unearthed, made to hold the old-fashioned
+housekeeping and cooking books.</p>
+
+<p>One wonders oftentime how many, and yet, alas!
+how few, specimens of this old petit point work have
+been preserved. It is only during recent years that
+the "cult of the antique" has been fashionable, and
+is also becoming a source of income and profit to
+the many who indulge in its quest. Only members
+of learned antiquarian societies or born reliquaries
+troubled themselves to acquire ancient articles of
+historic interest because they were <i>old</i>, and served
+to form the sequence in the fairy tales of Time.
+Anything "old" was ruthlessly destroyed, as being
+either past wear, shabby, or old-fashioned, and
+countless treasures, both in ecclesiastical and secular
+art, have at all periods been recklessly destroyed for
+the sake of their intrinsic value in gold or jewels.
+In the early days of my life I was allowed to pick
+out the corals and seed-pearls from an old Stuart
+needle picture "for a doll's necklace!" the picture
+itself probably going into the "rag-bag" of the mid-Victorian
+good housekeeper.<span class='pagenum'><a name="Page_267" id="Page_267">{267}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="N_VI" id="N_VI"></a>VI<br />
+<br />
+STUART<br />
+CASKETS<br />
+AND<br />
+MIRRORS</h2><p><span class='pagenum'><a name="Page_269" id="Page_269">{269}</a></span><span class='pagenum'><a name="Page_268" id="Page_268"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>VI<br />
+<br />
+STUART CASKETS AND MIRRORS</h2>
+
+<div class="blockquot"><p>Secret drawers and hidden receptacles&mdash;High prices in the
+Salerooms.</p></div>
+
+
+<p>Among the many treasures of this exquisite period
+of needlecraft are the well-known Stuart caskets.
+Very interesting and valuable are these charming
+boxes, many of them being in a fine state of
+preservation, owing to their having been enclosed
+in either a wooden or leathern box specially made
+to contain them. These queer little boxes are
+frequently made in the shape of Noah's ark. The
+lid being raised, a fitted mirror is disclosed. The
+mirror slides out, and a secret recess may be discovered
+to hold letters. The front falls down,
+disclosing any number of tiny drawers, each drawer
+being silk-lined and the front of it embroidered.
+Here, again, we may look for secret drawers. Very
+seldom does the drawer run to the width of the
+cabinet, but by removing every drawer and carefully
+searching for springs or slides many a tiny recess is
+disclosed, where costly jewels, and perhaps a love-<span class='pagenum'><a name="Page_270" id="Page_270">{270}</a></span>gage,
+has reposed safely from the sight of unworthy
+eyes.</p>
+
+<p>Every square inch of these caskets is covered with
+embroidery, sometimes in canvas, worked with the
+usual scriptural or mythological design, and in others
+with white satin, exquisitely embroidered with figures
+and floral subjects. Those in best preservation have
+been covered with mica, which has preserved both
+the colour and the fabric. The fittings are generally
+of silver. On the few occasions when these boxes or
+caskets come into the market high prices are
+realised. Messrs. Christie last year obtained &pound;40
+for a good specimen. I have never seen one sold
+under &pound;30, and as much as &pound;100 has been given.</p>
+
+<p>Another pretty fancy was to cover small trays,
+presumably for the work or dressing table, with
+embroidery. Not many of these remain, the wear
+of removing them from place to place having been
+too much for their staying powers. One in my
+possession is a small hexagonal tray with raised
+sides, embroidered in coloured silks in floral design,
+on what was once white satin. It is by no means
+a thing of beauty now, but as a specimen it is interesting,
+and "a poor thing, but mine own," which
+covers a multitude of shortcomings in these old
+relics, fortunately.<span class='pagenum'><a name="Page_271" id="Page_271">{271}</a></span></p>
+
+<div class="figcenter" style="width: 399px;">
+<img src="images/image071.jpg" width="399" height="500" alt="&quot;STUART&quot; MIRROR FRAME." title="" />
+<span class="caption">&quot;STUART&quot; MIRROR FRAME.
+<br />
+(<i>Lady Wolseley&#39;s Collection.</i>)</span>
+</div>
+
+<p>Far more frequently met with, though quite
+prohibitive in price, are the Stuart embroidered
+mirrors, which easily command &pound;80 to &pound;100 in
+the salerooms. They are generally set in a frame of
+oak, leaving five or six inches (which would otherwise
+be covered with carving or veneer) for the<span class='pagenum'><a name="Page_273" id="Page_273">{273}</a></span><span class='pagenum'><a name="Page_272" id="Page_272"></a></span>
+embroidery. The mirror itself is comparatively small,
+being only a secondary consideration, and often little
+remains of it for its original purpose, as the glass
+is blurred and the silvering gone. Many of these
+mirrors have <i>bevelled</i> glass, which, of course, is
+wrong.</p>
+
+<p>The mirror shown in the illustration is one
+recently belonging to Viscountess Wolseley and sold
+by her, among other Stuart needlework specimens, at
+Messrs. Puttick &amp; Simpson's in 1906. This mirror
+sold for &pound;100. The figures represent Charles I.
+and Queen Henrietta Maria, one on either side of
+the mirror. The figure at the top of the frame is
+difficult to understand; whether she is an angel or
+a mere Court lady must be left to conjecture. The
+rolling clouds and the blazing sun are above her
+head, and a peacock, with tail displayed, is on one
+side and a happy-looking stag on the other. Two
+royal residences adorn the topmost panels on
+either side, with all their bravery of flying flags
+and smoking chimneys, and the lion and the leopard
+occupy the lower panels. The latter animal identifies
+the King and Queen, who might otherwise be
+Charles II. and his consort, as after Charles I.'s time
+the leopard gave place to the unicorn for some unexplained
+reason. Other typical little Stuart animals
+and birds fill in the extra panels, such as the
+spotted dog who chases a little hare who is never
+caught, and the gaily-coloured parroquet and kingfisher,
+which no respectable Stuart picture would be
+without. The caterpillar, the ladybird, and the snail
+are all <i>en evidence</i>; and below is a real pond,<span class='pagenum'><a name="Page_274" id="Page_274">{274}</a></span>
+covered with talc, and containing fish and ducks,
+the banks being made of tiny branching coral beads
+and tufted silk and bullion work.</p>
+
+<p>About this time, when Venetian lace came into
+fashionable use as an adjunct to the exquisite Stuart
+dress, tiny coloured beads were imported from Venice.
+The embroiderers at once seized upon them as a new
+and possibly more lasting means of showing their
+pretty fancies in design. Many delightful specimens
+of these beadwork pictures are preserved, the colours,
+of course, being as fresh as yesterday. The ground
+was always of white satin, now faded and discoloured
+with age, and often torn with the heaviness of the
+beadwork design. They are scarcely so charming
+as the all needlework pictures, but still are delightful
+and covetable articles. The exigencies of the beadwork,
+however, lends a certain stiffness and ungainliness
+to the figures.<span class='pagenum'><a name="Page_275" id="Page_275">{275}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="N_VII" id="N_VII"></a>VII<br />
+<br />
+EMBROIDERED<br />
+BOOKS AND<br />
+"BLACK WORK"</h2><p><span class='pagenum'><a name="Page_278" id="Page_278">{278}</a></span><span class='pagenum'><a name="Page_277" id="Page_277"></a></span><span class='pagenum'><a name="Page_276" id="Page_276"></a></span></p>
+
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/full_image072.jpg"><img src="images/image072.jpg" width="500" height="311" alt="&quot;STUART&quot; BOOK COVER." title="" /></a>
+<span class="caption">&quot;STUART&quot; BOOK COVER.
+<br />
+(British Museum.)</span>
+</div><p><span class='pagenum'><a name="Page_279" id="Page_279">{279}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>VII<br />
+<br />
+EMBROIDERED BOOKS AND "BLACK WORK"</h2>
+
+<div class="blockquot"><p>Style and symbolism&mdash;Specimen in British Museum and
+Bodleian Libraries&mdash;"Black work"</p></div>
+
+
+<p>Among the many dainty examples of Tudor and
+Stuart needlework are to be found the exquisitely
+embroidered book-covers which date from
+Queen Elizabeth's girlhood until the time of
+Charles II. They were always of diminutive size,
+and many stitches diversify their covering; oftentimes
+they were liberally embroidered with seed-pearls,
+and in these instances most frequently this
+fashion has been their salvation. A book somehow
+always seems to be a more sacred thing than a
+picture, and the costly little volumes which remain
+to show this dainty handicraft have apparently
+always been used either for Church or private
+devotional purposes.</p>
+
+<p>The designs of the book-covers almost always
+follow certain styles. These are either heraldic,
+scriptural, symbolical, floral, or arabesque.</p>
+
+<p>The first-named variety usually belonged to royalty<span class='pagenum'><a name="Page_280" id="Page_280">{280}</a></span>
+or one of the many noble houses whose ladies busied
+themselves with fair needlework. The shield, containing
+the coat of arms of the family, occupied the
+centre of the book-cover, being formed in raised gold
+and silver guipure or cord, and on the reverse the
+worker's initials frequently appear, with a pretty
+border in gold and silver, to outline the edges.</p>
+
+<p>The scriptural book-covers are always worked on
+canvas in fine petit point stitches. One in South
+Kensington Museum is larger than most of these
+volumes, and has on one side Solomon in all his
+glory and on the reverse Jacob and his ladder and
+King David. These canvas-covered books appear to
+have suffered most from the wear and tear of time,
+and very few remain.</p>
+
+<p>The symbolical covers are few, and mostly uninteresting.
+They are worked as a rule on silk
+and satin in loose satin stitches, which have
+suffered much from friction. The sacred monogram
+is often the centre of the device. A favourite
+design was adorning the back of the books with
+portraits of the martyred King Charles I., Queen
+Henrietta Maria, and the popular Duke of
+Buckingham.<span class='pagenum'><a name="Page_281" id="Page_281">{281}</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image073.jpg" width="500" height="346" alt="POCKET-BOOK OF SATIN, EMBROIDERED WITH COLOURED SILKS AND SILVER-GILT THREAD." title="" />
+<span class="caption">POCKET-BOOK OF SATIN, EMBROIDERED WITH COLOURED SILKS AND SILVER-GILT THREAD.
+<br />
+Said to have been the property of Queen Elizabeth.
+<br />
+(<i>In Countess Brownlow&#39;s Collection.</i>)</span>
+</div>
+
+<p>The stitches used were generally chain-stitch, split-stitch,
+petit point, and lace-stitch; and the patterns
+were most frequently outlined with a gimp made
+of flattened spiral wire, or <i>purl</i>, which was a fine
+copper wire covered with coloured silks and cut
+in lengths for use. Very often, also, small silver
+spangles were employed, either stitched down with a
+piece of purl or a seed-pearl. Frequently the covers<span class='pagenum'><a name="Page_283" id="Page_283">{283}</a></span><span class='pagenum'><a name="Page_282" id="Page_282"></a></span>
+were of velvet with the designs appliqu&eacute;d down to it,
+and <i>laid</i> or <i>couch</i> work outlined the designs. Sometimes
+flat pieces of metal were cut to shape and
+stitched down, as in one instance where the corners
+of the books were trimmed with the rays of the sun
+cut in gold, and stitched over with a gold thread.</p>
+
+<p>Many of the charming little bags of which mention
+has already been made are supposed to have been
+worked to hold the Prayer Book and Book of
+Psalms, without which no devout lady deemed herself
+fully equipped.</p>
+
+<p>The most famous book is Queen Elizabeth's
+Book in the British Museum. The cover is of choice
+green velvet, the flat of the back has five roses embroidered
+in lace, raised stitches and gold and pearl.
+The Royal Arms are on either side of the book in
+a lozenge of red silk and pearls. The whole design,
+apart from this, is worked in red and white roses
+and scrolls of gold and silk. This gorgeous little
+cover contains "The Mirrour of Glasse of the
+Synneful Soul," written by Elizabeth herself, and
+of it she writes that she "translated it out of french
+ryme into english prose, joyning the sentences together
+as well as the capacities of my symple witte
+and small lerning could extende themselves." It is
+dedicated "To our most noble and virtuous Queen
+Katherine [Katherine Parr] from Assherige, the last
+day of the year of our Lord God, 1544."</p>
+
+<p>In the Bodleian Library there is another treasured
+little book, again worked by Queen Elizabeth. It
+is only 7 inches by 5 inches, and has the same
+design on both sides. In this the ground is what is<span class='pagenum'><a name="Page_284" id="Page_284">{284}</a></span>
+known as "tapestry stitch," worked in thick, pale-blue
+silk, and the design is of interlacing gold and
+silver threads with a Tudor rose in each corner.
+"K. P." is marked on the cover, and shows that this
+also was worked for Queen Katherine Parr.</p>
+
+<p>Yet another little book is in the British Museum.
+It contains a prayer composed by Queen Katherine
+Parr, and is written on vellum by Queen Elizabeth.</p>
+
+<p>The cover illustrated is a typical example of the
+class of embroidered works of the period. Later the
+covers showed less intricate work, and finally developed
+into mere velvet covers embroidered with
+silver or gold.<span class='pagenum'><a name="Page_286" id="Page_286"></a></span><span class='pagenum'><a name="Page_285" id="Page_285">{285}</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image074.jpg" width="500" height="376" alt="STUART EMBROIDERED CAP." title="" />
+<span class="caption">STUART EMBROIDERED CAP. (<i>S.K.M Collection.</i>)</span>
+</div>
+
+
+<h3>BLACK WORK.</h3>
+
+<p>A curious phase of Old English embroidery is the
+well-known "Black Work," which is said to have been
+introduced by Catherine of Aragon into England, and
+was also known as "Spanish work." The work itself
+was a marvel of neatness, precision, and elegant
+design, but the result cannot be said to have been
+commensurate with the labour of its production.
+Most frequently the design was of scroll-work, worked
+with a fine black silk back-stitching or chain-stitch.
+Round and round the stitches go, following each
+other closely. Bunches of grapes are frequently
+worked solidly, and even the popular peascod is
+worked in outline stitch, and often the petit point
+period lace stitches are copied, and roses and birds
+worked separately and after stitched to the design.
+There are many examples of this famous "Spanish"<span class='pagenum'><a name="Page_287" id="Page_287">{287}</a></span>
+work in the South Kensington Museum. Quilts,
+hangings, coats, caps, jackets, smocks are all to
+be seen, some with a couched thread of gold and
+silver following the lines of the scrolls. This is
+said to be the Spanish stitch referred to in the
+old list of stitches, and very likely may be so, as the
+style and manner are certainly not English; and we
+know that Catherine of Aragon brought wonders of
+Spanish stitchery with her, and she herself was devoted
+to the use of the needle. The story of how
+when called before Cardinal Wolsey and Campeggio,
+to answer to King Henry's accusations, she had a
+skein of embroidery silk round her neck is well
+known.</p>
+
+<p>The black silk outline stitchery or linen lasted well
+through the late seventeenth and eighteenth centuries.
+Very little of it is seen outside the museums, as, not
+being strikingly beautiful or attractive, it has been
+destroyed.</p>
+
+<p>Another phase of the same stitchery was working
+cotton and linen garments, hangings, and quilts in
+a kind of quilted pattern with yellow silk.</p>
+
+<p>Anything more unlike the quilting of fifty years
+ago cannot be imagined. The finest materials
+were used, the padding being placed bit by bit in
+its place&mdash;not in the wholesale fashion of later
+years, when a sheet or two of wadding was placed
+between the sheets of cotton or linen, and a coarse
+back-stitching outlined in great scrawling patterns
+held the whole together. The old "quilting" work
+was made in tiny panels, illustrating shields and
+other heraldic devices, and had a surface as fine as<span class='pagenum'><a name="Page_288" id="Page_288">{288}</a></span>
+carved ivory. When, as in the case of one sample
+at South Kensington, the quilt is additionally embroidered
+with beautiful fine floss silk flowers, the
+effect is very lovely.<span class='pagenum'><a name="Page_289" id="Page_289">{289}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="N_VIII" id="N_VIII"></a>VIII<br />
+<br />
+STUART<br />
+PICTURES</h2><p><span class='pagenum'><a name="Page_291" id="Page_291">{291}</a></span><span class='pagenum'><a name="Page_290" id="Page_290"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>VIII<br />
+<br />
+STUART PICTURES</h2>
+
+<div class="blockquot"><p>"Petit point"&mdash;"Stump work"&mdash;Royalistic symbols.</p></div>
+
+
+<p>Though these pictures bear the name of Stuart,
+many of them are undoubtedly Tudor. The earliest
+(if the evidence of costume is of any value) must
+have been worked in Elizabeth's time, but as the
+authenticated specimens date only from the reign
+of James I. they are known as Stuart. The only
+pictures worked in the early days of this art were
+worked in petit-point, the tiny stitch which imitated
+tapestry, and very quaint are the specimens left
+to us. The favourite themes were entirely pagan.
+Gods and goddesses disported themselves among leafy
+trees. Cupid lightly shot his arrows, the woods were
+inhabited by an unknown flora and fauna which seem
+all its own. The very dogs seem to be a different
+species, having more likeness to the china dogs of
+the spotted or liver and white variety which the
+Staffordshire potters made at the beginning of our
+own century. Innumerable little castles were perched
+in perfectly inaccessible positions on towering crags,<span class='pagenum'><a name="Page_292" id="Page_292">{292}</a></span>
+and the laws of perspective were generally conspicuous
+by their absence. The sun in those days
+was a very visible body, and apparently delightful to
+work, no Stuart picture being without one; the
+rolling clouds oftentimes are confused with the convoluted
+body of the caterpillar, little difference being
+made in the design. The birds were of very brilliant
+plumage, and the world was evidently a very gay
+and sportive place when these fair ladies spent their
+leisure over this embroidery! These early pictures
+seldom show the religious feeling that afterwards
+slowly worked its way through the Stuart days
+(though, perhaps, disguised under royalistic symbolism),
+until in the reign of Queen Anne it became
+more or less a fashion, in pictorial needle-craft.
+It burst out afresh in the early nineteenth century
+and became an absolute obsession of the early
+Victorian Berlin-wool workers with most disastrous
+results to both design and work.</p>
+
+<p>Until the end of Charles I.'s reign needlework
+pictures must have been scarce, as we find one
+enumerated in the inventory of his "Closet of
+Rarities." It is possible that the many pictures
+which represent Charles I. were worked by loyalist
+ladies, <i>after his execution</i> and <i>during the Commonwealth</i>.
+In many of these pictures his own hair is
+said to have been used, thereby becoming relics of
+him who was known as "the Martyred King." On
+a very finely worked portrait of Charles I., at South
+Kensington Museum, King Charles's hair is worked
+amongst the silken threads.<span class='pagenum'><a name="Page_293" id="Page_293">{293}</a></span></p>
+
+<div class="figcenter" style="width: 430px;">
+<img src="images/image075.jpg" width="430" height="500" alt="KING CHARLES I., WORKED IN FINE SILK EMBROIDERY." title="" />
+<span class="caption">KING CHARLES I., WORKED IN FINE SILK EMBROIDERY.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div>
+
+<p>Throughout this time, no matter what the subjects,<span class='pagenum'><a name="Page_295" id="Page_295">{295}</a></span><span class='pagenum'><a name="Page_294" id="Page_294"></a></span>
+most of which were notably striking scenes from
+Scripture history, such as "Esther and King Ahasuerus,"
+"Solomon and the Queen of Sheba," "The
+Judgment of Solomon" (a very favourite subject),
+and other scenes of Old Testament history, all
+the kings were Charles I. and all the Queens
+Henrietta Maria. One and all wore early Stuart
+costumes. Even Pharaoh's daughter wore the handsome
+dress of the day, with Point lace falling collar
+and real pearls round her neck. It is a fashion to
+jeer at this anachronism; but may it not perhaps
+be that we take these pictures too literally, and deny
+the workers their feelings of passionate devotion to
+the lost cause. Doubtless they worked their loyalty
+to their beloved monarch into these pretty and
+pleasing fancies, just as it is said that the fashion
+of "finger-bowls" was introduced later so that the
+loyal gentlemen of the day might drink to the King
+"<i>over the water</i>." I see no cause to deny intelligence
+to these dear dead women, who were capable of
+exquisite needlecraft and fine design, and whose
+devotion was shown in many instances by giving
+up jewels, houses, and lands for the King!</p>
+
+<p>The fashion of "stump" or stamp work appears
+to have been derived from Italy. Italian needlework
+of this time abounds with it, and, it must be
+admitted, of a superior design, and style to that
+which was known here as "stump" work. Until the
+eighteenth century English work was more or less
+archaic in every branch. Personally, I see no more
+absurdity in the queer doll-like figures than in contemporary
+wood-carving. It was a period of tenta<span class='pagenum'><a name="Page_296" id="Page_296">{296}</a></span>tive
+effort, and was, of course, beneath criticism.
+English Art has ever been an effort until its one
+bright burst of genius in the eighteenth century,
+while the continental nations appear to have breathed
+artistic perception with life itself.</p>
+
+<p>The prototype of our stump work pictures, the
+Italian raised work, are gracious, graceful figures
+perfectly proportioned, and set in lovely elegant
+arabesques, with no exaggeration of style or period.
+Some specimens of this work must have been brought
+from Italy, through France, and the English workers
+quickly adopted and adapted them to their own
+heavier intelligence. Some of the little figures are
+certainly very grotesque. Frequently the tiny little
+hands are larger than the heads, but the <i>stitchery</i>
+is exquisite.</p>
+
+<p>No time seems to have been too long to have been
+spent in perfecting the petals of a rose, the loose
+wing of a butterfly, or to make a realistic curtain in
+fine Point lace stitches to hang from the King's
+canopy. Some of the King's dresses are said to have
+been made of tiny treasured pieces of his garments.
+There is no doubt that much devoted sentiment was
+worked into these little figures, and these touches of
+nature add a pathetic interest to them.<span class='pagenum'><a name="Page_298" id="Page_298"></a></span><span class='pagenum'><a name="Page_297" id="Page_297">{297}</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/full_image076.jpg"><img src="images/image076.jpg" width="500" height="369" alt="SUPERB EXAMPLE OF STUART PICTURE." title="" /></a>
+<span class="caption">SUPERB EXAMPLE OF STUART PICTURE.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div>
+
+<p>In the illustration of "King Solomon receiving the
+Queen of Sheba" from the South Kensington Collection
+Solomon is obviously King Charles I., while
+the Queen of Sheba is equally recognisable as Queen
+Henrietta Maria. The picture is perhaps the finest
+in the Kensington Collection, the colours being fresh
+and the work intact. The little faces are worked<span class='pagenum'><a name="Page_299" id="Page_299">{299}</a></span>
+over a padding of soft frayed silk or wool, the
+features being drawn in fine back-stitch. Natural
+hair is worked on the King's and Queen's heads,
+and the crowns are real gold thread set with pearls.
+The canopy is worked <i>solidly</i> in silk and gold
+thread, and from it hang loose curtains in old
+brocade, worked over and over with gold and silken
+thread.</p>
+
+<p>The King's mantle and that of the Lord Chamberlain
+are worked in Point lace stitches, afterwards
+applied to the bodies and hanging loosely. The
+Queen's dress is brocade, worked over with gold and
+silver, while strings of real pearls decorate the necks
+and wrists of the ladies, and real white lace of the
+Venetian variety trims the neck and sleeves of these
+fairy people. The Stuart castle we see perched
+up among the trees and touching the sun's beams is
+more like an English farmhouse than Whitehall.
+Yet either this or Windsor Castle is always supposed
+to be represented.</p>
+
+<p>The British lion and the leopard, again, make the
+identity of these little people more certain. The
+quaint little trees bear most disproportionate fruits,
+the acorn and pears being about the same size, but
+all beautifully worked in Point-lace stitches over
+wooden moulds. The hound and the hare, the
+butterfly and the grub, and the strange birds make
+up one of the most typical Stuart pictures.</p>
+
+<p>The next illustration shows another development
+of picture-making. Here the grounding is of white
+satin, as in the previous illustration, but the figures
+are worked on canvas separately, in fine petit-point<span class='pagenum'><a name="Page_300" id="Page_300">{300}</a></span>
+stitch, afterwards being cut away and placed on the
+white satin ground with a few silk stitches and the
+whole outlined with a fine black silk cord. The
+subject is "The Finding of Moses," and is as full of
+anachronisms as the last, only that here again
+Pharaoh's daughter is worked in memory of Queen
+Henrietta Maria, and the tiny boy in the corner is
+Charles II., and Moses the infant Duke of York.
+The four-winged cherubs are the guardian angels who
+are watching over the lost fortunes of the Stuart
+family, and the rose of England and the lilies of
+France which form the border are emblematical
+of the royal lineage of their lost King's family.
+The hound and hare still chase each other gaily
+round the border, and in the picture the hare is
+seen emerging, like the Stuarts, from exile and
+obscurity.</p>
+
+<p>Sufficient has perhaps been said to cause those
+who possibly may have misunderstood these pictures
+to give them another glance, and allow imagination
+to carry them back to the times of the exiled Royal
+Family and their brave adherents, whose women
+allowed not their memories to slumber nor their
+labours to flag. These pictures must have been
+made during the Commonwealth and the reign of
+Charles II. In no case, to my knowledge, has King
+Charles II. been depicted in stitchery, nor yet
+Catherine of Braganza. James II. is equally ignored,
+and with him their mission seemed to have been
+accomplished. Possibly the people had had by this
+time sufficient of the Stuarts, and the memory of
+King Charles the martyr had waxed dim. Certain<span class='pagenum'><a name="Page_302" id="Page_302"></a></span><span class='pagenum'><a name="Page_301" id="Page_301">{301}</a></span>
+it is that with James II. Stuart needlework pictures
+suddenly ceased.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image077.jpg" width="500" height="432" alt="STUART PICTURE, SHOWING THE FINDING OF MOSES." title="" />
+<span class="caption">STUART PICTURE, SHOWING THE FINDING OF MOSES.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div>
+
+
+<h3><i>Stump work Symbols.</i></h3>
+
+<p><span class='pagenum'><a name="Page_303" id="Page_303">{303}</a></span>The symbolism of the various animals, birds, insects,
+and flowers which are, apparently without
+rhyme or reason, placed in one great disarray in
+the Stuart pictures is said to have been heraldic
+and symbolic. The sunbeam coming from a cloud,
+the white falchion, and the chained hart are heraldic
+devices belonging to Edward III.</p>
+
+<p>The buck and the strawberry, which are so often
+seen, belong to the Frazer Clan of Scotland, and may
+have been worked by ladies who were kith and kin
+of this clan.</p>
+
+<p>The unicorn was the device of James I. and the
+siren or mermaid of Lady Frazer, who is said to
+have worked her own golden hair in the heart of a
+Tudor rose on a book cover for James I.</p>
+
+<p>The hart was also a device of Richard II. and the
+"broom pod" of the Plantagenets. The caterpillar
+and butterfly were specially badges of Charles I.,
+while the oak-tree and acorn were invariably worked
+into every picture in memory of Charles II.'s escape
+in an oak tree.<span class='pagenum'><a name="Page_305" id="Page_305">{305}</a></span><span class='pagenum'><a name="Page_304" id="Page_304"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="N_IX" id="N_IX"></a>IX<br />
+<br />
+SAMPLERS</h2><p><span class='pagenum'><a name="Page_307" id="Page_307">{307}</a></span><span class='pagenum'><a name="Page_306" id="Page_306"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>IX<br />
+<br />
+SAMPLERS</h2>
+
+<div class="blockquot"><p>Real art work&mdash;Specimens in South Kensington Museum&mdash;High
+price now obtained.</p></div>
+
+
+<p>A "sampler" is an example or a sample of the
+worker's skill and cleverness in design and stitching.
+When they first appeared, as far as we know about
+the middle of the seventeenth century, they were
+merely a collection of embroidery, lace, cut and
+drawn work stitches, and had little affinity to the
+samplers of a later date, which seemed especially
+ordained to show various patterns of cross stitches,
+the alphabet, and the numerals.</p>
+
+<p>The early samplers were real works of art; they
+were frequently over a yard long, not more than a
+quarter of a yard wide, and were adorned with
+as many as thirty different patterns of lace and cut
+and drawn work. This extreme narrowness was to
+enable the sampler to be rolled on a little ivory
+stick, like the Japanese <i>kakemonas</i>.</p>
+
+<p>The foundation of all the early samplers was a
+coarse linen, and to this fact we owe the preservation
+of many of them. Those made two hundred years<span class='pagenum'><a name="Page_308" id="Page_308">{308}</a></span>
+later, on a coarse, loose canvas, even now show signs
+of decay, while these ancient ones on linen are as
+perfect as when made, only being gently mellowed
+by Time to the colour of old ivory.</p>
+
+<p>The earliest sampler known is dated 1643, and was
+worked by Elizabeth Hinde. It is only 6 inches by
+6&frac12; inches, and is entirely lacework, and apparently has
+been intended for part of a sampler. The worker
+perhaps changed her mind and considered rightfully
+that she had accomplished her <i>chef d'&oelig;uvre</i>, or as
+so often explains these unfinished specimens, the
+Reaper gathered the flower, and only this dainty
+piece of stitching was left to perpetuate the memory
+of Elizabeth Hinde.</p>
+
+<p>The sampler in question is just one row of cut
+and drawn work and another of fine Venetian lacework,
+worked in "punto in aria." A lady in Court
+dress holds a rose to shield herself from Cupid, a
+dear little fellow with wings, who is shooting his
+dart at her heart. Perhaps poor Elizabeth Hinde
+died of it and this is her "swan song."<span class='pagenum'><a name="Page_310" id="Page_310"></a></span><span class='pagenum'><a name="Page_309" id="Page_309">{309}</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image078.jpg" width="500" height="611" alt="A SEVENTEENTH-CENTURY &quot;SAMPLER&quot; (ENGLISH), SHOWING CUT AND
+DRAWN WORK." title="" />
+<span class="caption">A SEVENTEENTH-CENTURY &quot;SAMPLER&quot; (ENGLISH), SHOWING CUT AND
+DRAWN WORK.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div>
+
+<p>The earliest samplers appeared to have been
+worked only on white cotton or silk. A favourite
+design, apart from the lacework samplers, was the
+"damask pattern" sampler, a specimen of which may
+be noted, commencing with the fifth row, on the
+sampler illustrated. Sometimes the sampler was
+entirely composed of it, and although ineffective,
+remains as a marvel of skill. It was worked entirely
+in flat satin stitch and eyelet holes, known as the
+"bird's eye" pattern. In the illustration four rows
+of cutwork will be noted, followed by five rows of<span class='pagenum'><a name="Page_311" id="Page_311">{311}</a></span>
+drawn threadwork, and above are patterns worked
+in floral and geometric designs in coloured silks.
+The alphabet and the date 1643 complete this
+monument of skill, which may be seen in the South
+Kensington Museum.</p>
+
+<p>The succeeding illustration shows a more ambitious
+attempt, and is considered one of the finest specimens
+known. It was worked by Elizabeth Mackett,
+1696. It is on white linen with ten rows of floral
+patterns worked with coloured silks in cross, stem,
+and satin stitches, with some portions worked
+separately and applied. Five rows of white satin
+stitch, two rows of alphabet letters in coloured silks,
+and four rows of exquisite punto in aria lace patterns
+are followed by the alphabet again in white stitches
+and the maker's name and date. The sampler is
+in superb preservation, the colours are particularly
+rich and well chosen. This sampler is also from the
+South Kensington Collection. Often the worker's
+name is followed by a verse or rhyme having a
+delightfully prosaic tendency. One can imagine
+the poor girls, in the early days we are writing of,
+writhing under the infliction of having slowly and
+painstakingly to work the solemn injunction&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"When this you see remember me<br /></span>
+<span class="i2">And keep me in your mind,<br /></span>
+<span class="i0">And be not like a weathercock<br /></span>
+<span class="i2">That turns at every wind.<br /></span>
+</div><div class="stanza">
+<span class="i0">When I am dead and laid in grave,<br /></span>
+<span class="i2">And all my bones are rotten,<br /></span>
+<span class="i0">By this you may remember me<br /></span>
+<span class="i2">When I should be forgotten."<br /></span>
+<span class='pagenum'><a name="Page_312" id="Page_312">{312}</a></span></div></div>
+
+<p>And we can appreciate how little Maggie Tulliver
+("The Mill on the Floss ") must have girded at the
+philosophy she was compelled to work into her
+sampler&mdash;</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Look well to what you take in hand,<br /></span>
+<span class="i2">For learning is better than house or land;<br /></span>
+<span class="i0">When land is gone and money is spent<br /></span>
+<span class="i2">Then learning is most excellent."<br /></span>
+</div></div>
+
+<p>With the eighteenth century the beauty of the
+Samplers distinctly declined. They became squarer,
+and were bordered with a running pattern, and the
+whole canvas became more or less pictorial. Inevitably
+the end of this art came. Ugly realistic
+bowpots with stumpy trees decorated the picture
+in regular order. The alphabet still appeared, and
+moral reflection seemed to be the aim of the worker
+rather than to make the Sampler show beauty of
+stitchery. Quaint little maps of England are often
+seen, surrounded with floral borders, but it remained
+to the early nineteenth century to show how the
+Sampler became reduced to absurdity. One of the
+quaintest and most amusing Samplers at South
+Kensington is a 12-inch by 8-inch example in woollen
+canvas and embroidered with coloured silk. At the
+lower end is a soldier, a tiny realistic house, a
+dovecot, any number of flowering plants, a stag and
+other animals. Above is a band of worked embroidery
+enclosing the words, "This is my dear
+Father." The remaining spaces are filled in with
+angels blowing trumpets, double-headed eagle, peacocks
+and other birds, and baskets of fruit. In spite<span class='pagenum'><a name="Page_313" id="Page_313">{313}</a></span>
+of its absurdity, this little piece is far more pleasant
+than the tombstone inscriptions which abound, and
+is, after all, delightfully suggestive of home and
+affection.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image079.jpg" width="500" height="337" alt="EARLY ENGLISH &quot;SAMPLER,&quot; SHOWING EMBROIDERY IN COLOURED SILK." title="" />
+<span class="caption">EARLY ENGLISH &quot;SAMPLER,&quot; SHOWING EMBROIDERY IN COLOURED SILK.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image080.jpg" width="500" height="319" alt="EARLY ENGLISH &quot;SAMPLER,&quot; SHOWING BIRD&#39;S-EYE EMBROIDERY AND
+CUT AND DRAWN WORK." title="" />
+<span class="caption">EARLY ENGLISH &quot;SAMPLER,&quot; SHOWING BIRD&#39;S-EYE EMBROIDERY AND
+CUT AND DRAWN WORK.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div>
+
+<p><span class='pagenum'><a name="Page_315" id="Page_315">{315}</a></span><span class='pagenum'><a name="Page_314" id="Page_314"></a></span>Another quaint piece at South Kensington is a
+sampler worked by poor Harriet Taylor, <i>aged seven!</i>
+At the top are four flying angels, two in clouds
+flanking a crown beneath the letters "G. R." In the
+middle stands a flower-wreathed arch, with columns
+holding vases of flowering plants; above are the
+words, "The Temple of Fancy," and within an
+enclosed space the following homily:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">"Not Land but Learning<br /></span>
+<span class="i2">Makes a man complete<br /></span>
+<span class="i0">Not Birth but Breeding<br /></span>
+<span class="i2">Makes him truly Great<br /></span>
+<span class="i0">Not Wealth but Wisdom<br /></span>
+<span class="i2">Does adorn the State<br /></span>
+<span class="i0">Virtue not Honor<br /></span>
+<span class="i2">Makes him Fortunate<br /></span>
+<span class="i0">Learning, Breeding, Wisdom<br /></span>
+<span class="i2">Get these three<br /></span>
+<span class="i0">Then Wealth and Honor<br /></span>
+<span class="i2">Will attend on thee."<br /></span>
+</div></div>
+
+<p>Then follows a house called "The Queen's Palace,"
+standing in an enclosed flower-garden. This masterpiece
+of moral philosophy from the hands of a child
+of seven years is dated 1813.</p>
+
+<p>An exaggerated conception of the value of old
+Samplers is very widely spread. Only the seventeenth-century
+Samplers are really of consequence, and these
+fetch fancy prices. In the sale-rooms a long narrow
+Sampler of lace stitches and drawn-thread work would<span class='pagenum'><a name="Page_316" id="Page_316">{316}</a></span>
+bring as much as a handsome piece of lace. They
+are practically unattainable, and in this case the law
+of supply and demand does not obtain. It is beyond
+the needlewomen of the present day to imitate these
+old Samplers. Life is too short, and demands upon
+time are so many and varied, that a lifetime of
+work would result in making only one. Therefore,
+the fortunate owners of these seventeenth-century
+Samplers may cherish their possessions, and those
+less lucky possess their souls in patience, and hoard
+their golden guineas in the hope of securing one.
+Twenty years ago a few pounds would have been
+ample to secure a fine specimen, but &pound;30 will now
+secure only a short fragment.</p>
+
+<p>During the last three years I have not seen a
+good Sampler at any London Curio or lace shop,
+and none appear in the sale-rooms. The eighteenth-century
+Samplers are comparatively common, the
+map variety especially so, and can be purchased for
+a pound or so, but these are not desirable to the
+collector.<span class='pagenum'><a name="Page_317" id="Page_317">{317}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="N_X" id="N_X"></a>X<br />
+<br />
+THE WILLIAM<br />
+AND MARY<br />
+EMBROIDERIES</h2><p><span class='pagenum'><a name="Page_320" id="Page_320">{320}</a></span><span class='pagenum'><a name="Page_319" id="Page_319"></a></span><span class='pagenum'><a name="Page_318" id="Page_318"></a></span></p>
+
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 334px;">
+<a href="images/full_image081.jpg"><img src="images/image081.jpg" width="334" height="500" alt="JACOBEAN WALL-HANGING WORKED IN COLOURED CREWELS ON LINEN GROUND." title="" /></a>
+<span class="caption">JACOBEAN WALL-HANGING WORKED IN COLOURED CREWELS ON LINEN GROUND.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_321" id="Page_321">{321}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>X<br />
+<br />
+THE WILLIAM AND MARY EMBROIDERIES</h2>
+
+<div class="blockquot"><p>Queen Mary "a born needlewoman"&mdash;The Hampton Court
+Embroideries&mdash;Revival of petit point&mdash;Jacobean
+hangings.</p></div>
+
+
+<p>One of the most convincing facts in arguments that
+there <i>is</i> a revival in the gentle art of needlecraft is
+that it has become the fashion to drape our windows,
+cover our furniture, and panel our walls with printed
+copies of the Old Jacobean needlework. Many people,
+knowing nothing whatever about the history of needlework,
+wonder where the designs for the printed linens
+which line the windows of Messrs. Liberty, Goodall
+and Burnett's colossal frontages in Regent Street
+have been found. In time amazement gives way to
+admiration for these quaint blues and greens, roses
+and pale yellows, worked in great scrolls with exotic
+flowers and still more exotic birds, and the funny
+little hillocks with delightful little pagoda-like
+cottages nestling amongst them, and many and
+various little animals which seem to keep perpetual
+holiday under the everlasting blooms. The designs<span class='pagenum'><a name="Page_322" id="Page_322">{322}</a></span>
+are taken bodily from the historical hangings of the
+later seventeenth century. After the abdication and
+flight of James II. to St. Germains, his daughter
+Mary came over with her Dutch husband, William
+the Stadtholder&mdash;or, rather, William came over and
+brought his wife, the daughter of the late king, for
+William had no intention of assuming the style and
+life of Prince Consort, but came well to the front,
+and kept there. It was not "<span class="smcap">Victoria</span> <i>and Albert</i>"
+in those days, but <span class="smcap">William</span> and <span class="smcap">Mary</span>, who ruled
+England, and ruled it well. William III. must
+have been a man of strong personality, and he
+managed to quell all the rebellions of his reign,
+and during the time he ruled over us the country
+settled down to a peaceful state that has remained to
+the present time.</p>
+
+<p>Queen Mary had quite sufficient employment in
+settling herself and her household, and generally
+managing the domestic matters pertaining to the
+new kingdom she had come into. She apparently
+had a very free hand in rebuilding Hampton Court,
+which she particularly made her home, absolutely
+pulling the interior down, and rebuilding and redecorating
+it according to her own taste, which
+was not that of the Stuart persuasion with its
+gorgeous magnificence, but the more homely and
+solid Dutch. Very little of the original Hampton
+Court <i>interior</i>, built and furnished by Cardinal Wolsey,
+exists. Just here and there we find delightfully dark
+little dens with the original linen-fold panellings and
+ceilings that are a ravishment to look upon; but
+mostly the rooms are high, plain-panelled, and with<span class='pagenum'><a name="Page_324" id="Page_324"></a></span><span class='pagenum'><a name="Page_323" id="Page_323">{323}</a></span>
+the quaint ingle-nook fireplaces, with shelves above,
+upon which Mary placed her lovely "blue and white"
+porcelain which had been brought to her by the
+Dutch merchants who at that time were the great
+traders of the sea.</p>
+
+<div class="figcenter" style="width: 419px;">
+<img src="images/image082.jpg" width="419" height="500" alt="ENLARGEMENT OF &quot;JACOBEAN&quot; SPRAY." title="" />
+<span class="caption">ENLARGEMENT OF &quot;JACOBEAN&quot; SPRAY.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div>
+
+<p><span class='pagenum'><a name="Page_325" id="Page_325">{325}</a></span>Queen Mary ought to be regarded as the patron
+saint of English needlewomen. She was happiest
+when employed furnishing every bed-covering, every
+chair and stool, and supplying the hangings for her
+favourite home. It is said that she spent her days
+over her embroidery frame, knowing full well that
+affairs of State were in the capable hands of her
+husband.</p>
+
+<p>There are few relics left of her handiwork outside
+Hampton Court. She left no dainty little book-covers,
+bags, or boxes, as her ideas were fixed on
+larger pieces of embroidery. Had she lived in the
+Berlin-wool picture days, she would have filled every
+nook and cranny with these atrocities, as many
+humbler devotees to the needle have done to our
+own knowledge. Needlework can become a <i>passion</i>,
+and certainly Queen Mary must have possessed it.</p>
+
+<p>After the complete collapse of the Stuart stump
+pictures, when every vestige of loyalty seems to have
+been swept away with the hated James II., the ancient
+Petit Point pictures came back into fashion. Very
+clever work was put into them, but, alas! their scope
+was purely to depict religious scenes of the rigorous
+kind. No dainty fairy-like little people now ruled in
+pictured story, but actual representations of Bible
+history.</p>
+
+<p>The illustration of "The Baptism of the Ethi<span class='pagenum'><a name="Page_326" id="Page_326">{326}</a></span>opian
+Eunuch by St. Philip" is a fair sample of the
+needlework picture of this time. The picture is a
+strange mixture of the early Stuart Petit Point, the
+Jacobean wall-hanging, and the newly revived religious
+spirit. The duck-pond, the swans and the water-plants
+might have been copied bodily from James I.'s time.
+The paroquet and the flying bird, and the immense
+leaves and blossoms, are direct from the wall-hangings,
+while the figures only too surely foretell the
+coming dark days of needlecraft, when a Scripture
+picture and a coarsely worked sampler were part of
+every girl's liberal education. The work in this
+picture is extremely good, and it is excruciatingly
+funny without intending to be so. The pretty little
+equipage with its diminutive ponies surely was never
+intended to carry either St. Philip or the Eunuch!
+The open book, with Hebraic inscription, is very
+delightful. It brings to mind the Tables of the Law
+rather than the light reading that the charming little
+Cinderella coach should carry.</p>
+
+<p>These pictures are not common, and we scarcely
+know whether to be thankful for them or not.
+Unlike the early petit point, they were worked in
+<i>worsteds</i>, whereas the early pictures were wrought
+in silk. The moth has a natural affinity for wool, as
+we all know, and his tribe has cleared off many
+hundreds of examples. Why so many of the old
+Jacobean hangings remain is that they were worked
+for <i>use</i>, and not ornament, and even after they ceased
+to be fashionable ornaments for sitting and bed
+rooms, they were either relegated to the servants'
+quarters, or given to dependants, who used them<span class='pagenum'><a name="Page_328" id="Page_328"></a></span><span class='pagenum'><a name="Page_327" id="Page_327">{327}</a></span>
+constantly, shaking and keeping them in repair, as
+the eighteenth-century housewives liked to keep
+their homes swept and garnished.</p>
+
+<div class="figcenter" style="width: 325px;">
+<a href="images/full_image083.jpg"><img src="images/image083.jpg" width="325" height="500" alt="NEEDLEWORK PICTURE OF QUEEN ANNE PERIOD." title="" /></a>
+<span class="caption">NEEDLEWORK PICTURE OF QUEEN ANNE PERIOD.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div>
+
+<p><span class='pagenum'><a name="Page_329" id="Page_329">{329}</a></span>It is strange to see these old Jacobean hangings
+(perhaps the drapery of the now tabooed four-post
+bedstead), which might some thirty years ago have
+been carried off for the asking, sell at Christie's for
+&pound;800, as happened in the dispersal of the Massey-Mainwaring
+sale last year. Even a panel of no use
+except to frame as a picture, say 4 feet by 3 feet, will
+fetch &pound;30 and a full-sized bed-cover can only be
+bought for over &pound;100. The reason is not far to seek.
+The colouring and the drawing of this fine old Crewel-work
+are exquisite (even though the design savours
+of the grotesque), and Time has dealt very leniently
+with the dyes. I endeavoured to match some of
+these old worsteds a little time ago, and though
+able to find the colours, could not get the tone.
+After much tribulation I was advised to hang the
+skeins of worsted on the trees in the garden and
+<i>forget all about them</i>, and certainly wind and weather
+have softened the somewhat garish worsteds to the
+soft, <i>fade</i> colours of the old work.</p>
+
+<p>The same class of embroidery was executed
+during the reign of Queen Anne, though she herself
+did little of it. Costly silks and brocades and Venetian
+laces were the dress of the day, and no little dainty
+accessories appear to have been made.<span class='pagenum'><a name="Page_331" id="Page_331">{331}</a></span><span class='pagenum'><a name="Page_330" id="Page_330"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="N_XI" id="N_XI"></a>XI<br />
+<br />
+PICTORIAL<br />
+NEEDLEWORK<br />
+OF THE<br />
+EIGHTEENTH<br />
+CENTURY</h2><p><span class='pagenum'><a name="Page_334" id="Page_334">{334}</a></span><span class='pagenum'><a name="Page_333" id="Page_333"></a></span><span class='pagenum'><a name="Page_332" id="Page_332"></a></span></p>
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 407px;">
+<a href="images/full_image084.jpg"><img src="images/image084.jpg" width="407" height="500" alt="A FINE &quot;PAINTED FACE&quot; SILK-EMBROIDERED PICTURE." title="" /></a>
+<span class="caption">A FINE &quot;PAINTED FACE&quot; SILK-EMBROIDERED PICTURE.
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_335" id="Page_335">{335}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>XI<br />
+<br />
+PICTORIAL NEEDLEWORK OF THE EIGHTEENTH
+CENTURY</h2>
+
+<div class="blockquot"><p>The "painted faces" period&mdash;Method of production&mdash;Revival
+of Scriptural "motifs"&mdash;Modern fakes&mdash;Black silk and
+hair copies of engravings.</p></div>
+
+
+<p>An immense number of pictures must have been
+worked during the eighteenth century. Almost, we
+might say, no English home is without an example.
+Much of the work is intensely bad, and only that
+Time has tenderly softened the colours, and the old-time
+dresses add an element of quaintness to the
+pictures, can they be tolerated. Works of art they
+are not, and, indeed, were never intended to occupy
+the place their owners now proudly claim for them.
+Just here and there a picture of the painted face
+type is a masterpiece of stitchery, as in the example
+illustrated, where every thread has been worked by an
+<i>artiste</i>. Looking at this little gem across a room, the
+effect is that of a charming old colour print, so
+tenderly are the lines of shading depicted. This
+is the only picture of this class that I have seen
+for years as an absolutely perfect specimen of the<span class='pagenum'><a name="Page_336" id="Page_336">{336}</a></span>
+eighteenth-century silk pictures, though doubtless
+many exist.</p>
+
+<p>The discrepancy which is usually found is that,
+although the design and outline is perfect, the faces
+and hands exquisitely painted, the needlework part
+of the picture has been executed in a foolish, inartistic
+manner, and no method of light and shade has
+been observed. Some little time ago I published
+an article in one of the popular monthly Magazines
+illustrating this same picture, and was afterwards
+inundated with letters from correspondents from far
+and near sending their pictures for valuation and&mdash;admiration!
+Not one of these pictures was good,
+though there were varying degrees of <i>badness</i>. But
+in no instance was the painted face crudely drawn or
+badly coloured.</p>
+
+<p>The explanation is that just as the modern needlewoman
+goes to a Needlework Dep&ocirc;t and obtains
+pieces of embroidery already commenced and the
+design of the whole drawn ready for completion, so
+these old needle pictures were sold ready for
+embroidering, the outline of the trees sketched in
+fine sepia lines, the distant landscape already
+painted, the faces and hands of the figures charmingly
+coloured, in many instances by first-class artists.
+When we remember that the eighteenth century was
+<i>par excellence</i> the great period of English portrait
+painting and colour printing, we can understand that
+possibly really fine artists were willing to paint these
+exquisite faces on fine silk and satin, just as good
+artists of the present day often paint "pot-boilers"
+while waiting for fame.<span class='pagenum'><a name="Page_337" id="Page_337">{337}</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/full_image085.jpg"><img src="images/image085.jpg" width="500" height="351" alt="EMBROIDERED SILK PICTURE OF &quot;THE LAST SUPPER.&quot;" title="" /></a>
+<span class="caption">EMBROIDERED SILK PICTURE OF &quot;THE LAST SUPPER.&quot;
+<br />
+Eighteenth Century.
+<br />
+(<i>S.K.M Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_339" id="Page_339">{339}</a></span><span class='pagenum'><a name="Page_338" id="Page_338"></a></span></p>
+
+<p>Angelica Kauffmann's style was often copied. Is it
+too much to believe that some of these charming faces
+may have been from her hands? We know that she
+painted furniture and china, therefore why not the
+faces of the needlework pictures so nearly akin to
+her own work?</p>
+
+<p>The eighteenth-century costume was particularly
+adapted to this pretty work. We cannot imagine
+the voluminous robes of Queen Mary or Queen Anne
+in needle-stitchery, but the soft, silky lawns of the
+Georgian periods, the high-waisted bodices, the
+<i>bouffant</i> fichus and the flowing head-dresses, all
+were specially easy and graceful to work. Many of
+the pretty children Sir Joshua loved to paint were
+copied. "Innocence" made a charming picture,
+and several of the less rustic Morland pictures were
+copied.</p>
+
+<p>We would imagine that when the beginnings of
+the picture were so glorious the needlewoman would
+have made some endeavour to work up to it. But,
+alas! it was not so. Though often the stitching is
+neat and small, not an idea of shading seems to have
+entered the worker's mind, and whole spaces, nay, a
+complete garment, are often worked solid in one tone
+of colour! On the whole there is far more artistic
+sense and feeling in the Stump pictures it is the
+fashion to deride.</p>
+
+<p>Not always were dainty pastoral and domestic
+scenes worked. Very ghastly creations are still
+existent of scriptural subjects. Coarsely worked
+in wool, instead of silk, or in a mixture of both.
+The painting is still good, but the work and the<span class='pagenum'><a name="Page_340" id="Page_340">{340}</a></span>
+subjects are execrable! "Abraham about to sacrifice
+Isaac," on the pile of faggots already laid,
+and Isaac bound on it, with a very woolly lamb
+standing ready as a substitute, was a favourite subject.
+"Abraham dismissing Hagar and Ishmael,"
+with a malignant-looking Sarah in the distance, vies
+with the former in popularity. "The Woman of
+Samaria," and "The Entombment," are another pair
+of unpleasant pictures which we are often called
+upon to admire.</p>
+
+<p>The best of these pictures were worked in fine
+floss silk, not quite like the floss silk of to-day, as
+it had more twist and body in it, with just a little
+fine chenille, and very tiny bits of silver thread to
+heighten the effect. The worst were worked in
+<i>crewel</i> wools of crude colours. Fortunately, the
+moth has a special predilection for these pictures,
+and they are slowly being eaten out of existence,
+in spite of being cherished as heirlooms and works
+of art.</p>
+
+<p>Another pretty style which we seldom meet with
+was some part of the picture covered with the almost
+obsolete "&aelig;rophane," a kind of chiffon or crape
+which was much in request even up to fifty years ago.
+A certain part of the draperies was worked on the
+silk ground, without any attempt at finish. This
+was covered with &aelig;rophane, and outlined so as to
+attach it to the figure. This again was worked upon
+with very happy effects, very fine darning stitches
+making the requisite depth of shading. The illustration
+shows the use of this, but this cannot be said
+to be a very good specimen.<span class='pagenum'><a name="Page_341" id="Page_341">{341}</a></span></p>
+
+<div class="figcenter" style="width: 381px;">
+<a href="images/full_image086.jpg"><img src="images/image086.jpg" width="381" height="500" alt="&quot;PAINTED FACE&quot; SILK-EMBROIDERED PICTURE." title="" /></a>
+<span class="caption">&quot;PAINTED FACE&quot; SILK-EMBROIDERED PICTURE.
+<br />
+Eighteenth Century.
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_343" id="Page_343">{343}</a></span><span class='pagenum'><a name="Page_342" id="Page_342"></a></span></p>
+
+<p>These painted face, silk-worked pictures are the
+only needlework examples the collector <i>need to
+beware of</i>, as they are being reproduced by the
+score. The method of working in the poorer specimens
+is very simple, and it pays the "faker" to sell
+for &pound;2 or &pound;3 what takes, perhaps, only half a day
+to produce. When a well-executed picture is produced
+it is worth money, but so far I have seen none,
+except at the Royal School of Needlework, where
+the copying of old pictures of the period is exceedingly
+well done, and not intended to deceive.
+The prices, however, are almost prohibitive, as no
+modern needlework picture is worth from &pound;15 to
+&pound;30. They are, after all, only copies, and in no
+sense of the word works of art.</p>
+
+<p>During the eighteenth century, also, a fashion set
+in of adorning engravings with pieces of cloth, silk,
+and tinsel. At best it was a stupid fancy, and was
+responsible for the destruction of many fine old mezzotints
+and coloured prints. The hands, face, and background
+of an engraving were cut out, and pasted on
+a sheet of cardboard, pieces of some favourite brocaded
+gown, perhaps, were attached to the neck and
+shoulders, tiny lace tuckers were inserted, and gorgeous
+jewellery was simulated by wretched bits of
+tinsel trimming. The realism of the Stuart stump
+picture was never so atrocious as this baleful invention,
+which was as meretricious as a waxwork
+show.</p>
+
+<p>Not so popular, but far better, were the pictures
+worked on white silk with black silk and hair.
+There were no artistic aspirations about these&mdash;they<span class='pagenum'><a name="Page_344" id="Page_344">{344}</a></span>
+were copies in black and white of the engravings
+of the day, just as a pen-and-ink or pencil copy
+might be made. Very dainty stitchery was put in
+them, the stronger parts of the lines being in fine
+black silk, the finer and more distant being worked
+in human hair of various shades from black to brown.
+Occasionally golden and even white hair is used, and
+the effect is often that of a faded engraving. The
+silk ground on which these little pictures were
+worked is, however, often cracked with age, and many
+pretty specimens are ruined. The illustration shows
+an example of the type of picture, and depicts
+"Charlotte weeping over the Tomb of Werther."<span class='pagenum'><a name="Page_345" id="Page_345">{345}</a></span></p>
+
+<div class="figcenter" style="width: 392px;">
+<a href="images/full_image087.jpg"><img src="images/image087.jpg" width="392" height="500" alt="BLACK SILK AND HAIR PICTURE." title="" /></a>
+<span class="caption">BLACK SILK AND HAIR PICTURE.
+<br />
+Imitation of Engraving. Eighteenth Century.
+<br />
+(<i>Author&#39;s Collection.</i>)</span>
+</div><p><span class='pagenum'><a name="Page_347" id="Page_347">{347}</a></span><span class='pagenum'><a name="Page_346" id="Page_346"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="N_XII" id="N_XII"></a>XII<br />
+<br />
+NEEDLEWORK<br />
+PICTURES<br />
+OF THE<br />
+NINETEENTH<br />
+CENTURY</h2><p><span class='pagenum'><a name="Page_349" id="Page_349">{349}</a></span><span class='pagenum'><a name="Page_348" id="Page_348"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>XII<br />
+<br />
+NEEDLEWORK PICTURES OF THE NINETEENTH
+CENTURY</h2>
+
+<div class="blockquot"><p>Entire decline of needlework as an art&mdash;Miss Linwood's
+invention!&mdash;The Berlin-wool pictures&mdash;Lack of efficient
+instruction&mdash;Waste of magnificent opportunity at South
+Kensington Museum.</p></div>
+
+
+<p>It were kindest to ignore 19th century needlework,
+but in a book treating of English embroidery something
+must be said to bridge over the time when
+Needlecraft as an Art was <i>dead</i>. During the earlier
+part of the century taste was bad, during the middle
+it was beyond criticism, and from then to the time
+of the "greenery-yallery" &aelig;sthetic revival all and
+everything made by woman's fingers ought to be
+buried, burnt, or otherwise destroyed. Indeed, if
+that drastic process could be carried out from the
+time good Queen Adelaide reigned to the early
+"eighties" we might not, now and ever, have to
+bow our heads in utter abjection.</p>
+
+<p>The originator and moving spirit of this bad
+period was Miss Linwood, who conceived the idea
+of copying oil paintings in woolwork. She died<span class='pagenum'><a name="Page_350" id="Page_350">{350}</a></span>
+in 1845. Would that she had never been born!
+When we think of the many years which English
+women have spent over those wickedly hideous
+Berlin-wool pictures, working their bad drawing and
+vilely crude colours into those awful canvases, and
+imagining that they were earning undying fame as
+notable women for all the succeeding ages, death
+was too good for Miss Linwood. The usual boiling
+oil would have been a fitter end! Miss Linwood
+made a great <i>furore</i> at the time of her invention,
+and held an exhibition in the rooms now occupied
+by Messrs. Puttick &amp; Simpson, Leicester Square.
+Can we not imagine the shade of the great Sir
+Joshua Reynolds, whose home and studio these
+rooms had been, revisiting the glimpses of the moon,
+and while wandering up and down that famous old
+staircase forsaking his home for ever after one horrified
+glance at Miss Linwood's invention?</p>
+
+<p>Not only Miss Linwood, but Mrs. Delany and
+Miss Knowles made themselves famous for Berlin-wool
+pictures. The kindest thing to say is that
+the specimens which are supposed to have been
+worked by their own hands are considerably
+better than those of the half-dozen generations of
+their followers. During the middle and succeeding
+twenty years of the nineteenth century the notable
+housewife of every class amused herself, at the
+expense of her mind, by working cross-stitch pictures
+with crudely coloured wools (royal blue and
+rose-pink, magenta, emerald-green, and deep crimson
+were supposed to represent the actual colours
+of Nature), on very coarse canvas. Landseer's paint<span class='pagenum'><a name="Page_351" id="Page_351">{351}</a></span>ings
+were favourite studies, "Bolton Abbey in the
+Olden Times" lending itself to a choice range of
+violent colours and striking incidents. Nothing was
+too sacred for the Berlin-wool worker to lay hands
+upon. "The Crucifixion," "The Nativity," "The
+Flight into Egypt," "The Holy Family" were not
+only supposed to show the skill of the worker, but
+also the proper frame of mind the embroideress
+possessed. Pleasing little horrors such as the "Head
+of the Saviour in His Agony," and that of the
+Virgin with all her tortured mother love in her
+eyes were considered fit ornaments for drawing-room,
+which by the way were also adorned with
+wool and cotton crochet antimacassars, waxwork
+flowers under glass, and often astonishingly good
+specimens of fine Chelsea, Worcester, and Oriental
+china.</p>
+
+<p>Never was the questions of how "having eyes and
+yet seeing not" more fully exemplified. The nation
+abounded in paintings, prints, fine needlework, and
+the product of our greatest period of porcelain
+manufacture. Fine examples were at hand everywhere.
+Exquisite prints belonging to our only good
+period, the eighteenth century, were common; yet
+rather than try their skill in copying these, the
+needlewomen, who possessed undoubted skill, enthusiasm,
+and infinite patience, preferred to copy realistic
+paintings of the Landseer school and the highly
+coloured prints of the Baxter and Le Blond
+period.</p>
+
+<p>Unfortunately, the craze is by no means buried.
+Within the last twelve months I was invited to see<span class='pagenum'><a name="Page_352" id="Page_352">{352}</a></span>
+the "works" of a wonderful needlewoman in a little
+Middlesex village. The local clergyman and doctor
+were sufficiently benighted even in these days of
+universal culture to admire her work, and her fame
+had spread. Room after room was filled with 10
+by 8-feet canvases; every drawer in the house was
+crammed with the result of this clever woman's
+work&mdash;for clever she undoubtedly was. After
+exhausting all the known subjects of Landseer
+and his school, she had struck out a line for herself,
+and had copied the <i>Graphic</i> and <i>Illustrated London
+News</i> Supplements of the stirring scenes from the
+South African War, such as "The Siege of Ladysmith,"
+"The Death of the Prince Imperial" in all
+its gruesome local colouring, were worked on gigantic
+canvases. Her great <i>chef d'&oelig;uvre</i> was, however, the
+memorial statue of Queen Victoria, copied from the
+<i>Graphic</i> Supplement <i>in tones of black, white, and
+grey</i>, a most clever piece of work; but&mdash;well, she
+was happy and more than delighted with my perfectly
+honest remark that I had <i>never seen anything
+like it</i>!</p>
+
+<p>Ah! if only this dear woman and the many
+others who are wasting their time and eyesight over
+fashions which perish could only be reached and
+aroused by the influence of the lovely old English
+stitchery of our great period! If only the purblind
+authorities and custodians of our National collections
+could awaken to the infinite possibilities which they
+hold, once again "Opus Anglicum" might rule the
+world, and the labour of even one woman's life might
+be of lasting value. It is useless to refer to the many<span class='pagenum'><a name="Page_353" id="Page_353">{353}</a></span>
+schools of embroidery there are in different parts
+of the country, where fine work is being done on the
+best lines. These schools, from the Royal School of
+Needlework downwards, are "closed corners," and
+no attempt is made to reach the great public. The
+Royal School of Needlework is maintained by no
+subsidy as it ought to be, but by the many ladies of
+position and taste who liberally support it, both
+for the instruction and employment of "ladies of
+reduced circumstances," and for <i>the disposal of its
+work at very high prices</i>. Other schools in town are
+simply private adventure institutions, run at a
+considerable profit to the principals.</p>
+
+<p>The superb collection at South Kensington might
+as well be buried in the crypt of Westminster
+Cathedral for all the value it is to the general
+public. There is not the slightest attempt to allow
+these unique pieces of "Opus Anglicum" to point
+a moral or adorn a tale. The magnificent copes
+and vestments, of which there are some score, are
+merely tabulated, paragraphed, and photographed,
+and there is an end of them. During my constant
+visits to these treasures of English Art I have
+not once discovered another interested visitor
+amongst these beautiful vestments; and the officials,
+when interviewed, though perfectly courteous,
+apparently resent inquiries; and woe betide the
+unfortunate inquirers who <i>might</i> have found the
+required information from the tiny little printed card
+hidden either too low or too high in the dark
+recesses of the corridors, and so spared these <i>savants</i>
+the trouble of an interview!<span class='pagenum'><a name="Page_354" id="Page_354">{354}</a></span></p>
+
+<p>Why a continuous course of lectures on this and
+every kindred Art subject is not made compulsory
+at the Victoria and Albert Museum is one of the
+burning questions of the hour among the cultured
+collectors of the day. The custodians are supposed
+to be men of special insight in the branches over
+which they preside, yet for all the advantage to the
+public they might as well be waxwork dummies.
+What we want as a nation is "culture while we
+wait," and writ so large that those who run may
+read, and until this consummation is attained we
+shall ever remain in the Slough of Despond, and Art
+for Art's sake will continue dead.<span class='pagenum'><a name="Page_355" id="Page_355">{355}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="N_XIII" id="N_XIII"></a>XIII<br />
+<br />
+EMBROIDERY<br />
+IN "COSTUME"</h2><p><span class='pagenum'><a name="Page_357" id="Page_357">{357}</a></span><span class='pagenum'><a name="Page_356" id="Page_356"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>XIII<br />
+<br />
+EMBROIDERY IN "COSTUME"</h2>
+
+<div class="blockquot"><p>Early Greek garments&mdash;Biblical references to embroidery&mdash;Ecclesiastical
+garments&mdash;Eighteenth-century dresses,
+coats, and waistcoats&mdash;Muslin embroideries.</p></div>
+
+
+<p>The subject of Costume has been most admirably
+treated in another volume of this series, but a reference
+must be made to it as affecting our topic,
+English Embroidery, as costume has played no little
+part in its history.</p>
+
+<p>From the earliest ages embroidery has been used
+to decorate garments. The ancient Greeks embroidered
+the hems of their graceful draperies in
+the well-known Greek fret and other designs so
+invariably seen on the old Greek vases. The legend
+that Minerva herself taught the Greeks the art of
+embroidery illustrates how deeply the art was
+understood; and the pretty story told by an old
+botanist of how the foxglove came by its name and
+its curious bell-like flowers is worth repeating. In
+the old Greek days, when gods and goddesses were
+regarded as having the attributes of humanity in<span class='pagenum'><a name="Page_358" id="Page_358">{358}</a></span>
+addition to those of deities, Juno was one day
+amusing herself with making tapestry, and, after the
+manner of the people, put a thimble on her finger.
+Jupiter, "playing the rogue with her," took her
+thimble and threw it away, and down it dropped
+to the earth. The goddess was very wroth, and in
+order to pacify her Jupiter turned the thimble
+into a flower, which now is known as Digitalis, or
+finger-stole.</p>
+
+<p>This little fairy tale can scarcely be taken as
+proof conclusive of the existence of either needle
+tapestry or thimble use, but its telling may amuse
+the reader.</p>
+
+<p>In all ancient histories we find continuous references
+to the embroidered garment worn by its
+people. It was well recognised that no material
+was sufficiently beautiful not to be further embellished
+with rich embroideries. In the Psalms we
+find that "Pharaoh's daughter shall be brought to
+the king in a raiment of needlework," and that "her
+clothing is of wrought gold."</p>
+
+<p>Phrygia was above all the country most noted for
+embroideries of gold, and for many years the name
+"Phrygian embroidery" was sufficient to describe
+any highly decorated specimen. It is said that the
+name of the vestment or trimming, the "orphry"
+is derived from the word "Auri-phrygium," meaning
+"gold of Phrygian embroidery."</p>
+
+<p>The Phrygians are credited with having taught
+the Egyptians the art, while the Hebrews, while
+sojourning in the land of Egypt, learned the art
+from their captors, and carried it with them all<span class='pagenum'><a name="Page_359" id="Page_359">{359}</a></span>
+through their journeys to the Promised Land, and
+their final settlement in Palestine. The mention of
+gold and purple embroideries, both as garments and
+hangings, is conspicuous throughout all Bible
+history. The Egyptian and Greek arts are in
+almost all respects concurrent. The Ph&oelig;nicians
+carried examples of each country's work from one
+to another. After the conquest of Greece the
+Romans absorbed her art, and developed it in their
+own special style. They in turn carried their arts
+and crafts to Gaul and Britain, and by degrees
+needlecraft permeated the whole of Europe.</p>
+
+<p>Dealing with the embroidered costumes of our
+own country, the ancient records, illuminated
+Missals, and other contemporary data show that
+very sumptuous were both the ecclesiastical and
+lay garments. Heavy gold embroideries were
+worked on the hems of skirts and mantles. The
+Kings' coronation robes and mantles were beautiful
+specimens of handicraft, often after a king's death
+being given to the churches for vestments. From
+Anglo-Saxon to Norman times extensive use was
+made of the work of the needle for clothing,
+but after the Conquest till quite late in the Tudor
+period little has been found to throw light upon
+the use of embroidery for the lay dress of the time.
+All woman's taste and energy seem to have been
+devoted to make monumental embroideries for
+church use.</p>
+
+<p>It was, indeed, not until the gorgeous period of
+Henry VIII. that embroidery, as distinct from
+garment-making, appeared; and then everything<span class='pagenum'><a name="Page_360" id="Page_360">{360}</a></span>
+became an object worthy of decoration. Much
+fine stitchery was put into the fine white undergarments
+of that time, and the overdresses of
+both men and women became stiff with gold
+thread and jewels. Much use was made of slashing
+and quilting, the point of junction being dotted
+with pearls and precious stones. Noble ladies
+wore dresses heavily and richly embroidered with
+gold, and the train was so weighty that train-bearers
+were pressed into service. In the old
+paintings the horses belonging to kings and nobles
+wear trappings of heavily embroidered gold. Even
+the hounds who are frequently represented with
+their masters have collars massively decorated with
+gold bullion.</p>
+
+<p>The skirts of the ladies of this time were thickly
+encrusted with jewels, folds of silk being crossed
+in a kind of lattice-work, each crossing being fixed
+with a pearl or jewel, and a similar precious stone
+being inserted in the square formed by the trellis.
+The long stomachers were one gleaming mass of
+jewelled embroidery, the tiny caps or headdresses
+being likewise heavily studded with gems.</p>
+
+<p>During the reign of Charles I. a much daintier
+style of dress appeared. Velvet and silken suits
+were worn by the men, handsomely but appropriately
+trimmed with the fine "punto in aria"
+or Reticella laces of Venice; and in this and
+the three succeeding reigns dress was of sumptuous
+velvets, satins, and heavy silks, unembroidered,
+but trimmed, and in Charles II.'s time <i>loaded</i> with
+costly laces. It will be noted that whenever lace<span class='pagenum'><a name="Page_362" id="Page_362"></a></span><span class='pagenum'><a name="Page_361" id="Page_361">{361}</a></span>
+is in the ascendant, embroidery suffers, as is quite
+natural. Lace itself is sufficient adornment for
+fine raiment.</p>
+
+<div class="figcenter" style="width: 383px;">
+<a href="images/full_image088.jpg"><img src="images/image088.jpg" width="383" height="500" alt="MRS. TICKELL AND HER SISTER, MRS. SHERIDAN, BY GAINSBOROUGH, SHOWING
+HOW LACE WAS SUPERSEDED BY FILMY MUSLINS." title="" /></a>
+<span class="caption"><span style="font-size: small;"><i>Photo by E. Gray, Bayswater.</i></span>
+<br /><br />
+MRS. TICKELL AND HER SISTER, MRS. SHERIDAN, BY GAINSBOROUGH, SHOWING
+HOW LACE WAS SUPERSEDED BY FILMY MUSLINS.
+<br />
+(<i>Dulwich Gallery.</i>)</span>
+</div>
+
+<p><span class='pagenum'><a name="Page_363" id="Page_363">{363}</a></span>As the use of the fine Venetian and Flemish
+and French laces declined, and tuckers and frillings
+of Mechlin, Valenciennes, and Point d'Angleterre
+appeared, the use of embroidery asserted itself, and
+the pretty satins and daintily coloured silks of
+William and Mary, Queen Anne, and more specially
+the earlier Georges, began to be embroidered in a
+specially delicate fashion. Fine floss silk was used in
+soft colourings, and whole surfaces were covered with
+tiny embroidered sprays of natural-coloured flowers.
+Really exquisite stitchery was put into the graceful
+honeysuckle, the pansy, carnation, and rose clusters
+which decorated the dresses. The bodices, sacques,
+and skirts of the early eighteenth-century ladies
+were embroidered with real artistic taste and feeling.
+Some of the old dresses kept at South Kensington
+show the exquisite specimens of this class of
+needlework; while the coats and waistcoats of the
+sterner sex are not a whit behind the feminine
+garments in beauty. The long waistcoats were
+most frequently made of cream, pale blue, or white
+silk or satin, delightfully embroidered with tiny
+sprays of blossoms, and fastened with fine old paste
+buttons; while the coat, frequently of brocade, was
+heavily embroidered down the front with three or
+four inches of solid embroidery of foliage and flowers,
+oftentimes mixed with gold and silver threads. The
+tiny cravat of Mechlin, cuff ruffles, knee breeches,
+silken hose, and buckled shoes, along with the<span class='pagenum'><a name="Page_364" id="Page_364">{364}</a></span>
+powdered hair, complete a costume that has never
+been equalled, either before or afterwards, in beauty,
+grace, and elegance. During the William IV. and
+the long Victorian period, with the exception of
+a very fine embroidery on muslin, in the earlier
+part of it, nothing but fine stitchery for the use of
+underwear was made, if we except the hundreds
+and thousands of yards of cut and buttonholed
+linen which seemed to have been the solace and
+delight of our grandmothers when they allowed
+themselves to be torn away from their beloved Berlin-wool
+work. To sit on a cushion and sew a fine
+seam appears to have been the amusement of the
+properly constituted women of the early and mid-nineteenth
+century.<span class='pagenum'><a name="Page_365" id="Page_365">{365}</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="N_XIV" id="N_XIV"></a>XIV<br />
+<br />
+SALE<br />
+PRICES</h2><p><span class='pagenum'><a name="Page_367" id="Page_367">{367}</a></span><span class='pagenum'><a name="Page_366" id="Page_366"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>XIV<br />
+<br />
+SALE PRICES</h2>
+
+
+<p>Ancient embroideries so seldom come into the salerooms
+that it is rarely an opportunity occurs for
+obtaining market prices, therefore Lady Wolseley's
+sale on July 12, 1906, must be accepted as a standard.
+Immense prices are asked at the antique
+shops, the dealers apparently basing their prices
+on this sale by auction and <i>doubling</i> them. I
+have visited every shop in the trade in search of
+prices for this book before procuring the auctioneer's
+catalogue, and was aghast at the terrific
+sums asked for oftentimes indifferent specimens
+in comparison to what was paid in the auction-room.
+During the past year anything from
+&pound;15 15s. to &pound;40 has been paid at Christie's for
+specimens of varying degrees of perfection of work
+and condition. The latter state is even of greater
+importance than the first, as no matter how good the
+work originally, if discoloured and frayed, prices go
+down and down. Nearly all the finest specimens
+of the Stump-work period are marred by the
+tarnishing of the gold and silver threads. Instead<span class='pagenum'><a name="Page_368" id="Page_368">{368}</a></span>
+of these being a glory and a great enhancement to
+the embroidery, they prove a great disfigurement,
+and thereby cause a considerable reduction in value.</p>
+
+<p>The earlier petit point pictures, having little or
+no bullion in their execution (and when cared for
+and not exposed to too much sunlight), have kept
+their condition very well, and now are quite the
+favourite kind for collection. It speaks much for
+the quality of the silks used and the dyes of nearly
+three hundred years ago that the fugitive greens and
+blues and delicate roses in these little works of art,
+as in the superb tapestries of the same date, should
+be as fine as when made, whereas to-day's colours
+are as fleeting as the glories of the rainbow.</p>
+
+<hr style='width: 45%;' />
+
+<p>The following are the principal prices in Lady
+Wolseley's sale:</p>
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align='left'></td><td align='right'>&pound;</td><td align='right'>s.</td><td align='right'>d.</td></tr>
+<tr><td align='left'>A small bag, red and gold brocade</td><td align='right'>2</td><td align='right'>15</td><td align='right'>0</td></tr>
+<tr><td align='left'>A small bag or purse</td><td align='right'>5</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A fine bead book-cover</td><td align='right'>6</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>Same, trimmed with silver lace (Harris)</td><td align='right'>6</td><td align='right'>16</td><td align='right'>0</td></tr>
+<tr><td align='left'>A pair of embroidered shoes (Harris)</td><td align='right'>6</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A small pocket-book, silk embroidery
+on silver ground</td><td align='right'>8</td><td align='right'>17</td><td align='right'>6</td></tr>
+<tr><td align='left'>A pair of Stuart shoes</td><td align='right'>9</td><td align='right'>19</td><td align='right'>6</td></tr>
+<tr><td align='left'>A stumpwork picture, a most curious globe, showing Europe, Asia, Africa,
+and America, 1648 (S.&nbsp;G.&nbsp;Fenton)</td><td align='right'>24</td><td align='right'>0</td><td align='right'>0<span class='pagenum'><a name="Page_369" id="Page_369">{369}</a></span></td></tr>
+<tr><td align='left'>A double book of Psalms, embroidered
+binding with Tudor rose</td><td align='right'>23</td><td align='right'>10</td><td align='right'>0</td></tr>
+<tr><td align='left'>A petit point picture, 12&frac12; &times; 9&frac12;</td><td align='right'>11</td><td align='right'>11</td><td align='right'>0</td></tr>
+<tr><td align='left'>A small picture, partly sketched and partly worked</td><td align='right'>4</td><td align='right'>14</td><td align='right'>6</td></tr>
+<tr><td align='left'>A Stuart stump picture, 18 &times; 15&frac12;</td><td align='right'>18</td><td align='right'>18</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Stuart stump picture, King under
+canopy, 17&frac12; &times; 14</td><td align='right'>14</td><td align='right'>14</td><td align='right'>6</td></tr>
+<tr><td align='left'>A Stuart bullion picture, vase, in
+tortoiseshell frame, 23 &times; 18</td><td align='right'>8</td><td align='right'>8</td><td align='right'>0</td></tr>
+<tr><td align='left'>Same, with Herodias's daughter and
+John the Baptist</td><td align='right'>5</td><td align='right'>5</td><td align='right'>0</td></tr>
+<tr><td align='left'>A portrait of Henry, Prince of Wales,
+in flat-stitch on rose satin</td><td align='right'>21</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>Another on satin, "Bathsheba,"
+spangled, 17 &times; 13</td><td align='right'>6</td><td align='right'>16</td><td align='right'>0</td></tr>
+<tr><td align='left'>Another on satin, birds on gold and
+silver, 13 &times; 13 (Harris)</td><td align='right'>13</td><td align='right'>13</td><td align='right'>6</td></tr>
+<tr><td align='left'>A bead picture, 15 &times; 11</td><td align='right'>11</td><td align='right'>11</td><td align='right'>0</td></tr>
+<tr><td align='left'>A stump and bead picture, 12 &times; 11</td><td align='right'>12</td><td align='right'>1</td><td align='right'>6</td></tr>
+<tr><td align='left'>A small book-cover, 14 &times; 8</td><td align='right'>13</td><td align='right'>12</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Stuart stump picture, figures and silver
+fountain, tortoiseshell frame, 22 &times; 16</td><td align='right'>15</td><td align='right'>15</td><td align='right'>0</td></tr>
+<tr><td align='left'>A stump picture, lady with coral necklace,
+18 &times; 12</td><td align='right'>23</td><td align='right'>10</td><td align='right'>0</td></tr>
+<tr><td align='left'>A stump picture, lady under arch
+with a black swan, 20 &times; 16 (Stoner)</td><td align='right'>34</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A stump picture, King Charles as Ahasuerus with Haman and Mordecai,
+and pearl-embroidered carpet, 23 &times; 17</td><td align='right'>28</td><td align='right'>0</td><td align='right'>0<span class='pagenum'><a name="Page_370" id="Page_370">{370}</a></span></td></tr>
+<tr><td align='left'>A stump picture, lady under a canopy,
+large pearls, 13 &times; 19, (Stoner)</td><td align='right'>34</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Stuart Petit Point picture, Abraham
+and Hagar</td><td align='right'>16</td><td align='right'>16</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Stuart petit point picture, "Judgment
+of Paris," 24 &times; 17</td><td align='right'>25</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Stuart petit point picture, King
+Solomon and Queen of Sheba</td><td align='right'>18</td><td align='right'>18</td><td align='right'>0</td></tr>
+<tr><td align='left'>A beadwork picture, lady and gentleman,
+lion and unicorn, 21 &times; 17</td><td align='right'>12</td><td align='right'>12</td><td align='right'>6</td></tr>
+<tr><td align='left'>An embroidered picture, "Peter denying
+Christ," 24 &times; 17 (S.&nbsp;G.&nbsp;Fenton)</td><td align='right'>9</td><td align='right'>19</td><td align='right'>6</td></tr>
+<tr><td align='left'>A petit point picture, lake with boats
+and figures, 15 &times; 12 (Harris)</td><td align='right'>14</td><td align='right'>14</td><td align='right'>6</td></tr>
+<tr><td align='left'>A large stump picture, with horse and rider and figures of four
+seasons</td><td align='right'>30</td><td align='right'>10</td><td align='right'>0</td></tr>
+<tr><td align='left'>A stumpwork picture, four figures,
+castle and birds and flowers (S.&nbsp;G.&nbsp;Fenton)</td><td align='right'>33</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A picture sketched on white satin, not
+worked</td><td align='right'>4</td><td align='right'>15</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Stuart picture on canvas</td><td align='right'>9</td><td align='right'>19</td><td align='right'>6</td></tr>
+<tr><td align='left'>A fine Stuart jewel-casket, numerous secret drawers, covered in needlework
+(S.&nbsp;G.&nbsp;Fenton)</td><td align='right'>47</td><td align='right'>5</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Stuart box, covered with bullion-work
+(S.&nbsp;G.&nbsp;Fenton)</td><td align='right'>12</td><td align='right'>12</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Stuart box, with embroidery and
+pearls (Spero)</td><td align='right'>16</td><td align='right'>16</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Stuart box, coloured bullion, 10 &times; 6</td><td align='right'>9</td><td align='right'>9</td><td align='right'>0<span class='pagenum'><a name="Page_371" id="Page_371">{371}</a></span></td></tr>
+<tr><td align='left'>An embroidered box, with portrait on
+lid (S.&nbsp;G.&nbsp;Fenton)</td><td align='right'>53</td><td align='right'>11</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Stuart mirror, covered with stump embroidery, representing Charles I.
+and his Queen (illustrated), (Rosthron)</td><td align='right'>102</td><td align='right'>18</td><td align='right'>0</td></tr>
+<tr><td align='left'>Another mirror, with painted and
+embroidered figures (Harris)</td><td align='right'>34</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>A Charles I. mirror in old lace and gold frame, with borders in embroidery,
+with portrait, castle, and floral decoration</td><td align='right'>40</td><td align='right'>0</td><td align='right'>0</td></tr>
+<tr><td align='left'>3 yds. 13 inches long, 12 inches deep, Cornice in Petit Point, Christie's,
+July, 1908 (Harris)</td><td align='right'>204</td><td align='right'>15</td><td align='right'>0</td></tr>
+</table></div>
+
+<p><span class='pagenum'><a name="Page_373" id="Page_373">{373}</a></span><span class='pagenum'><a name="Page_372" id="Page_372"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2 style="text-align: left;"><a name="N_XV" id="N_XV"></a>XV<br />
+<br />
+CONCLUSION</h2><p><span class='pagenum'><a name="Page_375" id="Page_375">{375}</a></span><span class='pagenum'><a name="Page_374" id="Page_374"></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>XV<br />
+<br />
+CONCLUSION</h2>
+
+
+<p>Needlework as a national art is as dead as the
+proverbial door-nail; whether or not it ever regains
+its position as a craft is a matter of conjecture.
+Personally, I incline to the belief that it is absolutely
+extinct. The death-knell rang for all time when the
+sewing-machine was invented. The machine has
+been a very doubtful blessing, as it has allowed even
+the art of stitchery in ordinary work to slide into
+the limbo of forgotten things. What woman now
+knows what it is to "back-stitch" a shirt cuff, for
+instance, drawing a thread for guidance, and carefully
+going back two or three threads in order to
+make a neat, firm line of stitching? The sewing-machine
+does all this, and <i>does</i> it <i>well</i>, a clever
+machinist turning out more work in a week than
+a seamstress in a year. If this were all, it would
+be no matter for regret, but with the necessity for
+needlework has vanished the desire. The lady
+quoted in Green's History is now non-existent.
+"She was a pattern of sobriety unto many, very<span class='pagenum'><a name="Page_376" id="Page_376">{376}</a></span>
+seldom seen abroad except at church; when others
+recreated themselves at holidays and other times, she
+would take her needlework, and say, 'Here is my
+recreation.'"</p>
+
+<p>In spite of the many Schools of Embroidery, with
+a few notable exceptions, nothing is done to raise the
+standard of embroidery above making miserable little
+cushion-covers, table-centres, and suchlike pretty
+fripperies for the temporary adornment of the house.
+The women of Germany, Holland, Sweden, Italy, on
+the contrary, take a great interest in the embroidery
+of the bed and table linen and the really artistic embroidery
+of their national costumes. Nothing of this
+is seen in England. Table linen is bought <i>ready
+hemmed</i> at the shop. Dainty tea-cloths and serviettes
+are purchased ready embroidered (by machine) and
+trimmed with machine-made lace. Even <i>lingerie</i>
+of all classes is machine-made and bought by the
+dozen, instead of being made by the daughters of
+the house.</p>
+
+<p>The only hope of a revival lies in the various Art
+schools in the country where designing for fine embroidery
+and lace is encouraged. Unfortunately,
+however, equal facilities are offered for designing
+of machine-made imitations. The Royal School of
+Needlework, not being a Government institution,
+offers no encouragement to outsiders. It is in the
+hands of a number of ladies, who manage it as
+they will; and although very fine work is accomplished,
+they trust too much to modern designers
+and artists who work out their own pet theories and
+hobbies. If only they would put aside all theories<span class='pagenum'><a name="Page_377" id="Page_377">{377}</a></span>
+and new ideas, and <i>go back</i> to the best periods of
+English art both for their designs and execution, even
+yet, with the intelligent use of the glorious examples
+in the adjoining Museum, much might be done to
+revivify this expiring art.</p>
+
+<p class='center'>
+FINIS</p>
+<p><span class='pagenum'><a name="Page_379" id="Page_379">{379}</a></span><span class='pagenum'><a name="Page_378" id="Page_378"></a></span></p>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_380" id="Page_380"></a></span></p><p><span class='pagenum'><a name="Page_381" id="Page_381">{381}</a></span></p>
+<h2 style="text-align: left;"><a name="INDEX" id="INDEX"></a>INDEX</h2>
+
+
+<hr style="width: 65%;" />
+<h2>INDEX</h2>
+
+
+<h3>OLD LACE. (<i>For Needlework see page <a href="#Page_384">384</a></i>)</h3>
+
+
+<h3>A</h3>
+<ul class="IX">
+<li>Adelaide, Queen, <a href="#Page_116">116</a></li>
+<li>Age of lace, <a href="#Page_108">108</a>, <a href="#Page_191">191</a></li>
+<li>Alençon lace, <a href="#Page_29">29</a>, <a href="#Page_78">78</a>, <a href="#Page_183">183</a>, <a href="#Page_191">191</a></li>
+<li>Argentan lace, <a href="#Page_29">29</a>, <a href="#Page_78">78</a>, <a href="#Page_191">191</a></li>
+<li>Argentella lace, <a href="#Page_29">29</a>, <a href="#Page_81">81</a>, <a href="#Page_192">192</a></li>
+<li>Anne, Queen, <a href="#Page_157">157</a></li>
+<li>Appliqué, <a href="#Page_175">175</a></li>
+<li>Aylesbury, <a href="#Page_158">158</a></li>
+</ul>
+
+<h3>B</h3>
+<ul class="IX">
+<li>Baby lace, <a href="#Page_157">157</a></li>
+<li>Barri, Madame du, <a href="#Page_90">90</a></li>
+<li>Beading, <a href="#Page_41">41</a></li>
+<li>Beads on bobbins, <a href="#Page_161">161</a></li>
+<li>Bed furnishing, <a href="#Page_73">73</a></li>
+<li>Bedfordshire lace, <a href="#Page_37">37</a>, <a href="#Page_157">157</a></li>
+<li>Belgian lace, <a href="#Page_37">37</a></li>
+<li>Black lace, <a href="#Page_94">94</a></li>
+<li>Blonde lace, <a href="#Page_94">94</a></li>
+<li>Bone lace, <a href="#Page_41">41</a></li>
+<li>Bobbins, <a href="#Page_41">41</a>, <a href="#Page_158">158</a></li>
+<li>Bolckow, Mrs., <a href="#Page_54">54</a></li>
+<li>Brides, <a href="#Page_38">38</a>, <a href="#Page_127">127</a></li>
+<li>Brussels lace, <a href="#Page_37">37</a>, <a href="#Page_81">81</a>, <a href="#Page_104">104</a>, <a href="#Page_108">108</a>, <a href="#Page_123">123</a>, <a href="#Page_195">195</a></li>
+<li>Brussels appliqué, <a href="#Page_123">123</a></li>
+<li>Brussels Vrai Reseau, <a href="#Page_111">111</a></li>
+<li>Buckinghamshire lace, <a href="#Page_30">30</a>, <a href="#Page_35">35</a>, <a href="#Page_157">157</a>, <a href="#Page_158">158</a>, <a href="#Page_161">161</a></li>
+<li>Burano, <a href="#Page_54">54</a>, <a href="#Page_81">81</a></li>
+<li>Buttonhole stitch, <a href="#Page_195">195</a></li>
+</ul>
+
+<h3>C</h3>
+<ul class="IX">
+<li>Caen lace, <a href="#Page_97">97</a></li>
+<li>Carrick-ma-cross, <a href="#Page_175">175</a></li>
+<li>Catherine de Medici, <a href="#Page_73">73</a></li>
+<li>Chantilly lace, <a href="#Page_37">37</a>, <a href="#Page_93">93</a></li>
+<li>Charles I., <a href="#Page_148">148</a></li>
+<li>Charles II., <a href="#Page_104">104</a>, <a href="#Page_148">148</a>, <a href="#Page_151">151</a></li>
+<li>Charlotte, Queen, <a href="#Page_161">161</a></li>
+<li>Christie's sale-room, <a href="#Page_115">115</a>, <a href="#Page_201">201</a></li>
+<li>Colbert, <a href="#Page_29">29</a>, <a href="#Page_73">73</a>, <a href="#Page_77">77</a>, <a href="#Page_102">102</a></li>
+<li>Collar lace, <a href="#Page_61">61</a></li>
+<li>Collar, Medici, <a href="#Page_53">53</a></li>
+<li>Commonwealth, <a href="#Page_148">148</a></li>
+<li>Cordonnet, <a href="#Page_41">41</a>, <a href="#Page_53">53</a>, <a href="#Page_77">77</a></li>
+<li>Convents, <a href="#Page_26">26</a></li>
+<li>Coptic embroideries, <a href="#Page_21">21</a></li>
+<li>Couronnes, <a href="#Page_41">41</a></li>
+<li>Cravat, <a href="#Page_151">151</a></li>
+<li>Creevy Papers, <a href="#Page_115">115</a></li>
+<li>Cromwell, <a href="#Page_151">151</a></li>
+<li>Crotchet, <a href="#Page_175">175</a></li>
+<li>Cut worke, <a href="#Page_73">73</a>, <a href="#Page_187">187</a></li>
+<li>Cuthbert, St., <a href="#Page_22">22</a><span class='pagenum'><a name="Page_382" id="Page_382"></a>{382}</span></li>
+</ul>
+
+<h3>D</h3>
+<ul class="IX">
+<li>Danish lace, <a href="#Page_134">134</a></li>
+<li>Darned netting, <a href="#Page_173">173</a></li>
+<li>Debenham &amp; Storr's sale-room, <a href="#Page_54">54</a>, <a href="#Page_200">200</a></li>
+<li>Dentelé, <a href="#Page_41">41</a></li>
+<li>Devonshire lace, <a href="#Page_30">30</a>, <a href="#Page_162">162</a></li>
+<li>Dorsetshire lace, <a href="#Page_161">161</a></li>
+<li>Drawn work, <a href="#Page_21">21</a></li>
+<li>Duchesse lace, <a href="#Page_127">127</a></li>
+<li>Durham Cathedral, <a href="#Page_22">22</a></li>
+</ul>
+
+<h3>E</h3>
+<ul class="IX">
+<li>Ecclesiastical lace, <a href="#Page_62">62</a></li>
+<li>Edgings, <a href="#Page_31">31</a></li>
+<li>Edward IV., <a href="#Page_144">144</a></li>
+<li>Egyptian netting, <a href="#Page_22">22</a></li>
+<li>Elizabeth, Queen of England, <a href="#Page_54">54</a>, <a href="#Page_147">147</a></li>
+<li>Embroidered net, <a href="#Page_172">172</a></li>
+<li>English laces, <a href="#Page_157">157</a></li>
+<li>Empress Eugénie, <a href="#Page_97">97</a></li>
+</ul>
+
+<h3>F</h3>
+<ul class="IX">
+<li>Falling collar, <a href="#Page_148">148</a></li>
+<li>Fausse Valenciennes, <a href="#Page_89">89</a></li>
+<li>Fillings, <a href="#Page_40">40</a>, <a href="#Page_173">173</a></li>
+<li>"Figure" motifs, <a href="#Page_107">107</a></li>
+<li>Flanders lace, <a href="#Page_29">29</a>, <a href="#Page_103">103</a></li>
+<li>Flat point (point plat), <a href="#Page_50">50</a></li>
+<li>Flax thread, <a href="#Page_61">61</a>, <a href="#Page_107">107</a></li>
+<li>Florence, <a href="#Page_53">53</a></li>
+<li>Flemish point, <a href="#Page_103">103</a></li>
+<li>Fond, <a href="#Page_42">42</a></li>
+<li>Fontange, <a href="#Page_151">151</a></li>
+<li>Fowler, Mrs., of Honiton, <a href="#Page_166">166</a></li>
+<li>France, point de, <a href="#Page_74">74</a></li>
+<li>French Revolution, <a href="#Page_78">78</a></li>
+</ul>
+
+<h3>G</h3>
+<ul class="IX">
+<li>Genoese lace, <a href="#Page_29">29</a></li>
+<li>George I., <a href="#Page_115">115</a></li>
+<li>George II., <a href="#Page_115">115</a></li>
+<li>George III., <a href="#Page_115">115</a></li>
+<li>George IV., <a href="#Page_112">112</a></li>
+<li>German laces, <a href="#Page_134">134</a></li>
+<li>Ghent laces, <a href="#Page_124">124</a></li>
+<li>Gingles, <a href="#Page_161">161</a></li>
+<li>Gold and silver laces, <a href="#Page_134">134</a></li>
+<li>Greek laces, <a href="#Page_103">103</a>, <a href="#Page_183">183</a></li>
+<li>Groppo, Punto a, <a href="#Page_62">62</a></li>
+<li>Gros, Point de Venise, <a href="#Page_53">53</a></li>
+<li>Grounds, <a href="#Page_37">37</a></li>
+<li>Guipure, <a href="#Page_42">42</a>, <a href="#Page_61">61</a></li>
+<li>Gold lace, <a href="#Page_22">22</a></li>
+</ul>
+
+<h3>H</h3>
+<ul class="IX">
+<li>Hamilton lace, <a href="#Page_171">171</a></li>
+<li>"Hayward's," 114</li>
+<li>Henry VII., <a href="#Page_144">144</a></li>
+<li>Henry VIII., <a href="#Page_147">147</a></li>
+<li>High Wycombe, <a href="#Page_158">158</a></li>
+<li>History of lace, <a href="#Page_21">21</a></li>
+<li>Honiton, <a href="#Page_30">30</a>, <a href="#Page_35">35</a>, <a href="#Page_165">165</a></li>
+<li>Honiton appliqué, <a href="#Page_30">30</a></li>
+<li>Huguenots, <a href="#Page_30">30</a></li>
+</ul>
+
+<h3>I</h3>
+<ul class="IX">
+<li>Identification of lace, <a href="#Page_183">183</a></li>
+<li>Irish lace, <a href="#Page_30">30</a>, <a href="#Page_172">172</a>, <a href="#Page_176">176</a>, <a href="#Page_192">192</a></li>
+<li>Italian lace, <a href="#Page_45">45</a></li>
+</ul>
+
+<h3>J</h3>
+<ul class="IX">
+<li>James I., <a href="#Page_148">148</a></li>
+<li>James II., <a href="#Page_151">151</a></li>
+<li>Jours, <a href="#Page_41">41</a>, <a href="#Page_81">81</a></li>
+</ul>
+
+<h3>K</h3>
+<ul class="IX">
+<li>Kenmare, Lady, <a href="#Page_75">75</a></li>
+<li>King of Rome, <a href="#Page_112">112</a></li>
+</ul>
+
+<h3>L</h3>
+<ul class="IX">
+<li>"Lacis," <a href="#Page_29">29</a>, <a href="#Page_73">73</a></li>
+<li>Lappets, <a href="#Page_112">112</a></li>
+<li>Lawn, <a href="#Page_93">93</a><span class='pagenum'><a name="Page_383" id="Page_383"></a>{383}</span></li>
+<li>Lewis Hill, Mrs., <a href="#Page_201">201</a></li>
+<li>Lille, <a href="#Page_35">35</a>, <a href="#Page_91">91</a></li>
+<li>Limerick, <a href="#Page_124">124</a>, <a href="#Page_172">172</a></li>
+<li>L'Onray, <a href="#Page_76">76</a></li>
+<li>Louis XIV., <a href="#Page_29">29</a>, <a href="#Page_46">46</a>, <a href="#Page_73">73</a>, <a href="#Page_74">74</a></li>
+<li>Louis XV., <a href="#Page_78">78</a></li>
+<li>Lyme Regis, <a href="#Page_162">162</a></li>
+</ul>
+
+<h3>M</h3>
+<ul class="IX">
+<li>Machine-made ground, <a href="#Page_172">172</a></li>
+<li>Macramé, <a href="#Page_37">37</a>, <a href="#Page_64">64</a></li>
+<li>Malines, <a href="#Page_127">127</a></li>
+<li>Maltese, <a href="#Page_137">137</a></li>
+<li>Mantillas, <a href="#Page_97">97</a></li>
+<li>Marie Antoinette, <a href="#Page_78">78</a>, <a href="#Page_123">123</a>, <a href="#Page_129">129</a></li>
+<li>Massey-Mainwaring, Mrs., <a href="#Page_200">200</a></li>
+<li>Marie de Medici, <a href="#Page_53">53</a></li>
+<li>Marie Stuart, <a href="#Page_171">171</a></li>
+<li>Mary, Queen, <a href="#Page_147">147</a></li>
+<li>Mary II., <a href="#Page_151">151</a>, <a href="#Page_152">152</a></li>
+<li>Mechlin, <a href="#Page_37">37</a>, <a href="#Page_127">127</a></li>
+<li>Medici collar, <a href="#Page_53">53</a></li>
+<li>Mezzo Punto, <a href="#Page_62">62</a></li>
+<li>Milanese lace, <a href="#Page_29">29</a>, <a href="#Page_62">62</a></li>
+<li>Mixed lace, <a href="#Page_37">37</a>, <a href="#Page_62">62</a>, <a href="#Page_124">124</a></li>
+<li>Modern point lace, <a href="#Page_124">124</a></li>
+<li>Montespan, Madame de, <a href="#Page_74">74</a></li>
+</ul>
+
+<h3>N</h3>
+<ul class="IX">
+<li>Napoleon I., <a href="#Page_78">78</a>, <a href="#Page_112">112</a></li>
+<li>National Library, S.K.M., <a href="#Page_50">50</a></li>
+<li>Needlepoint lace, <a href="#Page_49">49</a>, <a href="#Page_73">73</a>, <a href="#Page_108">108</a></li>
+<li>Network, ancient, <a href="#Page_3">3</a></li>
+<li>Newport Pagnell, <a href="#Page_158">158</a></li>
+<li>Normandy lace, <a href="#Page_97">97</a></li>
+<li>Norway, <a href="#Page_134">134</a></li>
+<li>Northamptonshire lace, <a href="#Page_157">157</a></li>
+<li>Nuns, <a href="#Page_26">26</a></li>
+</ul>
+
+<h3>O</h3>
+<ul class="IX">
+<li>&OElig;il de perdrix, <a href="#Page_83">83</a>, <a href="#Page_192">192</a></li>
+<li>Origin of lace, <a href="#Page_21">21</a></li>
+</ul>
+
+<h3>P</h3>
+<ul class="IX">
+<li>Palliser, Mrs. Bury, <a href="#Page_9">9</a></li>
+<li>Parchment, <a href="#Page_25">25</a></li>
+<li>Parasole, <a href="#Page_50">50</a></li>
+<li>Pearls, <a href="#Page_97">97</a></li>
+<li>Peter the Great, <a href="#Page_134">134</a></li>
+<li>Picots, <a href="#Page_42">42</a></li>
+<li>Pillow lace, <a href="#Page_29">29</a>, <a href="#Page_37">37</a></li>
+<li>Point lace, <a href="#Page_25">25</a>, <a href="#Page_37">37</a></li>
+<li>Point à réseau, <a href="#Page_53">53</a></li>
+<li>Point d'Aiguille (Brussels), <a href="#Page_108">108</a></li>
+<li>Point d'Alençon, <a href="#Page_76">76</a></li>
+<li>Point d'Angleterre, <a href="#Page_102">102</a>, <a href="#Page_107">107</a>, <a href="#Page_192">192</a></li>
+<li>Point appliqué, <a href="#Page_123">123</a></li>
+<li>Point de France, <a href="#Page_46">46</a>, <a href="#Page_76">76</a>, <a href="#Page_188">188</a></li>
+<li>Point de Gaze, <a href="#Page_108">108</a>, <a href="#Page_124">124</a></li>
+<li>Point de Venise, <a href="#Page_49">49</a></li>
+<li>Point de Venise Gros, <a href="#Page_50">50</a>, <a href="#Page_53">53</a>, <a href="#Page_54">54</a></li>
+<li>Point de Neige, <a href="#Page_49">49</a>, <a href="#Page_50">50</a></li>
+<li>Point plat, <a href="#Page_50">50</a></li>
+<li>Punto in aria, <a href="#Page_25">25</a>, <a href="#Page_143">143</a></li>
+<li>Punto a groppo, <a href="#Page_37">37</a>, <a href="#Page_62">62</a></li>
+<li>Punto tagliato a foliami, <a href="#Page_53">53</a></li>
+</ul>
+
+<h3>Q</h3>
+<ul class="IX">
+<li>Quillings, <a href="#Page_128">128</a></li>
+<li>Quentin Matys, <a href="#Page_103">103</a></li>
+<li>Queen Anne, <a href="#Page_157">157</a></li>
+<li>Queen Mary II., <a href="#Page_117">117</a>, <a href="#Page_127">127</a>, <a href="#Page_151">151</a></li>
+<li>Queen Charlotte, <a href="#Page_117">117</a>, <a href="#Page_128">128</a></li>
+<li>Queen of Laces, <a href="#Page_128">128</a></li>
+<li>Queen Victoria, <a href="#Page_116">116</a>, <a href="#Page_162">162</a></li>
+</ul>
+
+<h3>R</h3>
+<ul class="IX">
+<li>Raised stars, <a href="#Page_49">49</a></li>
+<li>Rose point, <a href="#Page_49">49</a>, <a href="#Page_50">50</a></li>
+<li>Renaissance, <a href="#Page_53">53</a>, <a href="#Page_107">107</a>, <a href="#Page_188">188</a></li>
+<li>Reseau, <a href="#Page_36">36</a>, <a href="#Page_39">39</a></li>
+<li>Reticella, <a href="#Page_26">26</a>, <a href="#Page_50">50</a>, <a href="#Page_73">73</a>, <a href="#Page_103">103</a>, <a href="#Page_143">143</a>, <a href="#Page_188">188</a></li>
+<li>Revolution, French, <a href="#Page_78">78</a></li>
+<li>Rococo, <a href="#Page_78">78</a></li>
+<li>Royal trousseaux, <a href="#Page_81">81</a><span class='pagenum'><a name="Page_384" id="Page_384"></a>{384}</span></li>
+<li>Ruffles, <a href="#Page_90">90</a></li>
+<li>Russian lace, <a href="#Page_134">134</a></li>
+</ul>
+
+<h3>S</h3>
+<ul class="IX">
+<li>St. Cuthbert, <a href="#Page_22">22</a></li>
+<li>Sale prices, <a href="#Page_199">199</a></li>
+<li>Samplers, <a href="#Page_25">25</a>, <a href="#Page_187">187</a></li>
+<li>Saxony lace, <a href="#Page_134">134</a></li>
+<li>Scotch lace, <a href="#Page_171">171</a></li>
+<li>Silk lace, <a href="#Page_94">94</a></li>
+<li>Smocks, <a href="#Page_25">25</a></li>
+<li>Spanish point, <a href="#Page_133">133</a></li>
+<li>Steinkirk, <a href="#Page_151">151</a></li>
+<li>Sumptuary law, <a href="#Page_112">112</a></li>
+<li>South Kensington Museum, <a href="#Page_187">187</a></li>
+</ul>
+
+<h3>T</h3>
+<ul class="IX">
+<li>Tambour lace, <a href="#Page_172">172</a></li>
+<li>Tape lace, <a href="#Page_62">62</a></li>
+<li>Tatting, <a href="#Page_175">175</a></li>
+<li>Thread, <a href="#Page_61">61</a></li>
+<li>Toilé, <a href="#Page_108">108</a></li>
+<li>Trolly lace, <a href="#Page_165">165</a></li>
+</ul>
+
+<h3>V</h3>
+<ul class="IX">
+<li>Valenciennes lace, <a href="#Page_37">37</a>, <a href="#Page_89">89</a></li>
+<li>Vandyke, <a href="#Page_61">61</a>, <a href="#Page_148">148</a></li>
+<li>Venice, <a href="#Page_183">183</a></li>
+<li>Vicellio, <a href="#Page_50">50</a></li>
+<li>Venetian lace, <a href="#Page_50">50</a></li>
+<li>Victoria, Queen, <a href="#Page_162">162</a>, <a href="#Page_165">165</a></li>
+<li>Vinciolo, <a href="#Page_29">29</a>, <a href="#Page_50">50</a></li>
+<li>Vraie Valenciennes, <a href="#Page_89">89</a>, <a href="#Page_90">90</a></li>
+</ul>
+
+<h3>W</h3>
+<ul class="IX">
+<li>Westminster effigies, <a href="#Page_147">147</a>, <a href="#Page_151">151</a>, <a href="#Page_152">152</a></li>
+<li>William and Mary, <a href="#Page_148">148</a>, <a href="#Page_151">151</a></li>
+<li>"Wynyards," <a href="#Page_115">115</a></li>
+<li>William III., <a href="#Page_115">115</a></li>
+<li>Wiltshire lace, <a href="#Page_115">115</a></li>
+<li>Willis's Rooms, <a href="#Page_201">201</a></li>
+</ul>
+
+<h3>Y</h3>
+<ul class="IX">
+<li>Youghal laces, <a href="#Page_176">176</a></li>
+</ul>
+
+
+<h3><a name="NEEDLEWORK_INDEX" id="NEEDLEWORK_INDEX"></a>NEEDLEWORK</h3>
+
+
+<h3>A</h3>
+<ul class="IX">
+<li>Athelstan, <a href="#Page_213">213</a></li>
+<li>Alb, <a href="#Page_238">238</a></li>
+<li>Aldhelm, Bishop of Sherborne, <a href="#Page_213">213</a></li>
+<li>Aelfled, Queen of Edward the Elder, <a href="#Page_213">213</a></li>
+<li>Angelica Kauffmann, <a href="#Page_339">339</a></li>
+<li>Art, the pioneer, <a href="#Page_209">209</a></li>
+<li>Ascagni cope, <a href="#Page_223">223</a></li>
+<li>Ascoli cope, <a href="#Page_233">233</a></li>
+</ul>
+
+<h3>B</h3>
+<ul class="IX">
+<li>Bags, Stuart, <a href="#Page_261">261</a></li>
+<li>Bayeux tapestry, <a href="#Page_214">214</a></li>
+<li>Beads, Venetian, <a href="#Page_274">274</a></li>
+<li>Berlin wool pictures, <a href="#Page_350">350</a></li>
+<li>Bishop Fridhestan, <a href="#Page_213">213</a></li>
+<li>Black work, <a href="#Page_284">284</a></li>
+<li>Bologna cope, <a href="#Page_223">223</a></li>
+<li>Book-covers, <a href="#Page_279">279</a></li>
+<li>Bridgettine nuns, <a href="#Page_227">227</a></li>
+</ul>
+
+<h3>C</h3>
+<ul class="IX">
+<li>Catworth cushions, <a href="#Page_233">233</a></li>
+<li>Catherine of Aragon, <a href="#Page_248">248</a>, <a href="#Page_251">251</a>, <a href="#Page_284">284</a></li>
+<li>Caskets, <a href="#Page_269">269</a></li>
+<li>Chain stitch, <a href="#Page_227">227</a></li>
+<li>Charles I., <a href="#Page_265">265</a>, <a href="#Page_273">273</a></li>
+<li>Charles II., <a href="#Page_265">265</a>, <a href="#Page_273">273</a></li>
+<li>Chasubles, <a href="#Page_241">241</a><span class='pagenum'><a name="Page_385" id="Page_385"></a>{385}</span></li>
+<li>Christie's sale-rooms, <a href="#Page_257">257</a>, <a href="#Page_265">265</a>, <a href="#Page_270">270</a>, <a href="#Page_367">367</a></li>
+<li>City palls, <a href="#Page_237">237</a></li>
+<li>Church vestments, <a href="#Page_238">238</a></li>
+<li>Coventry, <a href="#Page_228">228</a></li>
+<li>Copes, <a href="#Page_241">241</a></li>
+<li>Crewel work, <a href="#Page_329">329</a></li>
+</ul>
+
+<h3>D</h3>
+<ul class="IX">
+<li>Daroca cope at Madrid, <a href="#Page_223">223</a></li>
+<li>Dr. Rock, <a href="#Page_227">227</a></li>
+</ul>
+
+<h3>E</h3>
+<ul class="IX">
+<li>Earl of Shrewsbury, <a href="#Page_228">228</a></li>
+<li>Editha, Queen of Edward the Confessor, <a href="#Page_213">213</a></li>
+<li>Egyptian embroidery, <a href="#Page_210">210</a></li>
+<li>Emma, Queen of Ethelred the Unready, <a href="#Page_213">213</a></li>
+<li>Elizabeth's wardrobe, <a href="#Page_249">249</a></li>
+<li>Elizabeth's Book at British Museum, <a href="#Page_283">283</a></li>
+<li>Elizabeth's Book at the Bodleian Library, <a href="#Page_283">283</a></li>
+<li>Elizabeth Hinde's Sampler, <a href="#Page_309">309</a></li>
+<li>Elizabeth Mackett's Sampler, <a href="#Page_311">311</a></li>
+</ul>
+
+<h3>F</h3>
+<ul class="IX">
+<li>Field of the Cloth of Gold, <a href="#Page_249">249</a></li>
+</ul>
+
+<h3>G</h3>
+<ul class="IX">
+<li>Georgian costumes, <a href="#Page_363">363</a></li>
+<li>Georgian pictures, <a href="#Page_335">335</a></li>
+<li>Gimps, <a href="#Page_249">249</a></li>
+<li>Gloves, <a href="#Page_262">262</a>, <a href="#Page_265">265</a></li>
+<li>Greek garments, <a href="#Page_359">359</a></li>
+</ul>
+
+<h3>H</h3>
+<ul class="IX">
+<li>Hampton Court, <a href="#Page_250">250</a>, <a href="#Page_322">322</a></li>
+<li>Hair and silk pictures, <a href="#Page_343">343</a></li>
+<li>Henrietta Maria, Queen, <a href="#Page_265">265</a></li>
+<li>Henry VIII., <a href="#Page_247">247</a></li>
+<li>Höchon collection, <a href="#Page_220">220</a></li>
+</ul>
+
+<h3>I</h3>
+<ul class="IX">
+<li>Isleworth, <a href="#Page_227">227</a></li>
+<li>Italian raised work, <a href="#Page_295">295</a></li>
+</ul>
+
+<h3>J</h3>
+<ul class="IX">
+<li>James I., <a href="#Page_257">257</a></li>
+<li>Jacobean hangings, <a href="#Page_321">321</a></li>
+<li>"Jesse" Cope, <a href="#Page_223">223</a></li>
+<li>John Taylor's Needlework Rhyme, <a href="#Page_258">258</a></li>
+</ul>
+
+<h3>L</h3>
+<ul class="IX">
+<li>Lady Jane Grey, <a href="#Page_247">247</a></li>
+<li>"Laid," or couch work, <a href="#Page_227">227</a></li>
+<li>Linwood, Miss, <a href="#Page_350">350</a></li>
+</ul>
+
+<h3>M</h3>
+<ul class="IX">
+<li>Maniple, <a href="#Page_241">241</a></li>
+<li>Mary Queen of Scots, <a href="#Page_250">250</a></li>
+<li>Mary II. embroidery, <a href="#Page_325">325</a></li>
+<li>Minerva, <a href="#Page_358">358</a></li>
+<li>Mirror frames, <a href="#Page_273">273</a></li>
+</ul>
+
+<h3>N</h3>
+<ul class="IX">
+<li>Needlework pictures, <a href="#Page_291">291</a>, <a href="#Page_335">335</a>, <a href="#Page_349">349</a></li>
+<li>Neolithic remains, <a href="#Page_210">210</a></li>
+<li>"Nevil" altar-frontal, <a href="#Page_234">234</a></li>
+</ul>
+
+<h3>O</h3>
+<ul class="IX">
+<li>Opus Anglicum, or Anglicanum, <a href="#Page_219">219</a>, <a href="#Page_223">223</a></li>
+</ul>
+
+<h3>P</h3>
+<ul class="IX">
+<li>"Painted face" picture, <a href="#Page_335">335</a>, <a href="#Page_343">343</a></li>
+<li>Petit point, <a href="#Page_257">257</a>, <a href="#Page_325">325</a></li>
+<li>Phoenicians, <a href="#Page_359">359</a></li>
+<li>Phrygian embroidery, <a href="#Page_358">358</a></li>
+<li>Pierpont Morgan, <a href="#Page_233">233</a></li>
+<li>Pocket books, <a href="#Page_281">281</a></li>
+<li>Pope Innocent III., <a href="#Page_223">223</a><span class='pagenum'><a name="Page_386" id="Page_386"></a>{386}</span></li>
+</ul>
+
+<h3>Q</h3>
+<ul class="IX">
+<li>Quilting, <a href="#Page_287">287</a></li>
+</ul>
+
+<h3>R</h3>
+<ul class="IX">
+<li>Reformation, <a href="#Page_246">246</a></li>
+<li>Roman Invasion, <a href="#Page_210">210</a></li>
+<li>Royal School of Needlework, <a href="#Page_353">353</a></li>
+<li>Rock's "Church of Our Fathers," <a href="#Page_220">220</a></li>
+</ul>
+
+<h3>S</h3>
+<ul class="IX">
+<li>Samplers, <a href="#Page_307">307</a></li>
+<li>St. Augustine, <a href="#Page_210">210</a></li>
+<li>St. Benedict, <a href="#Page_220">220</a></li>
+<li>St. Cuthbert, <a href="#Page_213">213</a></li>
+<li>St. Dunstan, <a href="#Page_213">213</a></li>
+<li>Steeple Aston altar-frontal, <a href="#Page_234">234</a></li>
+<li>Stoles, <a href="#Page_238">238</a></li>
+<li>Stump work, <a href="#Page_295">295</a></li>
+<li>Stump work symbols, <a href="#Page_302">302</a></li>
+<li>"Syon" cope, <a href="#Page_223">223</a></li>
+<li>Subjects of needle pictures, <a href="#Page_295">295</a></li>
+</ul>
+
+<h3>T</h3>
+<ul class="IX">
+<li>Tambour stitch, <a href="#Page_227">227</a></li>
+<li>Tudor embroideries, <a href="#Page_247">247</a></li>
+<li>Trays, <a href="#Page_270">270</a></li>
+</ul>
+
+<h3>W</h3>
+<ul class="IX">
+<li>Wonderful needlewoman, A, <a href="#Page_351">351</a></li>
+<li>Wolsey, Cardinal, <a href="#Page_249">249</a>, <a href="#Page_250">250</a></li>
+<li>Wolseley's, Lady, collection, <a href="#Page_265">265</a>, <a href="#Page_273">273</a>, <a href="#Page_368">368</a></li>
+<li>Worcester fragments, <a href="#Page_219">219</a></li>
+</ul>
+
+
+<hr style='width: 45%;' />
+
+<p class='center'>
+<i>Printed in Great Britain by</i><br />
+UNWIN BROTHERS, LIMITED, THE GRESHAM PRESS, WOKING AND LONDON<br />
+</p>
+
+<hr style='width: 45%;' />
+
+<p>Transcriber's Note:</p>
+
+<p>Obvious punctuation errors have been corrected.</p>
+
+<p>Inconsistent hyphenation in the original has been preserved, e.g.
+cutwork, cut-work; hand-made, handmade; lace-workers, laceworkers;
+may-flower, mayflower; needle-craft, needlecraft; needle-point,
+needlepoint; salerooms, sale-rooms; semi-circular, semicircular.</p>
+
+<p>Inconsistent use of accents has been preserved, e.g. applique, appliqu&eacute;;
+r&eacute;seau, reseau; toile, toil&eacute;.</p>
+
+<p>In the Index, Pierpoint was corrected to Pierpont to match the body of
+the text.</p>
+
+<p>The main body of the text refers to the "Hockon collection", which is
+referred to in the index as the "H&ouml;chon collection". It is unclear which
+of these is correct so they have been preserved as they appear in the
+original.</p>
+
+<p>Page 25: 'survival of the fitting' changed to 'survival of the fittest'.</p>
+
+<p>Page 38: 'accompanying diagrams' changed to 'accompanying diagram'.</p>
+
+<p>Page 42: 'little loop' changed to 'little loops'.</p>
+
+<p>Page 127: '"Duchesse point" of "Bruges,"' changed to '"Duchesse point" or "Bruges,"'.</p>
+
+<p>Page 192: 'of same period' changed to 'of the same period'.</p>
+
+<p>Page 196: 'other two' changed to 'two other'.</p>
+
+<p>Page 300: 'and rose of England' changed to 'and the rose of England'.</p>
+
+<p>Page 303: 'and butterfly was' changed to 'and butterfly were'.</p>
+
+<p>Page 315: 'a long narrow Samplers' changed to 'a long narrow Sampler'.</p>
+
+<p>Page 383: 'Punto à groppo' changed to 'Punto a groppo'.</p>
+
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>***END OF THE PROJECT GUTENBERG EBOOK CHATS ON OLD LACE AND NEEDLEWORK***</p>
+<p>******* This file should be named 26120-h.txt or 26120-h.zip *******</p>
+<p>This and all associated files of various formats will be found in:<br />
+<a href="http://www.gutenberg.org/dirs/2/6/1/2/26120">http://www.gutenberg.org/2/6/1/2/26120</a></p>
+<p>Updated editions will replace the previous one--the old editions
+will be renamed.</p>
+
+<p>Creating the works from public domain print editions 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 with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.</p>
+
+
+
+<pre>
+*** 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
+<a href="http://www.gutenberg.org/license">http://www.gutenberg.org/license)</a>.
+
+
+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 in the public domain 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 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
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (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 Michael
+Hart, 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
+public domain works 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 F3.  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 MERCHANTIBILITY 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, is 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 web page at http://www.gutenberg.org/fundraising/pglaf.
+
+
+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 located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., 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
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://www.gutenberg.org/about/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 http://www.gutenberg.org/fundraising/pglaf
+
+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: http://www.gutenberg.org/fundraising/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty 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 Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Each eBook is in a subdirectory of the same number as the eBook's
+eBook number, often in several formats including plain vanilla ASCII,
+compressed (zipped), HTML and others.
+
+Corrected EDITIONS of our eBooks replace the old file and take over
+the old filename and etext number.  The replaced older file is renamed.
+VERSIONS based on separate sources are treated as new eBooks receiving
+new filenames and etext numbers.
+
+Most people start at our Web site which has the main PG search facility:
+
+<a href="http://www.gutenberg.org">http://www.gutenberg.org</a>
+
+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.
+
+EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
+are filed in directories based on their release date.  If you want to
+download any of these eBooks directly, rather than using the regular
+search system you may utilize the following addresses and just
+download by the etext year.
+
+<a href="http://www.gutenberg.org/dirs/etext06/">http://www.gutenberg.org/dirs/etext06/</a>
+
+    (Or /etext 05, 04, 03, 02, 01, 00, 99,
+     98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)
+
+EBooks posted since November 2003, with etext numbers OVER #10000, are
+filed in a different way.  The year of a release date is no longer part
+of the directory path.  The path is based on the etext number (which is
+identical to the filename).  The path to the file is made up of single
+digits corresponding to all but the last digit in the filename.  For
+example an eBook of filename 10234 would be found at:
+
+http://www.gutenberg.org/dirs/1/0/2/3/10234
+
+or filename 24689 would be found at:
+http://www.gutenberg.org/dirs/2/4/6/8/24689
+
+An alternative method of locating eBooks:
+<a href="http://www.gutenberg.org/dirs/GUTINDEX.ALL">http://www.gutenberg.org/dirs/GUTINDEX.ALL</a>
+
+*** END: FULL LICENSE ***
+</pre>
+</body>
+</html>
diff --git a/26120-h/images/full_image060.jpg b/26120-h/images/full_image060.jpg
new file mode 100644
index 0000000..da9290a
--- /dev/null
+++ b/26120-h/images/full_image060.jpg
diff --git a/26120-h/images/full_image063.jpg b/26120-h/images/full_image063.jpg
new file mode 100644
index 0000000..0e87139
--- /dev/null
+++ b/26120-h/images/full_image063.jpg
diff --git a/26120-h/images/full_image064.jpg b/26120-h/images/full_image064.jpg
new file mode 100644
index 0000000..6288429
--- /dev/null
+++ b/26120-h/images/full_image064.jpg
diff --git a/26120-h/images/full_image065.jpg b/26120-h/images/full_image065.jpg
new file mode 100644
index 0000000..0803d0c
--- /dev/null
+++ b/26120-h/images/full_image065.jpg
diff --git a/26120-h/images/full_image067.jpg b/26120-h/images/full_image067.jpg
new file mode 100644
index 0000000..af7bb32
--- /dev/null
+++ b/26120-h/images/full_image067.jpg
diff --git a/26120-h/images/full_image068.jpg b/26120-h/images/full_image068.jpg
new file mode 100644
index 0000000..c87b9ff
--- /dev/null
+++ b/26120-h/images/full_image068.jpg
diff --git a/26120-h/images/full_image069.jpg b/26120-h/images/full_image069.jpg
new file mode 100644
index 0000000..113119b
--- /dev/null
+++ b/26120-h/images/full_image069.jpg
diff --git a/26120-h/images/full_image070.jpg b/26120-h/images/full_image070.jpg
new file mode 100644
index 0000000..406ccad
--- /dev/null
+++ b/26120-h/images/full_image070.jpg
diff --git a/26120-h/images/full_image072.jpg b/26120-h/images/full_image072.jpg
new file mode 100644
index 0000000..652898a
--- /dev/null
+++ b/26120-h/images/full_image072.jpg
diff --git a/26120-h/images/full_image076.jpg b/26120-h/images/full_image076.jpg
new file mode 100644
index 0000000..fd26d64
--- /dev/null
+++ b/26120-h/images/full_image076.jpg
diff --git a/26120-h/images/full_image081.jpg b/26120-h/images/full_image081.jpg
new file mode 100644
index 0000000..ec6dce8
--- /dev/null
+++ b/26120-h/images/full_image081.jpg
diff --git a/26120-h/images/full_image083.jpg b/26120-h/images/full_image083.jpg
new file mode 100644
index 0000000..70e3379
--- /dev/null
+++ b/26120-h/images/full_image083.jpg
diff --git a/26120-h/images/full_image084.jpg b/26120-h/images/full_image084.jpg
new file mode 100644
index 0000000..56bd51d
--- /dev/null
+++ b/26120-h/images/full_image084.jpg
diff --git a/26120-h/images/full_image085.jpg b/26120-h/images/full_image085.jpg
new file mode 100644
index 0000000..ae14ef6
--- /dev/null
+++ b/26120-h/images/full_image085.jpg
diff --git a/26120-h/images/full_image086.jpg b/26120-h/images/full_image086.jpg
new file mode 100644
index 0000000..4d54b08
--- /dev/null
+++ b/26120-h/images/full_image086.jpg
diff --git a/26120-h/images/full_image087.jpg b/26120-h/images/full_image087.jpg
new file mode 100644
index 0000000..aa1c38e
--- /dev/null
+++ b/26120-h/images/full_image087.jpg
diff --git a/26120-h/images/full_image088.jpg b/26120-h/images/full_image088.jpg
new file mode 100644
index 0000000..829edfc
--- /dev/null
+++ b/26120-h/images/full_image088.jpg
diff --git a/26120-h/images/image001.jpg b/26120-h/images/image001.jpg
new file mode 100644
index 0000000..b26d487
--- /dev/null
+++ b/26120-h/images/image001.jpg
diff --git a/26120-h/images/image002.jpg b/26120-h/images/image002.jpg
new file mode 100644
index 0000000..bbf7675
--- /dev/null
+++ b/26120-h/images/image002.jpg
diff --git a/26120-h/images/image003.jpg b/26120-h/images/image003.jpg
new file mode 100644
index 0000000..609db15
--- /dev/null
+++ b/26120-h/images/image003.jpg
diff --git a/26120-h/images/image004.jpg b/26120-h/images/image004.jpg
new file mode 100644
index 0000000..9ce03f5
--- /dev/null
+++ b/26120-h/images/image004.jpg
diff --git a/26120-h/images/image005.jpg b/26120-h/images/image005.jpg
new file mode 100644
index 0000000..205acf0
--- /dev/null
+++ b/26120-h/images/image005.jpg
diff --git a/26120-h/images/image006.jpg b/26120-h/images/image006.jpg
new file mode 100644
index 0000000..823878f
--- /dev/null
+++ b/26120-h/images/image006.jpg
diff --git a/26120-h/images/image007.jpg b/26120-h/images/image007.jpg
new file mode 100644
index 0000000..b816e46
--- /dev/null
+++ b/26120-h/images/image007.jpg
diff --git a/26120-h/images/image008.jpg b/26120-h/images/image008.jpg
new file mode 100644
index 0000000..d21cbeb
--- /dev/null
+++ b/26120-h/images/image008.jpg
diff --git a/26120-h/images/image009.jpg b/26120-h/images/image009.jpg
new file mode 100644
index 0000000..be6712d
--- /dev/null
+++ b/26120-h/images/image009.jpg
diff --git a/26120-h/images/image010.jpg b/26120-h/images/image010.jpg
new file mode 100644
index 0000000..27ed782
--- /dev/null
+++ b/26120-h/images/image010.jpg
diff --git a/26120-h/images/image011.jpg b/26120-h/images/image011.jpg
new file mode 100644
index 0000000..db93971
--- /dev/null
+++ b/26120-h/images/image011.jpg
diff --git a/26120-h/images/image012.jpg b/26120-h/images/image012.jpg
new file mode 100644
index 0000000..b9105e6
--- /dev/null
+++ b/26120-h/images/image012.jpg
diff --git a/26120-h/images/image013.jpg b/26120-h/images/image013.jpg
new file mode 100644
index 0000000..679888a
--- /dev/null
+++ b/26120-h/images/image013.jpg
diff --git a/26120-h/images/image014.jpg b/26120-h/images/image014.jpg
new file mode 100644
index 0000000..f0f65d4
--- /dev/null
+++ b/26120-h/images/image014.jpg
diff --git a/26120-h/images/image015.jpg b/26120-h/images/image015.jpg
new file mode 100644
index 0000000..fc437c6
--- /dev/null
+++ b/26120-h/images/image015.jpg
diff --git a/26120-h/images/image016.jpg b/26120-h/images/image016.jpg
new file mode 100644
index 0000000..a667088
--- /dev/null
+++ b/26120-h/images/image016.jpg
diff --git a/26120-h/images/image017.jpg b/26120-h/images/image017.jpg
new file mode 100644
index 0000000..7f67b65
--- /dev/null
+++ b/26120-h/images/image017.jpg
diff --git a/26120-h/images/image018.jpg b/26120-h/images/image018.jpg
new file mode 100644
index 0000000..c8c2d08
--- /dev/null
+++ b/26120-h/images/image018.jpg
diff --git a/26120-h/images/image019.jpg b/26120-h/images/image019.jpg
new file mode 100644
index 0000000..b88fc82
--- /dev/null
+++ b/26120-h/images/image019.jpg
diff --git a/26120-h/images/image020.jpg b/26120-h/images/image020.jpg
new file mode 100644
index 0000000..ce2596c
--- /dev/null
+++ b/26120-h/images/image020.jpg
diff --git a/26120-h/images/image021.jpg b/26120-h/images/image021.jpg
new file mode 100644
index 0000000..10c5308
--- /dev/null
+++ b/26120-h/images/image021.jpg
diff --git a/26120-h/images/image022.jpg b/26120-h/images/image022.jpg
new file mode 100644
index 0000000..af2e412
--- /dev/null
+++ b/26120-h/images/image022.jpg
diff --git a/26120-h/images/image023.jpg b/26120-h/images/image023.jpg
new file mode 100644
index 0000000..742caeb
--- /dev/null
+++ b/26120-h/images/image023.jpg
diff --git a/26120-h/images/image024.jpg b/26120-h/images/image024.jpg
new file mode 100644
index 0000000..cfbd2a3
--- /dev/null
+++ b/26120-h/images/image024.jpg
diff --git a/26120-h/images/image025.jpg b/26120-h/images/image025.jpg
new file mode 100644
index 0000000..74fe9a4
--- /dev/null
+++ b/26120-h/images/image025.jpg
diff --git a/26120-h/images/image026.jpg b/26120-h/images/image026.jpg
new file mode 100644
index 0000000..1068ec7
--- /dev/null
+++ b/26120-h/images/image026.jpg
diff --git a/26120-h/images/image027.jpg b/26120-h/images/image027.jpg
new file mode 100644
index 0000000..7f34f94
--- /dev/null
+++ b/26120-h/images/image027.jpg
diff --git a/26120-h/images/image028.jpg b/26120-h/images/image028.jpg
new file mode 100644
index 0000000..5bdfac5
--- /dev/null
+++ b/26120-h/images/image028.jpg
diff --git a/26120-h/images/image029.jpg b/26120-h/images/image029.jpg
new file mode 100644
index 0000000..1534a22
--- /dev/null
+++ b/26120-h/images/image029.jpg
diff --git a/26120-h/images/image030.jpg b/26120-h/images/image030.jpg
new file mode 100644
index 0000000..3cb5c78
--- /dev/null
+++ b/26120-h/images/image030.jpg
diff --git a/26120-h/images/image031.jpg b/26120-h/images/image031.jpg
new file mode 100644
index 0000000..70da37b
--- /dev/null
+++ b/26120-h/images/image031.jpg
diff --git a/26120-h/images/image032.jpg b/26120-h/images/image032.jpg
new file mode 100644
index 0000000..3afc24a
--- /dev/null
+++ b/26120-h/images/image032.jpg
diff --git a/26120-h/images/image033.jpg b/26120-h/images/image033.jpg
new file mode 100644
index 0000000..94e0c77
--- /dev/null
+++ b/26120-h/images/image033.jpg
diff --git a/26120-h/images/image034.jpg b/26120-h/images/image034.jpg
new file mode 100644
index 0000000..3daf0cd
--- /dev/null
+++ b/26120-h/images/image034.jpg
diff --git a/26120-h/images/image035.jpg b/26120-h/images/image035.jpg
new file mode 100644
index 0000000..7649e82
--- /dev/null
+++ b/26120-h/images/image035.jpg
diff --git a/26120-h/images/image036.jpg b/26120-h/images/image036.jpg
new file mode 100644
index 0000000..6b4cecf
--- /dev/null
+++ b/26120-h/images/image036.jpg
diff --git a/26120-h/images/image037.jpg b/26120-h/images/image037.jpg
new file mode 100644
index 0000000..d1c49bb
--- /dev/null
+++ b/26120-h/images/image037.jpg
diff --git a/26120-h/images/image038.jpg b/26120-h/images/image038.jpg
new file mode 100644
index 0000000..f05963d
--- /dev/null
+++ b/26120-h/images/image038.jpg
diff --git a/26120-h/images/image039.jpg b/26120-h/images/image039.jpg
new file mode 100644
index 0000000..4b3e567
--- /dev/null
+++ b/26120-h/images/image039.jpg
diff --git a/26120-h/images/image040.jpg b/26120-h/images/image040.jpg
new file mode 100644
index 0000000..c1df80c
--- /dev/null
+++ b/26120-h/images/image040.jpg
diff --git a/26120-h/images/image041.jpg b/26120-h/images/image041.jpg
new file mode 100644
index 0000000..bc2d517
--- /dev/null
+++ b/26120-h/images/image041.jpg
diff --git a/26120-h/images/image042.jpg b/26120-h/images/image042.jpg
new file mode 100644
index 0000000..e65ca9f
--- /dev/null
+++ b/26120-h/images/image042.jpg
diff --git a/26120-h/images/image043.jpg b/26120-h/images/image043.jpg
new file mode 100644
index 0000000..3a2eae4
--- /dev/null
+++ b/26120-h/images/image043.jpg
diff --git a/26120-h/images/image044.jpg b/26120-h/images/image044.jpg
new file mode 100644
index 0000000..159f944
--- /dev/null
+++ b/26120-h/images/image044.jpg
diff --git a/26120-h/images/image045.jpg b/26120-h/images/image045.jpg
new file mode 100644
index 0000000..b6280d8
--- /dev/null
+++ b/26120-h/images/image045.jpg
diff --git a/26120-h/images/image046.jpg b/26120-h/images/image046.jpg
new file mode 100644
index 0000000..ecef8ec
--- /dev/null
+++ b/26120-h/images/image046.jpg
diff --git a/26120-h/images/image047.jpg b/26120-h/images/image047.jpg
new file mode 100644
index 0000000..6ef8d82
--- /dev/null
+++ b/26120-h/images/image047.jpg
diff --git a/26120-h/images/image048.jpg b/26120-h/images/image048.jpg
new file mode 100644
index 0000000..e1e5aba
--- /dev/null
+++ b/26120-h/images/image048.jpg
diff --git a/26120-h/images/image049.jpg b/26120-h/images/image049.jpg
new file mode 100644
index 0000000..803bb15
--- /dev/null
+++ b/26120-h/images/image049.jpg
diff --git a/26120-h/images/image050.jpg b/26120-h/images/image050.jpg
new file mode 100644
index 0000000..efb2967
--- /dev/null
+++ b/26120-h/images/image050.jpg
diff --git a/26120-h/images/image051.jpg b/26120-h/images/image051.jpg
new file mode 100644
index 0000000..a6e6971
--- /dev/null
+++ b/26120-h/images/image051.jpg
diff --git a/26120-h/images/image052.jpg b/26120-h/images/image052.jpg
new file mode 100644
index 0000000..99f380f
--- /dev/null
+++ b/26120-h/images/image052.jpg
diff --git a/26120-h/images/image053.jpg b/26120-h/images/image053.jpg
new file mode 100644
index 0000000..b629fca
--- /dev/null
+++ b/26120-h/images/image053.jpg
diff --git a/26120-h/images/image054.jpg b/26120-h/images/image054.jpg
new file mode 100644
index 0000000..0f69b84
--- /dev/null
+++ b/26120-h/images/image054.jpg
diff --git a/26120-h/images/image055.jpg b/26120-h/images/image055.jpg
new file mode 100644
index 0000000..3ab5fbd
--- /dev/null
+++ b/26120-h/images/image055.jpg
diff --git a/26120-h/images/image056.jpg b/26120-h/images/image056.jpg
new file mode 100644
index 0000000..56bcb38
--- /dev/null
+++ b/26120-h/images/image056.jpg
diff --git a/26120-h/images/image057.jpg b/26120-h/images/image057.jpg
new file mode 100644
index 0000000..438debb
--- /dev/null
+++ b/26120-h/images/image057.jpg
diff --git a/26120-h/images/image058.jpg b/26120-h/images/image058.jpg
new file mode 100644
index 0000000..2469276
--- /dev/null
+++ b/26120-h/images/image058.jpg
diff --git a/26120-h/images/image059.jpg b/26120-h/images/image059.jpg
new file mode 100644
index 0000000..5a0b0c7
--- /dev/null
+++ b/26120-h/images/image059.jpg
diff --git a/26120-h/images/image060.jpg b/26120-h/images/image060.jpg
new file mode 100644
index 0000000..f9a3313
--- /dev/null
+++ b/26120-h/images/image060.jpg
diff --git a/26120-h/images/image061.jpg b/26120-h/images/image061.jpg
new file mode 100644
index 0000000..284910d
--- /dev/null
+++ b/26120-h/images/image061.jpg
diff --git a/26120-h/images/image062.jpg b/26120-h/images/image062.jpg
new file mode 100644
index 0000000..a7dd6f9
--- /dev/null
+++ b/26120-h/images/image062.jpg
diff --git a/26120-h/images/image063.jpg b/26120-h/images/image063.jpg
new file mode 100644
index 0000000..d83bd96
--- /dev/null
+++ b/26120-h/images/image063.jpg
diff --git a/26120-h/images/image064.jpg b/26120-h/images/image064.jpg
new file mode 100644
index 0000000..1adc220
--- /dev/null
+++ b/26120-h/images/image064.jpg
diff --git a/26120-h/images/image065.jpg b/26120-h/images/image065.jpg
new file mode 100644
index 0000000..eef2733
--- /dev/null
+++ b/26120-h/images/image065.jpg
diff --git a/26120-h/images/image066.jpg b/26120-h/images/image066.jpg
new file mode 100644
index 0000000..5fed86b
--- /dev/null
+++ b/26120-h/images/image066.jpg
diff --git a/26120-h/images/image067.jpg b/26120-h/images/image067.jpg
new file mode 100644
index 0000000..5eb8982
--- /dev/null
+++ b/26120-h/images/image067.jpg
diff --git a/26120-h/images/image068.jpg b/26120-h/images/image068.jpg
new file mode 100644
index 0000000..fc0c017
--- /dev/null
+++ b/26120-h/images/image068.jpg
diff --git a/26120-h/images/image069.jpg b/26120-h/images/image069.jpg
new file mode 100644
index 0000000..5158b28
--- /dev/null
+++ b/26120-h/images/image069.jpg
diff --git a/26120-h/images/image070.jpg b/26120-h/images/image070.jpg
new file mode 100644
index 0000000..fd43b00
--- /dev/null
+++ b/26120-h/images/image070.jpg
diff --git a/26120-h/images/image071.jpg b/26120-h/images/image071.jpg
new file mode 100644
index 0000000..72dacfd
--- /dev/null
+++ b/26120-h/images/image071.jpg
diff --git a/26120-h/images/image072.jpg b/26120-h/images/image072.jpg
new file mode 100644
index 0000000..cc3ed3d
--- /dev/null
+++ b/26120-h/images/image072.jpg
diff --git a/26120-h/images/image073.jpg b/26120-h/images/image073.jpg
new file mode 100644
index 0000000..5522f59
--- /dev/null
+++ b/26120-h/images/image073.jpg
diff --git a/26120-h/images/image074.jpg b/26120-h/images/image074.jpg
new file mode 100644
index 0000000..4b27e28
--- /dev/null
+++ b/26120-h/images/image074.jpg
diff --git a/26120-h/images/image075.jpg b/26120-h/images/image075.jpg
new file mode 100644
index 0000000..9b486e9
--- /dev/null
+++ b/26120-h/images/image075.jpg
diff --git a/26120-h/images/image076.jpg b/26120-h/images/image076.jpg
new file mode 100644
index 0000000..a2ffefc
--- /dev/null
+++ b/26120-h/images/image076.jpg
diff --git a/26120-h/images/image077.jpg b/26120-h/images/image077.jpg
new file mode 100644
index 0000000..b2603ab
--- /dev/null
+++ b/26120-h/images/image077.jpg
diff --git a/26120-h/images/image078.jpg b/26120-h/images/image078.jpg
new file mode 100644
index 0000000..f8eecc0
--- /dev/null
+++ b/26120-h/images/image078.jpg
diff --git a/26120-h/images/image079.jpg b/26120-h/images/image079.jpg
new file mode 100644
index 0000000..e09556d
--- /dev/null
+++ b/26120-h/images/image079.jpg
diff --git a/26120-h/images/image080.jpg b/26120-h/images/image080.jpg
new file mode 100644
index 0000000..731a024
--- /dev/null
+++ b/26120-h/images/image080.jpg
diff --git a/26120-h/images/image081.jpg b/26120-h/images/image081.jpg
new file mode 100644
index 0000000..911296c
--- /dev/null
+++ b/26120-h/images/image081.jpg
diff --git a/26120-h/images/image082.jpg b/26120-h/images/image082.jpg
new file mode 100644
index 0000000..3701db9
--- /dev/null
+++ b/26120-h/images/image082.jpg
diff --git a/26120-h/images/image083.jpg b/26120-h/images/image083.jpg
new file mode 100644
index 0000000..4671a64
--- /dev/null
+++ b/26120-h/images/image083.jpg
diff --git a/26120-h/images/image084.jpg b/26120-h/images/image084.jpg
new file mode 100644
index 0000000..ad063ba
--- /dev/null
+++ b/26120-h/images/image084.jpg
diff --git a/26120-h/images/image085.jpg b/26120-h/images/image085.jpg
new file mode 100644
index 0000000..3238425
--- /dev/null
+++ b/26120-h/images/image085.jpg
diff --git a/26120-h/images/image086.jpg b/26120-h/images/image086.jpg
new file mode 100644
index 0000000..12a676a
--- /dev/null
+++ b/26120-h/images/image086.jpg
diff --git a/26120-h/images/image087.jpg b/26120-h/images/image087.jpg
new file mode 100644
index 0000000..0d3b1fb
--- /dev/null
+++ b/26120-h/images/image087.jpg
diff --git a/26120-h/images/image088.jpg b/26120-h/images/image088.jpg
new file mode 100644
index 0000000..48951e8
--- /dev/null
+++ b/26120-h/images/image088.jpg
diff --git a/26120.txt b/26120.txt
new file mode 100644
index 0000000..142d2db
--- /dev/null
+++ b/26120.txt
@@ -0,0 +1,6125 @@
+The Project Gutenberg eBook, Chats on Old Lace and Needlework, by Emily
+Leigh Lowes
+
+
+This eBook is for the use of anyone anywhere 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
+
+
+
+
+
+Title: Chats on Old Lace and Needlework
+
+
+Author: Emily Leigh Lowes
+
+
+
+Release Date: July 24, 2008  [eBook #26120]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK CHATS ON OLD LACE AND NEEDLEWORK***
+
+
+E-text prepared by Susan Skinner and the Project Gutenberg Online
+Distributed Proofreading Team (https://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 26120-h.htm or 26120-h.zip:
+      (https://www.gutenberg.org/dirs/2/6/1/2/26120/26120-h/26120-h.htm)
+      or
+      (https://www.gutenberg.org/dirs/2/6/1/2/26120/26120-h.zip)
+
+
+
+
+
+CHATS ON OLD LACE AND NEEDLEWORK
+
+by
+
+MRS. LOWES
+
+       *       *       *       *       *
+
+BOOKS FOR COLLECTORS
+
+
+_With Frontispieces and many Illustrations Large Crown 8vo, cloth._
+
+CHATS ON ENGLISH CHINA.
+    By Arthur Hayden.
+
+CHATS ON OLD FURNITURE.
+    By Arthur Hayden.
+
+CHATS ON OLD PRINTS.
+  (How to collect and value Old Engravings.)
+    By Arthur Hayden.
+
+CHATS ON COSTUME.
+    By G. Woolliscroft Rhead.
+
+CHATS ON OLD LACE AND NEEDLEWORK.
+    By E. L. Lowes.
+
+CHATS ON ORIENTAL CHINA.
+    By J. F. Blacker.
+
+CHATS ON OLD MINIATURES.
+    By J. J. Foster, F.S.A.
+
+CHATS ON ENGLISH EARTHENWARE.
+    By Arthur Hayden.
+
+CHATS ON AUTOGRAPHS.
+    By A. M. Broadley.
+
+CHATS ON PEWTER.
+    By H. J. L. J. Masse, M.A.
+
+CHATS ON POSTAGE STAMPS.
+    By Fred. J. Melville.
+
+CHATS ON OLD JEWELLERY AND TRINKETS.
+    By MacIver Percival.
+
+CHATS ON COTTAGE AND FARMHOUSE FURNITURE.
+    By Arthur Hayden.
+
+CHATS ON OLD COINS.
+    By Fred. W. Burgess
+
+CHATS ON OLD COPPER AND BRASS.
+    By Fred. W. Burgess.
+
+CHATS ON HOUSEHOLD CURIOS.
+    By Fred. W. Burgess.
+
+CHATS ON OLD SILVER.
+    By Arthur Hayden.
+
+CHATS ON JAPANESE PRINTS.
+    By Arthur Davison Ficke.
+
+CHATS ON MILITARY CURIOS.
+    By Stanley C. Johnson.
+
+CHATS ON OLD CLOCKS AND WATCHES.
+    By Arthur Hayden.
+
+CHATS ON ROYAL COPENHAGEN PORCELAIN.
+    By Arthur Hayden.
+
+LONDON: T. FISHER UNWIN, LTD.
+NEW YORK: F. A. STOKES COMPANY
+
+       *       *       *       *       *
+
+[Illustration: Mary Sidney, Countess of Pembroke.]
+
+
+MARY SIDNEY, COUNTESS OF PEMBROKE.
+
+Born about 1555. Died 1621.
+Buried at Salisbury Cathedral.
+Painted probably by MARC GHEERAEDTS.
+
+    "Underneath this sable hearse
+    Lies the subject of all verse.
+    Sidney's sister, Pembroke's mother.
+    Death! ere thou hast slain another
+    Fair and learn'd and good as she,
+    Time shall throw a dart at thee!"
+
+
+CHATS ON OLD LACE AND NEEDLEWORK
+
+by
+
+MRS. LOWES
+
+With 76 Illustrations
+
+
+
+
+
+
+
+London
+T. Fisher Unwin, Ltd.
+Adelphi Terrace
+
+First Impression         1908
+Second Impression        1912
+Third Impression         1919
+
+[All rights reserved.]
+
+
+
+
+PREFACE
+
+
+This little book has been compiled to emphasise and accentuate the
+distinct awakening of English women and Needlecraft Artists to the
+beauty of the ancient laces and embroideries which we own in the
+magnificent historic collections in our great public Museums.
+
+We are fortunate in possessing in the Victoria and Albert Museum
+monumental specimens of both lace and needlework. Among the sumptuous
+lace collection there are most perfect specimens of the art of
+lace-making, and priceless pieces of historic embroidery made when
+England was first and foremost in the world in the production of
+Ecclesiastical embroidery.
+
+The lace collection particularly, without compare, is illustrative of
+all that is best in this delightful art, being specially rich in
+magnificent pieces that can never be again obtained. These have mostly
+been given, or left as legacies, to the Museum by collectors and
+enthusiasts who have made this fascinating hobby the quest of their
+lives. In addition to the collection formed by the generosity of the
+donors, the authorities have exercised a very catholic judgment in
+selecting the choicest and most illustrative examples of the
+lace-maker's craft.
+
+In the section devoted to embroideries, more particularly English (as it
+is with our own country's needlework I propose to deal), nothing more
+glorious in the Nation's art records can be found than the masterpieces
+of embroidery worked by the great ladies, the abbesses and nuns of the
+Mediaeval period. In almost every other branch of art England has been
+equalled, if not excelled, by Continental craftsmen; but in this one
+instance, up to the Reformation, English work was sought after far and
+wide, and as _opus Anglicum_ formed part of church furnishing and
+priestly vestments in every great cathedral in Italy, Spain, and France.
+
+It cannot be too soon realised that, as with old furniture, porcelain,
+and silver, much of the finest embroideries of England, and a vast
+quantity of the ancient laces of Italy, France, and Belgium are being
+slowly but surely carried off to the New World. American dollars are
+doing much to rob not only the Old Country of the fairest flowers of her
+garden, but the Continent of their finest and best examples of the
+genius of the past. The Vanderbilts and the Astors, among others,
+possess immense fortunes in lace, whilst that omnivorous collector Mr.
+J. Pierpont Morgan gives fabulous sums for any fine old relic of
+embroidery. Many pieces of both classes of needlecraft have found a
+permanent home in the Metropolitan Museum of New York, and are lost for
+ever to the English student.
+
+It is, therefore, a pleasant duty to add my little quota of information
+to the study of these fascinating and exquisite branches of fine art
+which so specially appeal to all women by their dainty grace and
+delightful handicraft. I hope I may arouse some little enthusiasm in my
+countrywomen in the study of the past glories of both subjects, and in
+the possibility of once again becoming first and foremost in the latter
+branch.
+
+I beg to acknowledge the pleasure and help I have received from the
+perusal of the late Mrs. Bury Palliser's exhaustive "History of Lace,"
+and Lady Alford's "History of Needlework," and Dr. Rock's invaluable
+books on "Ecclesiastical Embroidery."
+
+EMILY LEIGH LOWES.
+
+HILLCREST,
+BRIXTON HILL,
+S.W.
+
+
+
+
+BIBLIOGRAPHY
+
+
+LACE.
+
+     The History of Lace. 1 vol. Mrs. Bury Palliser. Sampson,
+     Marston & Low. 1865. L2 2s.
+
+     Dentelles and Guipures. 1 vol. E. Lefebure. Grevil. 1888.
+
+     Ancient Needlepoint and Pillow Lace. Alan Sumnerly Cole.
+     London. 1873.
+
+     The Queen Lace Book. London. 1874.
+
+     Of Lace. Alan Sumnerly Cole. 1893.
+
+     Point and Pillow Lace. A. M. Sharp. George Newnes & Co. 7s. 6d.
+
+     Venice and Burano. Ancient and Modern Lace. M. Jesuram. Venice.
+     1883.
+
+     The History of Handmade Lace. Mrs. Jackson. Upcott Gill & Son.
+     1900. 18s.
+
+     Seven Centuries of Lace. Mrs. Hungerford-Pollen. 1st vol.
+     issued 1908.
+
+
+NEEDLEWORK.
+
+     Textile Fabrics. Dr. Daniel Rock. South Kensington Handbook
+     Series. 1876. 1s.
+
+     Needlework as Art. Lady Marion Alford. London. 1886. L4 4s.
+
+     English Embroidery. A.F. Kendrick. George Newnes & Co. 7s. 6d.
+
+     Art in Needlework. Day & Buckle. Batsford. 7s. 6d.
+
+
+
+
+CONTENTS
+
+
+                                                       PAGE
+
+PREFACE                                                   7
+
+BIBLIOGRAPHY                                             10
+
+
+OLD LACE
+
+CHAPTER
+
+   I. A BRIEF HISTORY OF LACE                            21
+
+  II. THE ART OF LACE-MAKING                             33
+
+ III. THE LACES OF ITALY                                 45
+
+  IV. THE LACES OF GENOA AND MILAN                       57
+
+   V. THE LACES OF FRANCE: NEEDLEPOINT                   69
+
+  VI. THE LACES OF FRANCE: PILLOW                        85
+
+ VII. THE LACES OF FLANDERS                              99
+
+VIII. MODERN BRUSSELS AND MECHLIN                       119
+
+  IX. OTHER CONTINENTAL LACES                           131
+
+   X. A SHORT HISTORY OF LACE IN ENGLAND                139
+
+  XI. ENGLISH LACES                                     155
+
+ XII. SCOTCH AND IRISH LACE                             169
+
+XIII. HOW TO IDENTIFY LACE                              179
+
+ XIV. SALE PRICES                                       199
+
+
+NEEDLEWORK
+
+CHAPTER                                                PAGE
+
+   I. OLD ENGLISH EMBROIDERY                            205
+
+  II. THE GREAT PERIOD                                  217
+
+ III. ECCLESIASTICAL EMBROIDERIES AND VESTMENTS         229
+
+  IV. TUDOR EMBROIDERIES                                245
+
+   V. EARLY NEEDLEWORK PICTURES AND ACCESSORIES         253
+
+  VI. STUART CASKETS AND MIRROR                         267
+
+ VII. EMBROIDERED BOOKS AND "BLACK WORK"                275
+
+VIII. STUART PICTURES                                   289
+
+  IX. SAMPLERS                                          305
+
+   X. THE WILLIAM AND MARY EMBROIDERIES                 317
+
+  XI. PICTORIAL NEEDLEWORK OF THE EIGHTEENTH CENTURY    331
+
+ XII. NEEDLEWORK PICTURES OF THE NINETEENTH CENTURY     347
+
+XIII. EMBROIDERY IN COSTUME                             355
+
+ XIV. SALE PRICES                                       365
+
+  XV. CONCLUSION                                        373
+
+
+INDEX--OLD LACE                                         381
+
+       NEEDLEWORK                                       384
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+MARY SIDNEY, COUNTESS OF PEMBROKE            _Frontispiece_
+
+
+OLD LACE                                               PAGE
+
+EGYPTIAN CUT AND DRAWN WORK                              20
+
+OLD ITALIAN "CUTWORKE"                                   20
+
+EARLY ENGLISH SAMPLERS                                   23
+
+ORIGINAL PATTERNS BY VINCIOLA                            27
+
+ORIGINAL DESIGNS OF RETICELLA EDGINGS BY VINCIOLA        31
+
+CHART OF NEEDLEPOINT RESEAUX                             36
+
+CHART OF PILLOW RESEAUX                                  39
+
+VENETIAN ROSE POINT                                      43
+
+VENETIAN ROSE POINT COLLAR                               48
+
+EXAMPLES OF FLAT VENETIAN POINT                          51
+
+MARIE DE MEDICIS WEARING VENETIAN POINT COLLAR           52
+
+EXAMPLE OF GROS POINT DE VENICE                          55
+
+LOUIS XIII. WEARING GENOESE COLLAR LACE                  60
+
+GENOESE COLLAR LACE                                      63
+
+MILANESE LACE                                            67
+
+OLD ITALIAN AND FRENCH LACES AND CUT AND DRAWN WORK      72
+
+"POINT DE FRANCE"                                        75
+
+POINT D'ALENCON                                          76
+
+"POINT DE FRANCE" AND D'ARGENTELLA                       79
+
+POINT D'ARGENTAN AND POINT D'ARGENTELLA                  83
+
+VALENCIENNES                                             88
+
+"LILLE"                                                  91
+
+EMPRESS EUGENIE WEARING BLONDE LACE                      95
+
+POINT D'ANGLETERRE                                      102
+
+POINT D'ANGLETERRE LAPPET                               105
+
+BRUSSELS LACE                                           109
+
+BRUSSELS LAPPET                                         113
+
+COMTESSE D'ARTOIS WEARING BRUSSELS LACE                 117
+
+MARIE ANTOINETTE                                        122
+
+MECHLIN LAPPET                                          125
+
+MARIE ANTOINETTE WEARING MECHLIN LACE                   129
+
+"DUCHESSE" LACE                                         135
+
+QUEEN ELIZABETH WEARING VENETIAN POINT RUFF AND CUFFS   141
+
+EDMUND SPENSER: COLLAR TRIMMED WITH RETICELLA           145
+
+RETICELLA FALLING COLLAR                                149
+
+COLLAR OF GROS POINT                                    153
+
+OLD BUCKINGHAM AND EARLY DEVONSHIRE LACES               159
+
+OLD HONITON LACE                                        163
+
+MODERN HONITON LACE                                     167
+
+LIMERICK "FILLINGS"                                     173
+
+CARRICK-MA-CROSS LACE                                   177
+
+RETICELLA WITH GENOA BORDERS                            182
+
+POINT D'ANGLETERRE                                      185
+
+ITALIAN ECCLESIASTICAL LACE                             189
+
+BRUSSELS LAPPET                                         193
+
+"POINT DE GAZE"                                         197
+
+
+NEEDLEWORK
+
+EGYPTIAN EMBROIDERY                                     208
+
+BAYEUX TAPESTRY                                         211
+
+KING HAROLD FROM BAYEUX TAPESTRY                        215
+
+FRAGMENT FROM THE "JESSE" COPE                          221
+
+THE "SYON" COPE                                         225
+
+THE STEEPLE ASTON ALTAR FRONTAL                         232
+
+THE "NEVIL" ALTAR FRONTAL                               235
+
+DIAGRAM SHOWING USE OF VESTMENTS                        239
+
+SET OF ECCLESIASTICAL VESTMENTS                         243
+
+EARLY "PETIT POINT" PICTURE                             256
+
+EARLY "PETIT POINT" PICTURE                             259
+
+STUART GLOVE                                            263
+
+STUART MIRROR FRAME                                     271
+
+STUART BOOK COVER                                       278
+
+QUEEN ELIZABETH'S POCKET-BOOK                           281
+
+"BLACK WORK" CAP                                        285
+
+EMBROIDERY PORTRAIT OF KING CHARLES I.                  293
+
+STUMP-WORK PICTURE                                      297
+
+"PETIT POINT" PICTURE WORKED ON SATIN                   301
+
+A SEVENTEENTH CENTURY "SAMPLER"                         309
+
+EARLY ENGLISH "SAMPLER"                                 313
+
+JACOBEAN HANGINGS                                       319
+
+ENLARGEMENT OF SPRAY FROM HANGINGS                      323
+
+QUEEN ANNE PICTURE                                      327
+
+EARLY GEORGIAN PICTURE                                  334
+
+"THE LAST SUPPER"                                       337
+
+EIGHTEENTH CENTURY SILK EMBROIDERED PICTURE             341
+
+BLACK SILK AND HAIR PICTURE                             345
+
+A "GAINSBOROUGH" PICTURE                                361
+
+
+
+
+I
+
+A BRIEF HISTORY OF LACE
+
+
+[Illustration: EGYPTIAN CUT AND DRAWN WORK.
+
+Found in a tomb in Thebes.]
+
+[Illustration: OLD ITALIAN "CUTWORKE."
+
+(_Author's Collection._)]
+
+
+
+
+CHATS ON OLD LACE
+
+
+
+
+I
+
+A BRIEF HISTORY OF LACE
+
+     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 Mycenae 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.
+
+[Illustration: 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.
+
+[Illustration: 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
+Alencon, 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'Alencon, 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.
+
+[Illustration: ORIGINAL PATTERNS DESIGNED BY VINCIOLA.]
+
+
+
+
+II
+
+THE ART OF LACE-MAKING
+
+
+[Illustration: NEEDLEPOINT RESEAUX.
+
+No. 1.--Brussels.
+No. 2.--Alencon.
+No. 3.--Argentan.
+No. 4.--Argentella.]
+
+
+
+
+II
+
+THE ART OF LACE-MAKING
+
+     Needlepoint--Pillow Laces--Charts of various Reseaux--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 "reseau," 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 Macrame 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 reseau, 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 Alencon 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 appliques. 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.
+
+[Illustration: PILLOW RESEAUX.
+
+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 Alencon 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.
+
+_Dentele._--Lace designed in scallop-form, chiefly used for border
+laces.
+
+_Fillings._--This word most easily explains the ordinary terms of
+"modes" and "a 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 "Reseaux" 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.
+
+[Illustration: VENETIAN ROSE POINT.
+
+(_S.K.M. Collection._)]
+
+
+
+
+III
+
+THE LACES OF ITALY
+
+
+[Illustration: VENETIAN ROSE POINT.
+
+Seventeenth Century. (_Author's Collection._)]
+
+
+
+
+III
+
+THE LACES OF ITALY
+
+_The Venetian Laces_
+
+     Venetian lace--"Rose Point"--"Point de Neige"--"Gros
+     Point"--"Punto Tagliato a Foliami"--The South Kensington
+     Collection.
+
+
+Needlepoint lace is made with needle and thread and principally in
+buttonhole stitches. A traced parchment pattern is procured, the outline
+made with a solitary thread stitched down to the parchment at frequent
+intervals. The thread is then worked over with fine buttonhole stitches;
+the modes or fillings have a fine network of threads stretched across,
+afterwards being buttonholed into a variety of designs. The edges are
+then again worked upon with loops or picots, and in "Rose Point" tiny
+stars or roses are worked on suitable parts of the design, sometimes the
+"roses" or "stars" being three in numbers, one poised upon the other.
+This is known as "Point de Neige" the whole surface of the lace being
+literally sprinkled with tiny stars somewhat representing a fine
+snowfall. The design is then connected with fine "brides," these in
+their turn being dotted and purled with stars and loops. Most of this
+exquisite lace requires a powerful magnifying-glass to discern the
+intricacy of the work.
+
+The finest lace of this variety was produced in the sixteenth century,
+the designs being bold, handsome, and purely Renaissance in type. That
+of the Louis Quatorze period shows the personal influence of his reign,
+frequently having tiny figures worked in the design. A collar in my
+possession has the Indian worshipping the sun (the King's glory was said
+to rival that of the sun) repeated in each scallop. This was a favourite
+design in the magnificent "Point de France" which was made during the
+long reign of Louis, under the management of Colbert.
+
+It is absolutely certain that the laces known as Venetian Point
+originated in Italy. Pattern books still exist showing how the early
+Reticella developed into this magnificent lace. In the National Library
+at the South Kensington Museum, may be seen the very patterns designed
+by Vinciolo, Vicellio, and Isabella Parasole. These publications
+actually came from Venice, and being reproduced in France, Germany,
+Belgium, and England, quickly aroused immense enthusiasm, and
+lace-making spread far and wide, at first all other laces being mere
+imitations of the Venetian.
+
+[Illustration: CORALLINE POINT (VENETIAN).]
+
+[Illustration: POINT PLAT DE VENISE (FLAT VENETIAN).
+
+(_Author's Collection._)]
+
+[Illustration: MARIE DE MEDICIS WEARING THE MEDICIS COLLAR TO DISPLAY
+VENETIAN LACES.]
+
+The chief varieties of the Venetian laces are known as Rose Point, Point
+de Neige, Gros Point de Venise (often erroneously attributed to Spain
+and called Spanish Point), and Point Plat de Venise. A much rarer
+variety is "Venetian point a reseau," which is the flat point worked
+round with a Needlepoint ground or mesh, the network following no proper
+order but being simply worked round the pattern and following its
+curves.
+
+The chief characteristics of Venetian lace are the buttonhole Cordonnet,
+fine or thick according to the style of lace; the wonderful diversities
+of the fillings worked in buttonhole stitches; the elaborate decoration
+of the Cordonnet; and the starry effects of the brides or ties. In the
+flat Venetian Point there is no Cordonnet.
+
+These Italian laces were admired and purchased by all the European
+countries, and the cities of Venice and Florence made enormous fortunes.
+The fashions of the day led to their extensive use, Marie de Medicis
+introducing the Medici collar trimmed with Venetian points specially to
+display them. At a little later period the collar became more falling
+and the heavier "Gros point" was used. Men and women alike wore
+lace-trimmed garments to an excessive degree, the collar and cuff
+trimmings being composed of wide Venetian lace and the silken scarf worn
+across the body being edged with narrower and finer lace.
+
+The principal designs for the Venetian lace of all periods were scrolls
+of flowers conventionalised in the Renaissance taste of the time. The
+generic name for all laces of the finest period is "Punto tagliato a
+foliami." The laces of this time are now almost priceless. They are
+genuine works of art, worked slowly and patiently under the clear light
+of the Italian skies by women who were naturally artistic and beauty
+loving, and who, while working the shining needle and fairy thread in
+and out of the intricacies of the design sang the pretty "Lace Songs"
+which may be heard at the Burano Lace School even now, although 200 or
+300 years old. Many specimens of this exquisite lace are to be found in
+the South Kensington Museum, where the flounce given by Mrs. Bolckow at
+once explains the whole scheme of Venetian lace-making.
+
+Such lace is not to be purchased now except at great price. The piece
+illustrated, see page 55, was only 1-1/8 yards in length, and was sold
+for L145 by one of our leading lacemen. Barely 5 yards of Venetian lace,
+only 2 inches wide and _in rags_, was sold at Debenham & Storr's in
+August, 1907, for L60; and even the smallest collar or a pair of cuffs
+runs well into L10.
+
+Even in the days of its manufacture this lace commanded high prices. In
+the inventory of Queen Elizabeth's gowns we find such entries as--
+
+"To 1 yard Double Italian Cut-worke, 1/4 yd. wide. 55/4.
+
+  " 3 yds. broad needlework lace of Italy, with purls. 50/- per yd."
+
+James II. paid L29 for a cravat.
+
+[Illustration: VERY FINE EXAMPLE OF "GROS POINT DE VENISE."]
+
+
+
+
+IV
+
+THE LACES OF GENOA AND MILAN
+
+
+[Illustration: LOUIS XIII. OF FRANCE, SHOWING VANDYKE LACE COLLAR AND
+NARROWER LACE ON SCARF.]
+
+
+
+
+IV
+
+THE LACES OF GENOA AND MILAN
+
+     Argentella wrongly called Italian--Genoese--Mixed
+     laces--Milanese--Macrame.
+
+
+These are mostly Pillow laces, but fine Point laces were also
+manufactured in these towns. In the first-named town it is said that the
+lace called "Argentella" was made, but this is extremely doubtful, most
+authorities arguing that it was certainly a French lace made at the best
+period.
+
+A very representative lace of Genoa is known as collar lace, very widely
+used for the falling collars of the Vandyke period. It was an
+exceedingly beautiful and decorative lace, and almost indestructible.
+Specimens of this lace can even now easily be secured at a fair price.
+The laces known as "Pillow Guipure" are somewhat open to question, the
+authorities at South Kensington Museum agreeing to differ, and labelling
+most of the specimens "Italian or Flemish." The finer pieces of this
+type of lace may safely be described as "Flemish," as the flax-thread
+grown and made in Flanders was much finer than that grown in the
+Southern Countries.
+
+Much of the Genoa lace was worked in what we term "mixed lace," the
+design being woven on the pillow, and the ground and fillings worked in
+with the needle either in a network or by brides and picots. A much
+inferior kind is made with a woven braid or tape, the turns of the
+pattern being made in twisted or puckered braid, much after the style of
+the handmade Point lace made in England some thirty years ago. This lace
+was known as "Mezzo Punto," though the French were discourteous enough
+to term it "Point de Canaille," as undoubtedly it was an imitation of
+the finer laces made in a loose, poor style.
+
+The lace of Milan is unquestionably the most beautiful of the Pillow
+laces of Italy. While resembling the plaited lace of Genoa, there is
+more individuality about it. Much of this fine lace was worked for
+church vestments and altar cloths. Various heraldic devices are
+frequently introduced, surrounded with elegant scroll designs, the whole
+being filled up with woven reseau, the lines of which are by no means
+regular, but are made to fill in the interstices.
+
+Yet another Italian lace is known as
+
+
+_Punto a Groppo, or Macrame_.
+
+No doubt this was the earliest form of woven lace, and, indeed, it may
+claim an origin as early as the first garments worn by mankind. In the
+earliest remains of antiquity a _fringe_ often decorates the edges of
+garments, curtains, and floor-covering, and seems to be a natural and
+fitting finish to what would otherwise be a hard, straight line. In
+the various Assyrian and Egyptian monuments this is noted again and
+again.
+
+[Illustration: GENOESE LACE.
+
+Sixteenth or Seventeenth Century.
+
+(_S.K.M. Collection._)]
+
+Some of the sixteenth-century pieces which we possess show simply an
+elaboration of the knotted fringe, while much of the later work is
+exceptionally fine. The work is so well known, owing to its revival
+during the last thirty years in a coarse form, that it needs little
+description. Its use, even at its best period, was confined to household
+use, for which purpose it seems particularly adapted.
+
+[Illustration: MILANESE LACE.
+
+(_Author's Collection._)]
+
+
+
+
+V
+
+THE LACES OF FRANCE
+
+
+[Illustration: "CUT-WORKE."]
+
+[Illustration: LACIS.]
+
+[Illustration: OLD ITALIAN AND FRENCH CUT AND DRAWN WORK AND "LACIS."
+
+(_Author's Collection._)]
+
+
+
+
+V
+
+THE LACES OF FRANCE
+
+_The Needlepoint Laces of France_
+
+     Catherine de Medici's collection of "Lacis"--Establishment of
+     lace-making by Colbert--"Point de France"--"Point
+     d'Alencon"--"Point d'Argentan"--Modern reproduction of these at
+     Burano, Italy.
+
+
+France in the sixteenth century, as always, led the van of fashion. Lace
+appears to have been extensively used long before its apotheosis at the
+Court of Louis le Grand, otherwise Louis XIV. Catherine de Medici
+patronised the manufacture of "_Lacis_," which was merely darned
+netting, more or less fine. At this time "Lacis" and "Cut-worke" were
+practically all that was known or used. Bed-hangings, curtains, and
+furniture-coverings were covered with alternate squares of lacis and
+cutwork. Afterwards the Reticella laces of Italy were imported and had
+an immense vogue, but it was not until the artistically glorious time of
+Louis XIV. that an attempt was made to encourage a manufacture of French
+laces.
+
+Colbert, the astute Minister of Louis XIV., became alarmed at the
+immense sums of money which went out of the country to purchase the
+laces of Venice, and, by means of bribing the best workers of the
+Venetian schools, he induced them to settle at L'Onray, near Alencon. In
+1665 he had so far succeeded that lace rivalling that of Venice was
+being produced. The Venetians became alarmed in their turn (as, indeed,
+they had need to be) and issued an edict, ordering the lace-workers to
+return forthwith, or, failing this, the nearest relative would be
+imprisoned for life, and steps would be taken to have the truant
+lace-worker _killed_. If, however, he or she returned, complete
+forgiveness would be extended, and work found them _for life_ at
+handsome remuneration. History does not tell us the result of this
+decree, but it evidently failed to destroy the lace manufacture of
+France.
+
+At first the lace manufactured at Alencon received the name of "Point de
+France," and was absolutely indistinguishable from that of Venice. Its
+magnificence of design, indeed, may be said to have exceeded anything
+before attempted. The introduction of tiny figures was attributable to
+the overwhelming personality of Louis XIV., and was symbolical of his
+magnificent sway and far-reaching influence. In the illustration, page
+55, an especially fine specimen of the lace, Madame de Montespan is seen
+seated under the crown, two small Indians are on either side; a tree
+bearing flags and trophies completes this tribute to the genius of the
+lace-makers and the splendour of the Court.
+
+[Illustration: "POINT DE FRANCE."
+
+(_The property of Lady Kenmare._)]
+
+[Illustration: POINT D'ALENCON.
+
+(_Author's Collection._)]
+
+The name "Point de France" is given to all lace made from its
+commencement by Colbert's direction until about 1678, when the
+lace-workers, perhaps forgetting the traditions of the Venetian school,
+developed a style of their own and the work became more distinctly
+French, being more delicate, finer in substance, the patterns clearer
+and more defined. The importation also of the finer flax thread from
+Flanders brought the more exquisite Pillow lace of Brussels to the
+notice of the French lace-workers. The French, as a nation, have always
+been foremost in seizing upon new ideas and adapting them to their own
+artistic requirements. In this instance the result was admirable, and it
+gave to the world, not the finest lace, as it was impossible to surpass
+the earliest Venetian Point laces, but certainly the next lace in order
+of merit, "Point d'Alencon." The chief characteristic of the lace is the
+fine, clear ground, the stiff Cordonnet outlining the pattern, and the
+exquisite patterns in the "jours" or fillings.
+
+The cordonnet of Alencon is the only one which has horsehair for its
+foundation. A strand of hair is carefully stitched down to the edges and
+is buttonholed over with the finest thread, and is said, although giving
+the lace quite a character of its own, to have been the cause of much of
+its destruction, as, in washing, the hair contracts and curls. It will
+be noticed also that the ground is worked in strips, _shortways of the
+lace of less than an inch in length_, afterwards being stitched together
+in what is known as "fine joining." So elaborate was the original Point
+d'Alencon that no less than eighteen workers were engaged on one single
+piece. Later the number was reduced to twelve, when the patterns became
+less ornate.
+
+Although the factory of Alencon existed well into the early nineteenth
+century, the style of lace gradually deteriorated, until it is now
+non-existent! The lace made during the long reign of Louis XIV. is
+considered by far the finest and best, showing both grandeur of style
+and pattern and exquisite workmanship. Under Louis XV. the lace was
+equally well made, but the patterns followed the Rococo designs which
+were now introduced into all other decorative work, while in the reign
+of the ill-fated Louis XVI. it went completely out of fashion, Marie
+Antoinette affecting a much simpler style of lace. The Revolution
+finally caused the complete overthrow of Alencon lace, as of all fine
+art work in France. An attempt was made by Napoleon I. to revive it, but
+its glories had passed, and the hands of the workers had lost their
+cunning, the result being known as the worst type of lace, stiff and
+ugly in design and coarse of execution.
+
+
+"_Point d'Argentan._"
+
+This lace is practically the same as Alencon with a variation of ground,
+which, to the uninitiated, appears coarse. A magnifying glass, however,
+will speedily dispel this illusion. The ground in itself is a marvellous
+piece of work, each of the sides of the mesh being covered with ten
+buttonhole stitches. Very frequently a mixed lace of Alencon and
+Argentan is found, the result being very fine.
+
+[Illustration: "POINT DE FRANCE."
+
+(_Author's Collection._)]
+
+[Illustration: POINT D'ARGENTELLA.]
+
+
+_Point d'Argentella._
+
+About this lace most authorities dispute, some stoutly advocating its
+claims to be French lace entirely and others averring that it was made
+_in imitation_ of the Point d'Alencon by the Genoese. Be this as it may,
+the lace known as Point d'Argentella is exceptionally fine even amongst
+other fine laces, and is noted most specially for the fine "jours" which
+form an essential part of the pattern, every effort apparently being
+made to give extra scope for their employment. The specimen illustrated
+shows some of these "jours" having the characteristic mayflower,
+lozenge, and dotted patterns.
+
+Much modern lace of this type is now made at Burano, Italy, where the
+coarse Italian lace formerly made there has been entirely superseded. It
+strongly imitates Alencon and Argentan lace, but is without the raised
+cord which is so typical of these, having the pattern outlined with flat
+buttonhole stitches only. By many connoisseurs this is considered the
+finest lace of this age, being far superior to modern Brussels. It is
+entirely handmade, which cannot be, unfortunately, averred for Brussels,
+as the fine machine-made net, woven from the exquisitely fine thread
+manufactured in Flanders and Belgium, serves as the ground for all
+Brussels lace made at the present time, except when special orders like
+Royal trousseaux are in hand. The lace-makers of Burano, it may be
+added, imitate the finest Venetian Rose Point, Point de Gaze, Alencon,
+ever produced, the prices comparing very favourably with the old work,
+though still very costly.
+
+[Illustration: POINT D'ARGENTAN WITH POINT D'ALENCON BORDER.
+
+(_S.K.M. Collection._)]
+
+[Illustration: ARGENTELLA LACE, SHOWING THE "PARTRIDGE-EYE" GROUND.
+
+(_S.K.M. Collection._)]
+
+
+
+
+VI
+
+THE PILLOW LACES OF FRANCE
+
+
+[Illustration: EARLY VALENCIENNES.
+
+(_S.K.M. Collection._)]
+
+[Illustration: OLD VALENCIENNES.
+
+(_Author's Collection._)]
+
+
+
+
+VI
+
+THE PILLOW LACES OF FRANCE
+
+     Valenciennes, "Vraie" and "Fausse"--Lille--Chantilly--
+     Blonde--Caen and Brittany.
+
+
+_Valenciennes._
+
+Valenciennes was formerly part of Flanders, being in the province of
+Hainault. It became a French town in 1668 by treaty. Being a Flemish
+town, the lace made there was purely Pillow lace, and in fineness of
+thread and beauty of design it rivalled in its early stages some of the
+fine old Flemish laces, which are more like ornamental cambric than
+anything else.
+
+There are two kinds of Valenciennes lace, known as "Vraie" and "Fausse."
+These names are very misleading, as they merely denote the laces made in
+the town itself, or in the outskirts.
+
+Early Valenciennes can only be distinguished from Flemish laces of the
+same age by the difference in the _ground_. By reference to the little
+chart of lace stitches the distinction will easily be seen, the
+Valenciennes being much closer and thicker in the plait, and having
+four threads on each side of its diamond-shaped mesh. Conventional
+scrolls and flowers were used as designs for the toile, the ground and
+the pattern being made at the same time.
+
+This lace is said to have been worked, like that of Brussels, in dark,
+damp cellars, the moist atmosphere being necessary to prevent the tiny
+thread breaking. The lace-workers became nearly blind, and quite
+useless, long before they reached thirty years of age.
+
+So expensive was the fabric that a pair of ruffles for a gentleman's
+coat would sell for 4,000 livres. Madame du Barri made extravagant use
+of this lovely lace. In her wardrobe accounts are mentioned, in 1771,
+head-dress, throatlets, fichus, and ruffles, "all plisse de Vraie
+Valenciennes." The amount of lace used for a head-dress alone is said to
+have cost 2,400 livres.
+
+The "Vraie Valenciennes" was practically indestructible, earning the
+nickname of the "Eternal Valenciennes" from its durability. The
+well-to-do bourgeoise used to invest her savings in real lace,
+treasuring and wearing it on all best occasions for a lifetime.
+
+The lace-makers of the town itself were so satisfied with their own lace
+that they proudly boasted that if a length commenced in the town of
+Valenciennes were taken and completed _by the same worker, and with the
+same thread_, outside their own damp atmosphere, the exact point of
+difference would be shown in the piece.
+
+[Illustration: "OLD LILLE."
+
+(_Author's Collection._)]
+
+The earliest Valenciennes laces show a closer design than that made
+later, which, by the way, many connoisseurs much prefer. The latter type
+is of clearer ground and more open design. The flowers do not follow the
+large scroll-like pattern of Flanders, but suggest the detached sprays
+and festoons of Alencon and Argentan. In both types there is no cord
+outlining either pattern or edge. All is flat as a piece of fine lawn.
+
+
+_Lille._
+
+By no means a _favourite_ lace at any time, Lille ranks next in merit as
+a hand-made lace. The mesh is clearer and larger than most French or
+Belgian laces, being made by the simple twisting of two threads on four
+sides. The patterns are simple, and are outlined with a loose flax
+thread of silky appearance. The straight edges which characterise Old
+Lille lace certainly did not lend elegance to it. A large manufacture in
+black lace was commenced, and the black silk mantles of the eighteenth
+century were lavishly trimmed with it. It is entirely out of favour at
+this day, however, only the finest white variety being sought after.
+
+Lace is still manufactured at Lille, but the patterns of Mechlin are
+copied, although the tiny square dots, one of the distinguishing points
+of old Lille, are still used.
+
+
+_Chantilly._
+
+The white laces of Chantilly much resemble Lille, having the same fine,
+clear ground and a thick, silky-looking thread outlining the pattern. A
+little lace school was established by the Duchesse de Rohan early in
+the seventeenth century, and for quite a hundred years white laces were
+made, and became popular. Marie Antoinette used this pretty lace as well
+as Valenciennes extensively to trim her favourite lawn dresses and
+fichus when she and the ladies of her Court retired to the Petit Trianon
+to play at being shepherdesses.
+
+About the middle of the eighteenth century Chantilly began to produce
+black silk lace of very fine quality. This is practically the only black
+lace for which there is any market. A Chantilly fan or a Chantilly shawl
+will always find purchasers. The exquisite fineness of its ground, the
+elegance of its floral festoons and bouquets, make it a desirable
+possession. With the Revolution the manufacture of real old black
+Chantilly ceased, and was only revived with the Empire, when, in
+addition to copying the old designs, the manufacture of the famous
+_blonde_ laces was commenced.
+
+
+_French Blonde Lace._
+
+At first these filmy silk laces were made in the natural colour floss
+silk imported from China, hence its name "Blonde." Some of the finest
+specimens are in this colour. Afterwards, when the art of bleaching the
+silk was discovered, it was made in a peculiarly silvery colour, the
+loosely woven silk being worked in patterns on what appears a ground of
+gossamer. Black Blonde was afterwards manufactured, the lace being very
+different to that of nineteenth-century manufacture, the mesh being
+large and open. This was a favourite lace with the Spaniards for
+mantillas, and much prosperity resulted to the little town of Chantilly.
+As with all other laces, the introduction of machinery killed the
+industry as an art, and the only Blonde laces now made are by machine,
+and are quite inartistic and inelegant. Hand-made Chantilly in black
+silk is still manufactured, but it has only a limited output.
+
+[Illustration: "THE EMPRESS EUGENIE" WEARING BLONDE LACE.
+
+(_From a Baxter print._)]
+
+
+_Other French Laces._
+
+Lace has been made in many smaller towns in France, but in no instance
+has it been of sufficient artistic merit to have made a name. Caen
+manufactured Blonde lace in imitation of Chantilly. In Normandy the
+peasant women and girls in the eighteenth century were specially
+diligent, and made praiseworthy imitations of Mechlin, Flemish guipure
+laces, and Brussels, and also introduced the working of gold and silver
+thread and even beads, which was much used in churches. Some really
+exquisite Blonde lace made in this manner was produced at Caen, fine
+pearls were used in the place of beads, and this lace became extremely
+popular in England. The Empress Eugenie was particularly fond of it, and
+in most of the portraits of her at the zenith of her beauty she is seen
+wearing decorated Blonde lace. It is said that this lace so soon soiled
+and spoiled in the making that only women having specially dry hands
+could be employed, and that during the summer months the lace was worked
+in the open air, and in the winter in rooms specially built over
+cow-houses, so that the animals' breath might just sufficiently warm
+the workers in this smokeless atmosphere. Other towns engaged in
+lace-making were Havre, Dieppe (the latter town making a lace resembling
+Valenciennes), Bayeux, which carried on an extensive trade with the
+Southern Islands; Mexico and Spain taking an inferior and heavy Blonde
+lace for mantillas.
+
+In Bretagne so dear is lace to the heart of the French peasant woman
+that every garment is trimmed with lace, often of her own making; and
+along with the provision of a little "dot" for her daughter she makes
+pieces of lace for her wedding dress. A curious custom is noted, that
+the peasant woman often wears this treasured garment only twice, once
+for her wedding and lastly for her funeral!
+
+
+
+
+VII
+
+THE LACES OF FLANDERS
+
+
+[Illustration: POINT D'ANGLETERRE.
+
+Period Louis XIV.
+
+(_Author's Collection._)]
+
+
+
+
+VII
+
+THE LACES OF FLANDERS
+
+     Early Flemish--Brussels lace--Point d'Angleterre--Cost of real
+     Flanders flax thread--Popularity of Brussels lace--Point Gaze.
+
+
+Whether Italy or Flanders first invented both Needlepoint and Pillow
+laces will ever remain a moot point. Both countries claim priority, and
+both appear to have equal right. Italian Needlepoint without doubt
+evolved itself from the old Greek or Reticella laces, that in turn being
+a development of "Cutworke" and drawn thread work. Flanders produces her
+paintings by early artists in which the portraits are adorned with lace
+as early as the fourteenth century. An altar-piece by Quentin Matys,
+dated 1495, shows a girl making Pillow lace, and later, in 1581, an old
+engraving shows another girl busy with her pillow and bobbins. An early
+Flemish poet thus rhapsodises over his countrywomen's handiworks:
+
+    "Of many arts, one surpasses all;
+    The threads woven by the strange power of the hand--
+    Threads, which the dropping of the spider would in vain
+        attempt to imitate,
+    And which Pallas herself would confess she had never known."
+
+Whether Flanders imitated the Italian laces or not, it is unquestioned
+that every other lace-making country imitated _her_. Germany, Sweden,
+France, Russia, and England have, one after the other, adopted her
+method to such an extent that, following the tactics of Venice in 1698,
+she also issued an edict threatening punishment to all who would entice
+her workers away.
+
+So alike are the early laces of Flanders that it is impossible to
+distinguish what is known as Flemish Point, Brussels Point, and Point
+d'Angleterre. The last-named lace is peculiar, inasmuch as it has a
+French appellation, is named "English," and yet is purely Brussels in
+character. Two stories gather round this lace, which accounts for its
+name. One is that the English Government in the time of Charles II.,
+seeing so much money go out of the country, forbade the importation of
+Brussels lace. The English lace merchants, not to be done out of their
+immense profits, smuggled it over in large quantities, and produced it
+as having been made in Devonshire, and sold it under the name of English
+Point. Another legend is that when Colbert, in the reign of Louis XIV.,
+determined to encourage lace-making in his own country, made prohibitive
+the importation of any other lace than France's own manufacture, the
+French Court, which had already become enamoured of Brussels lace,
+therefore had it smuggled into England and thence to France, as
+_English laces_ were at that time too insignificant to come under
+Colbert's ban.
+
+[Illustration: POINT D'ANGLETERRE.
+
+Period of Louis XIV.
+
+(_Author's Collection._)]
+
+Whichever tale we choose to believe is of little consequence. It is
+sufficient to say that fine Point d'Angleterre is simply Brussels of the
+best period when the glorious Renaissance was at its height. It is
+absolutely indistinguishable from Brussels of the same period. The
+specimen lappet, illustrated, shows the "figure" motif which appears in
+"Point de France" and the old "Venetian Point," and which at once dates
+its manufacture.
+
+Practically the term Flanders or Flemish lace can be applied to all the
+laces made in Flanders and Belgium of the earliest periods. It is
+peculiarly fine; the specimen shown is as fine as gossamer, showing a
+total absence of Cordonnet, of course, and not even having the loose
+thread which marks the stems and leaves of Brussels and Angleterre. The
+flax of Flanders was at the time of the great lace industry known and
+imported to all the towns engaged in making it. Italy could procure
+nothing so fine and eminently suitable to the delicate work she made her
+own as this fine thread, grown in Flanders, and spun in dark, damp
+rooms, where only a single ray of light was allowed to enter. The thread
+was so fine, it is said, that it was imperceptible to the naked eye and
+was manipulated by touch only. The cost of this thread was L240 a pound,
+and one pound could be made into lace worth L720! Real Flanders lace
+thread even now, spun with the help of machinery, costs L70, and is
+nothing like so durable as the old threads. When we consider that lace
+to be known as "Old Lace" must be two hundred or three hundred years
+old, we can understand the strength of this fairy thread, which was like
+a spider's web in filminess and yet durable enough to last centuries of
+wear, and remain as a lasting memorial of its beauty.
+
+
+BRUSSELS
+
+The early Flemish laces cannot be traced to any particular town, but
+Brussels early obtained a reputation for the production of the soft,
+elegant laces which are variously known as "Real old Brussels," "Point
+d'Angleterre," "Point d'Aiguille," and "Point de Gaze." Almost every
+woman, although knowing little about lace as an art, knows and easily
+recognises "Brussels." It has ever been the most popular lace, partly
+because its price has never been actually prohibitive, although always
+costly. Choice pieces of Old Brussels, with real ground, rank among the
+laces of France and Venice as pieces of price, but the later period,
+especially the kind known as Brussels applique, is within everybody's
+reach, even if only as a border for a best handkerchief.
+
+[Illustration: "OLD BRUSSELS" (HAND-MADE GROUND).
+
+(_Author's Collection._)]
+
+[Illustration: BRUSSELS LAPPET, MADE IN IMITATION OF ALENCON AND
+ARGENTAN.]
+
+Lace made at Brussels at all periods has one characteristic that places
+it at once and makes identification easy at a glance. The threads of the
+toile--that is, the pattern--follows the _curves_, instead of, as in
+other Flanders laces, being straight _up_ and _down_ and _across_, each
+thread being exactly at right angles to the other; Brussels lace also
+has a distinctive edge to its pattern. It has no Cordonnet, but a
+little set of looped stitches worked along the edge of the design,
+afterwards whipped over to keep the edge in place. This is most clearly
+seen in every specimen, and, in conjunction with the curved toile, at
+once settles the vexed question of the origin of Point d'Angleterre.
+
+The mesh or ground is, again, quite different to other laces. It has
+three varieties of ground--
+
+1. One, mostly used in Point d'Angleterre, being of fine "brides" with
+four or five picots, but this ground is also seen in Venetian and French
+laces.
+
+2. A hand-made ground made of looped buttonhole stitches, which is the
+finest and most gossamer-like of all; and
+
+3. A woven ground made on the pillow with plaited thread, very like
+Mechlin, but under the magnifying glass having two longer sides to its
+hexagonal mesh, and therefore being more open and clear.
+
+The hand, or rather needlepoint, ground was three times more expensive
+than the woven, as it was stronger and more lasting. The special value
+of the "vrai reseau" in our own day is that it can be imperceptibly
+repaired, the broken stitches replaced, whereas in the woven ground the
+point of junction must show.
+
+The needle-made net is so fine that one piece in my possession, though
+measuring 3/4 yard by 8 inches can easily, in its widest part, be
+gathered and passed through a finger ring. At the present day this net
+is not made, and even the fine woven ground is not used except for Royal
+wedding orders or for exhibition purposes. A magnificent piece
+belonging to Messrs. Haywards, of New Bond Street (which cannot be
+photographed, unfortunately, as it is between two sheets of glass, and
+might fall to pieces if taken out), was made for George IV., and not
+delivered, owing no doubt to the usual depleted state of that monarch's
+exchequer. Messrs. Haywards (whose courtesy is as boundless as their
+reputation) are always pleased to show this and their other splendid
+specimen collections to those interested in old lace.
+
+Perhaps no lace is so diversified in style as Brussels. At first it was
+purely Flemish, and almost indistinguishable from it. Then the Venetian
+influence crept in, and elaboration of pattern and the Renaissance
+scrolls and flower work showed itself. At the Louis Quatorze period the
+introduction of the "fairy people," seen at its finest and best in Point
+de France, marks a time of special beauty. Afterwards the influence of
+Alencon was shown (though it never rivalled the exquisite lace of this
+factory), and from that time to the present day these designs have
+remained for use in its best work.
+
+Some of the choicest specimens of old Brussels are shown in the now
+discarded "lappets," which when a lace head-piece and lappets were part
+of every gentlewoman's costume, were actually regulated by Sumptuary
+Laws as to length. The longer the lappets the higher the rank.
+
+[Illustration: BRUSSELS LAPPET.
+
+Eighteenth Century.
+
+(_S.K.M. Collection._)]
+
+The great Napoleon, while reviving the lace-making of Alencon, specially
+admired fine old Brussels, and at the birth of his only son, the little
+"King of Rome," ordered a christening garment covered with the
+Napoleonic "N's," crowns and cherubs. This was sold in 1903 at
+Christie's for L120. At the same sale a Court train realised L140.
+
+In the "Creevy Papers, 1768-1838," mention is made of Lord Charles
+Somerset complaining of not having slept all night, "not having had a
+minute's peace through sleeping in 'Cambrik sheets,' the Brussels lace
+with which the pillows were trimmed tickling his face"! This occurred at
+Wynyards, the seat of the Earl of Londonderry.
+
+Queen Anne followed the extravagant fashion of wearing the costliest
+laces which William III. and Queen Mary carried to such an excess. In
+1710 she paid L151 for 21 yards of fine Brussels edging, and two years
+later the account for Brussels and Mechlin laces amounted to L1,418.
+
+In the succeeding reign the ladies of George I.'s period wore lappets
+and flounces, caps, tuckers, aprons, stomachers, and handkerchiefs, all
+made of Brussels.
+
+In the time of George II. lace was even more worn, but English lace
+began to rival Brussels, not in quality, but as a substitute.
+
+George III. and his wife, Queen Charlotte, were economists of the first
+order, and personal decoration was rigidly tabooed; hence the almost
+total extinction of lace as an article of apparel, while in George IV.'s
+time dress had evolved itself into shimmery silks and lawns, lace being
+merely a trimming, and the enormous head-dress decorated more frequently
+with a band of ribbon.
+
+An exquisite portrait of Louis Philippe's Queen, Marie Amelia, by the
+early Victorian painter Winterhalter (whose paintings are again by the
+revival of fashion coming into favour) shows this fine old _grande dame_
+in black velvet dress covered with three graduated flounces of Brussels
+lace, cap and lappets and "tucker" of the same lace, lace fan, and, sad
+to relate, a scarf of English machine-made net, worked with English run
+embroidery!
+
+Although good Queen Adelaide had a pretty fancy for lace, she wore
+little of it, and it was left to Queen Victoria to revive the glory of
+wearing Brussels to any extent; and she, alas! was sufficiently
+patriotic to encourage home-made products by wearing almost exclusively
+Honiton, which I personally am not good Englishwoman enough to admire
+except at its latest stage (just the past few years), when lace-making,
+as almost every other art work in this country, is emerging from what,
+from an artistic point of view, has been one long Slough of Despond.
+
+[Illustration: COMTESSE D'ARTOIS, WIFE OF ONE OF LOUIS XIV.'S GRANDSONS,
+WEARING FINE BRUSSELS LACE.]
+
+
+
+
+VIII
+
+THE MODERN BRUSSELS LACES AND MECHLIN
+
+
+[Illustration: AN OLD PRINT OF "MARIE ANTOINETTE," SHOWING THE
+SIMPLICITY OF ADORNMENT SHE AFFECTED.
+
+"MECHLIN" LACE.]
+
+
+
+
+VIII
+
+THE MODERN BRUSSELS LACES AND MECHLIN
+
+     Modern Brussels, Point Gaze--Ghent--Duchesse Point--Mechlin
+     (the Queen of Laces).
+
+
+Magnificent laces are still made at Brussels, but almost wholly on a
+machine-made ground, the workers and merchants apparently finding the
+old hand-made ground unprofitable. The machine-made ground is cheap, and
+often of mixed flax and cotton instead of being of purely Flanders flax
+thread, as in the old days. Both quality and colour suffer from this
+admixture, the lace washing badly and wearing worse.
+
+The most common lace is the Point Applique, in which the sprays, groups,
+and borders on the design are made separately by hand on the pillow, and
+are afterwards applied by tiny stitchings to the machine-made net. Some
+qualities are better than others. In the better class the sprays are
+appliqued to the net, which is then cut away and the interstices of the
+design filled in with hand-made modes and brides, making a very pretty
+and showy lace. The best lace made in Brussels now is
+
+
+_Point Gaze_,
+
+in which the finest modern lace is produced. Its chief characteristics
+are its superb designs, repeating many of the fine Renaissance patterns,
+its clear ground, and its use of shading in leaves and flowers, which,
+while it adds much to the sumptuous effect, is possibly too
+naturalistic. This lace is a mixture of hand and machine lace, the
+ground being of the best machine net, the flowers and sprays frequently
+needle made, the various fillings being composed of a variety of
+designs, and the shading often being produced in the needle-darning as
+in modern Ghent and Limerick. Point de Gaze is costly, but it has the
+reputation of appearing "worth its money" to which few other laces of
+the present day can aspire.
+
+Other lace-making towns in Belgium and Flanders are--
+
+
+_Ghent_,
+
+which produces a fine machine-made net, worked and embroidered in exact
+imitation of the earliest Limerick lace. So _real_ is this imitation
+that a fine flounce of 4 yds. 32 in. wide was sold at a London
+auction-room a few months ago, as "real old Limerick," for L60!
+
+Ghent executes vast quantities of hand-made imitations of Valenciennes,
+a good and durable lace, but much more expensive than the machine-made
+varieties which flood the shops as "real Val."
+
+[Illustration: MECHLIN LAPPET.
+
+Eighteenth Century.
+
+(_S.K.M. Collection._)]
+
+Perhaps the only other lace worth mentioning in smaller and later
+varieties is that known as "Duchesse point" or "Bruges," which while
+being a showy, decorative, and cheap lace, is anything but satisfactory
+either in design, manufacture, or wear. It is largely composed of
+cotton, is heavy and cumbrous in design, and after washing becomes thick
+and clumsy. It is pillow-made, the flowers being made on the cushion and
+afterwards united by coarse and few brides.
+
+Almost equal in favour with old Brussels lace was
+
+
+MECHLIN,
+
+which was aptly termed "the Queen of Laces." Old Mechlin was wondrously
+fine, and transparent. It is often spoken of as "Point de Malines"
+which, of course, is entirely wrong, as it is not Point at all--being
+made entirely, all at one time, or in one piece, on the pillow. Much of
+the lace known under the general name of Flemish Point is really Malines
+or Mechlin, the only difference being the fine silvery thread which runs
+all through the designs of real Mechlin. The earliest date of the
+manufacture of Mechlin is unknown, but in 1681, it is recorded, that the
+people of Malines busied themselves with making a white lace known as
+Mechlin. It became a fashionable lace in England in 1699, Queen Mary
+using it considerably and Queen Anne buying it largely, in one instance
+purchasing 83 yards of it for L247.
+
+It has always remained a favourite lace with English royalties, Queen
+Charlotte almost exclusively using it. The other day I discovered in a
+bric-a-brac shop about twenty yards of it, old and discoloured, it is
+true, which came directly from Queen Caroline, the ill-used wife of
+George IV. In the earlier Mechlin, although pillow-made, the
+introduction of the "brides with picots," and also the may-flower
+patterns of Brussels, helped to make it more decorative. The ground or
+reseau was very similar to Brussels hand-made, but the hexagonal mesh is
+shorter, as reference to the diagram of reseaux will show.
+
+The exquisite "lightness" of Mechlin, so specially adapted to
+"quillings" and "pleatings," accounted for its popularity. It was
+specially suitable to the lawns and muslins of the eighteenth century,
+but little of this lace is left owing, no doubt, to its great favour
+except the ubiquitous "lappets," for which it was no doubt "the Queen of
+Lace."
+
+The immediate cause of its extinction was the introduction of Blonde
+laces, and later its final overthrow came from its being the easiest
+lace to reproduce by machinery.
+
+[Illustration: MARIE ANTOINETTE, QUEEN OF LOUIS XVI., SHOWING HOW
+MECHLIN LACE WAS USED.
+
+From an old fashion plate.]
+
+
+
+
+IX
+
+OTHER CONTINENTAL LACES
+
+
+
+
+IX
+
+OTHER CONTINENTAL LACES
+
+     Spanish lace; Gold and silver laces of Spain--German
+     laces--Russian laces--Maltese silk and thread laces.
+
+
+Outside the great lace-making countries of Italy, France, and Flanders,
+little lace was ever made, and that little of less consequence.
+
+
+_Spanish Lace._
+
+Much of the old lace known as "Spanish Point" is not Spanish at all, but
+the best of Italian Rose Point on a large scale, being the variety known
+as Gros Point. It was not extensively used for dress purposes, as
+contemporary portraits show, but Spain being such an ultra-Romanist
+country, vast quantities of it were imported into Spain for church use.
+When Spain fell on unhappy days, in 1830, and the religious houses were
+dissolved, this lace was eagerly bought by connoisseurs and collectors
+and became known as Spanish Point. It is not unlikely that the Italian
+lace was copied by the nuns of the Spanish convents; indeed, at South
+Kensington Museum there is a set of church altar lace which is
+admittedly Spanish work and is a distinct but far off imitation of
+Italian Point.
+
+Spain made gold and silver laces of fine quality and gorgeous design.
+Blonde laces in both cream and black are almost indigenous to the soil,
+and a particular kind of black Blonde, embroidered with colours,
+specially appealed to the colour-loving people.
+
+
+_German Laces._
+
+Perhaps at the present day more lace is made in Germany than at any
+other period. An enormous manufacture of good machine-made lace is
+exported yearly, the variety known as Saxony being both popular and
+cheap.
+
+Germany has no national lace, the clever _hausfraus_ caring more to
+decorate their table and bed-linen than their persons, and using the
+substantial and practical embroideries of the cross-stitch patterns more
+than the elegant frailties of lace trimming. Lacis network darned into
+patterns has always been popular here, as also in Denmark, Sweden, and
+Norway.
+
+[Illustration: DUCHESSE LACE.
+
+Modern.]
+
+
+_Russia._
+
+The Russian laces need little more than a passing note. As in Germany,
+Lacis and Cutworke form the only hand-made lace known, the people
+contenting themselves with these varieties and using coloured threads to
+further decorate them. Their laces may be called merely Russian
+embroideries. Peter the Great did much to found a lace school, but
+only gold laces were made, of a barbaric character. Recently an attempt
+has been made to imitate the Venetian laces, with very fair results, but
+the character is very stiff and mechanical, going back to the primitive
+forms of Reticella rather than the elegancies of Italian Point.
+
+The only other Continental lace requiring note is
+
+
+_Maltese_,
+
+a lace made entirely with bobbins and on a pillow. This lace is of
+ancient make, being known as early as the old Greek laces, which it
+strongly resembles. Its very popularity has killed its use as a fine
+lace, and at the present day it is copied as a cheap useful lace in
+France, England, Ireland, and even India. The old Maltese lace was made
+of the finest flax thread, afterwards a silk variety, which is well
+known, being made in cream. Black lace was also manufactured, and at the
+time of the popularity of black lace as a dress trimming it was much
+used. At the present day the lace is not of the old quality, cotton
+being frequently mixed with the flax threads. There is no demand for it,
+and it is about the most unsaleable lace of the day.
+
+
+
+
+X
+
+A SHORT HISTORY OF LACE IN ENGLAND
+
+
+[Illustration: QUEEN ELIZABETH: RUFF OF VENETIAN POINT.
+
+(_National Portrait Gallery._)]
+
+
+
+
+X
+
+A SHORT HISTORY OF LACE IN ENGLAND
+
+     Early samplers--Lace worn by Queen Elizabeth; by the early
+     Stuarts--Extravagant use of lace in time of Charles
+     II.--William and Mary's lace bill.
+
+
+Even at the risk of being considered utterly unpatriotic, I cannot give
+much more than faint praise to the lace-making of England up to the
+present date, when notable efforts are at last being made to raise the
+poor imitation of the Continental schools to something more in
+accordance with artistic conception of what a great National Art might
+become.
+
+As in all countries, lace-making apparently commenced in its early
+English stages by drawn-thread and cutwork. In many of the charming old
+sixteenth-century English samplers just as exquisite cut-work, and its
+natural successor Reticella, or "punto in aria" is shown, as in the
+finest examples of the Venetian schools. Unfortunately, however, English
+fine lace-making came to a sudden and inexplicable end, although we know
+that any quantity of fine Venetian, exquisite Brussels, or Flemish
+laces, and the wonderful Point de France were being imported into the
+country and lavishly used.
+
+As early as the reign of Edward IV. lace was mentioned as being
+prohibited for importation amongst other items of feminine luxury, such
+as "ribans, fringes of silk and cotton," but it is considered that the
+word "laces" here means only the twisted threads that go to make up a
+lace or tie, commonly ending in tags or points. It must be allowed,
+however, that laces, or more probably "gimps" of gold and silver threads
+were used for trimming both lay and ecclesiastical garments, and in
+Henry VII.'s reign we find that importation of Venetian lace was
+permitted, but this is generally admitted still to refer to gold and
+silver lace, more probably coming from Genoa.
+
+It was not really until the time of bluff King Hal that lace became an
+article of fashion, when during the life of the last of his unfortunate
+queens he permits "the importation of all manner of gold and silver
+fringes, or _otherwise_, with all new 'gentillesses' of what facyion or
+value, for the pleasure of our dearest wyeff the Queen."
+
+Henry himself also began to indulge in all these little elegances of
+fashion, and wore his sleeves embroidered with cutwork, and
+handkerchiefs edged with gold and silver, treating himself liberally to
+"coverpanes" and "shaving-cloths" trimmed with gold lace.
+
+[Illustration: EDMUND SPENSER: COLLAR TRIMMED WITH RETICELLA.
+
+Early period.]
+
+Little mention of white work was made in the inventories of Henry VIII.
+or his Queens, but Cardinal Wolsey seems to have had more than his
+share of cutwork embroideries, judging from contemporary portraits.
+
+In Queen Mary's reign white work began to be more frequently spoken of,
+and in 1556 it is stated that Lady Jane Seymour presented the Queen with
+"a smock of fair white work, Flanders making."
+
+It was not until Queen Elizabeth's time that lace became freely
+mentioned; then suddenly we are introduced to an endless variety of lace
+and trimmings, both of gold and silver, pearl and embroideries, and
+various white work! In some of the old Chronicles mention was made of
+drawn work, cut-work, Crown lace, bone lace for ruffs, Spanish chain,
+parchment, hollow, and diamond lace. Many of these terms cannot be
+understood.
+
+The enormous ruffs worn by Queen Elizabeth were introduced into England
+in the time of her sister Mary. Portraits both of Philip of Spain and
+Queen Mary show ruffs, but not edged with lace. Queen Elizabeth's, on
+the contrary, are both edged with lace and, in some instances, covered
+with it. On her poor old effigy at Westminster Abbey, where her waxen
+image is dressed in her actual garments, the only lace that appears is
+on the enormous ruff, three-quarters of a yard wide, covered with a fine
+lace of the loose network kind. The rest of her garments are trimmed
+with gold and silver lace and _passementerie_.
+
+In the succeeding reign lace of a geometric design shows itself on the
+ruffs of the richest people. Pictures in the National Portrait Gallery
+show many exquisite examples of the beautiful Reticella of Venice, which
+must have been very costly to the purchaser, as twenty-five yards or
+more of this fine lace were required to edge a ruff.
+
+It was in the reign of James I. and his consort, Anne of Denmark, that
+Flanders lace and the expensive Point laces of Italy first became widely
+popular. Then, as now, they were costly--to such an extent that many
+gentlemen sold an estate to buy laces for their adornment.
+
+It was during this reign that we first learn of a lace being made in
+England, as Queen Anne of Denmark on her journey south purchased lace at
+_Winchester_ and _Basing_, but history mentions not what kind of lace it
+was. Apparently only a simple kind of edging was used, made on a pillow.
+
+The enormous ruffs went out of fashion with the death of James I.
+Charles I., in all his portraits, wears the falling collar edged with
+Vandyke lace. It was during this reign that Venetian lace reached its
+apotheosis in England. The dress of the day has never been surpassed,
+though it became much more elaborate and ostentatious in the time of
+Charles II. and William and Mary. Falling collars were specially adapted
+to the display of the handsome laces of Venice. The cuffs of the sleeves
+were likewise trimmed with the same; scarves were worn across the
+breast, trimmed with the narrower Reticella.
+
+[Illustration: SEVENTEENTH CENTURY FALLING COLLAR TRIMMED WITH FINE
+RETICELLA.
+
+(_S.K.M. Collection._)]
+
+During the Commonwealth the laces of Venice suffered a temporary
+eclipse, and the plainer laces of Flanders were freely used. Cromwell
+himself, it is said, did not disdain the use of it. His effigy at
+Westminster was dressed in a fine Holland lace-trimmed shirt, with bands
+and cuffs of the same. This effigy, by the way, was destroyed at the
+Restoration.
+
+Charles II., who during his exile in France had become imbued with the
+extravagant taste of the French Court, gave vast orders for "Points of
+Venice and Flanders," on the plea of providing English lace-workers with
+better patterns and ideas.
+
+The falling collar certainly went out of fashion, but lace was liberally
+used on other parts of the dress. Lace frills of costly Point edged the
+knee-breeches, lace cravats were worn and deep falling cuffs. Charles
+II., in the last year of his reign, spent L20 for a new cravat for his
+brother's birthday.
+
+During James II.'s reign extravagance in lace purchases are still
+mentioned, but it surely reached its culmination in the joint reign of
+William and Mary, when enormous sums were spent by both King and Queen.
+In one year Queen Mary's lace bill amounted to L1,918. New methods of
+using lace were fashioned. A huge head-dress called the "Fontange," with
+upright standing ends of Venetian Point, double hanging ruffles falling
+from elbow sleeves, lace-trimmed aprons, lace tuckers, characterised the
+feminine dress of the day, while the "Steinkirk" cravat and falling
+cuffs of William III.'s day ran up accounts not much less than that of
+his Queen. In 1690 his bill was L1,603, and in 1695 it amounted to
+L2,459!
+
+The effigies of William and Mary in the Abbey, wear the very finest
+Venetian Point laces. None of the other figures wear such costly lace,
+nor in such profusion.
+
+[Illustration: COLLAR IN GROS POINT DE VENISE.
+
+Louis XIV. period.
+
+(_S.K.M. Collection._)]
+
+
+
+
+XI
+
+ENGLISH LACES
+
+
+
+
+XI
+
+ENGLISH LACES
+
+     Queen Anne and Mechlin--Establishment of lace-making in
+     Bedfordshire and Buckinghamshire--Buckingham lace--Wiltshire
+     lace--Devonshire lace--Modern Honiton revival.
+
+
+It was in Queen Anne's time that the earliest really good lace
+manufactured in England appeared. Driven from France by the edict of
+Louis XIV., the refugees found a home in England, and encouraged by
+Queen Anne's fondness for laces other than Venetian, they made and
+taught the English lace-workers, among whom they settled, the art of
+real lace-making, which up to this time had apparently been only half
+understood. Numerous lace schools now sprang up, the counties of
+Bedfordshire, Buckinghamshire, and Northampton specially becoming known.
+Valenciennes and Mechlin were the varieties of laces principally copied;
+a very pretty lace, very reminiscent of Mechlin, being the "Baby lace,"
+which received its name from being so much used to trim babies' caps.
+Although very much like Valenciennes and Mechlin, the laces were much
+coarser both in thread and design than their prototypes. Bedfordshire
+and Northamptonshire did not long retain the art of lace-making, but
+Buckingham lace remained a staple manufacture, and is much esteemed even
+to-day, many connoisseurs considering it far better as a lace than the
+somewhat clumsy laces of Devonshire. The specimen shown is a piece of
+old Buckingham lace closely copying the reseau and sprigs of Lille which
+most lace-lovers consider it excels. The net of Buckinghamshire is an
+exact copy of the Lille mesh, being made of two threads twisted in a
+diamond pattern, the sprays being worked on the pillow at the same time.
+The patterns of the old Buckingham lace are not very varied, the best
+known being what is called "Spider lace," a coarse kind of open mesh
+being worked in the pattern. The principal town engaged in the
+eighteenth century was Newport Pagnel, which was cited as being most
+noted for making Bobbin lace. Old Brussels designs were used, and some
+quaint lace of early Flemish design, was made. The early English run
+lace, which was even so late as fifty years ago very popular, was mostly
+made here. Aylesbury, Buckingham, and High Wycombe also made lace, and
+in the last-named old town cottage lace-making may be seen to this day.
+Very quaint are the old lace bobbins that may be purchased in the
+"antique" shops of these lace-making towns. The lace-workers apparently
+indulged many a pretty fancy in shaping them in a diversity of ways,
+very few bobbins being alike. Some were made of bone, really prettily
+turned, with dotted and pierced patterns on them. Others were
+silver-studded, and again others were banded in silver. The wooden ones
+were always decorated, if possible, each one differently from the
+others, so that the worker might distinguish each thread without looking
+at it. Nearly every bobbin was ended with a bunch of coloured beads
+strung on wire, and a collection of these bobbins, with their "gingles,"
+often yields up a pretty and quaint necklace. One in my possession has a
+quaint bead made of "ancient Roman glass," worth at least ten shillings.
+One wonders how this bit of Roman magnificence had strayed into an
+English cottage home!
+
+[Illustration: "OLD BUCKINGHAM."
+
+(_Author's Collection._)]
+
+[Illustration: EARLY DEVONSHIRE LACE.
+
+(_Author's Collection._)]
+
+Buckinghamshire is the only one of the Midland counties which has
+produced _wide_ lace; the adjoining counties confined themselves to
+edgings at most some 6 inches wide. A flounce in my collection measures
+21 inches, and is of very elegant design, and of fine quality. In
+Wiltshire lace appears to have been made at an early date in the
+eighteenth century, but little lace is left to show its quality. A
+curious piece is said to belong to an old family in Dorset, who vouch
+for the lace having belonged to Queen Charlotte, the wife of George III.
+Like many other traditional "antiques," this is undoubtedly a fairy
+story, as it claims to have been made in commemoration of the defeat of
+the Spanish Armada, _at contemporary times_. It is exceedingly handsome,
+showing one of Philip's ships, very suggestively surrounded by big sea
+fish and apparently resting on the rocky bottom of the ocean. In the
+next panel Tilbury Fort is portrayed, and another ship, one of England's
+glory, proudly rules the waves. The design is undoubtedly English, and
+most probably it was made in commemoration of the historic event--but
+the lace is Point d'Argentan, and was most likely manufactured specially
+for Queen Charlotte.
+
+Lyme Regis at one time rivalled Honiton, the laces of both towns being
+equally prized. Queen Charlotte wore a "head and lappets" made here when
+she first came to England, and afterwards she ordered a splendid lace
+dress to be made. When, however, Queen Victoria, in her wish to
+encourage the English makers, sent an order for her marriage lace, not
+sufficient workers were found to produce it.
+
+
+DEVONSHIRE LACE.
+
+As early as 1614 the lace-makers of Devonshire were known. The influx of
+refugees from Flanders in the Midlands and southern counties undoubtedly
+established lace-making in both parts of the kingdom. Many of the
+Honiton lace-workers married these refugees, and to this day the people
+are of mixed descent. Quaint names of Flemish extraction appear over the
+shop doors.
+
+In the early days both men, women, and children seem to have pursued the
+art of lace-making, boys learning and working at it until the age of
+sixteen, when they were either apprenticed to some trade or went to
+sea.
+
+[Illustration: OLD HONITON (NEEDLEPOINT GROUND).]
+
+[Illustration: OLD HONITON.
+
+(_Author's Collection._)]
+
+Most of the old Devonshire laces bear distinct likeness to the fine
+Flemish lace, only the clumsiness of the design or the coarse
+workmanship differentiating them. It has, however, one special feature
+which gave it the name "Trolly lace," as, unlike the perfectly flat lace
+of Flanders, it has a coarse thread or "trolly" outlining its patterns,
+and being made of English thread, it was coarse and not very durable.
+
+
+_Honiton_
+
+has always easily ranked first amongst our British laces, although by
+many not considered equal to fine Bucks. Like the Midland lace, it has
+been always made with Flanders thread, and therefore has maintained its
+popularity because of its _wear_ and its _colour_. The early Honiton
+workers copied "Brussels" lace, but because of their inability to
+produce an artistic design it has never been anything but a _poor_ copy.
+Even when the Brussels influence was most direct the flowers and sprays
+were placed inartistically, while the scroll copies of the early Flemish
+schools can only be termed the imitative handiwork of a child.
+
+The most prized specimens of old Honiton are those with hand-made
+ground, made of Flanders flax. Very little of this real ground Honiton
+lace is left. Queen Victoria did much to make Honiton lace _the_ lace of
+the land; but although a regular trade has been established, and much
+good work accomplished, Honiton of the past will never be regarded on
+the same plane as the laces of Venice, France, and Brussels. Even in its
+best variety it lacks the exquisite filmy touch of Brussels, the dainty
+grace of Alencon, and the magnificence of Point de France and Venetian
+Point. The Honiton laces made since the introduction of machine-made net
+is especially poor. Flower sprigs and sprays are made separately on the
+pillow, and afterwards applied to the machine-made ground. These are, as
+a rule, flowers and foliage treated naturalistically, and are heavy and
+close in design. These are often very sparingly applied over a wide
+expanse of net in order to make as much lace with as little trouble as
+possible. This is very different to the work of the old Honiton
+lace-worker, who made every inch of it herself--first the sprays and
+scrolls, then worked the ground round it, and received, it is said, from
+the middleman (who purchased it for the town market) as many shillings
+as would cover the lace offered for sale.
+
+We are glad to say, however, that very praiseworthy efforts are being
+made to introduce better methods and more artistic designs in the many
+lace schools which are being formed in various parts of Devon. Mrs.
+Fowler, of Honiton, one of the oldest lace-makers in this centre, making
+exquisite lace, the technique leaving nothing to be desired, and also
+showing praiseworthy effort in shaking off the trammels of the
+traditional designs.
+
+[Illustration: MODERN HONITON, MADE BY MRS. FOWLER.]
+
+
+
+
+XII
+
+SCOTCH AND IRISH LACES
+
+
+
+
+XII
+
+SCOTCH AND IRISH LACES
+
+     Hamilton lace--Mary Queen of Scots--Modern lace-making in
+     Ireland--Limerick lace--Carrick-ma-cross--Irish
+     crotchet--Convent laces.
+
+
+Scotch lace can hardly be said to exist. At one time a coarse kind of
+network lace called "Hamilton lace" was made, and considerable money was
+obtained by it, but it never had a fashion, and deservedly so. Since the
+introduction of machinery, however, there has been considerable trade,
+and a tambour lace is made for flounces, scarfs, &c. The more artistic
+class of work made by Scotswomen is that of embroidering fine muslin,
+and some really exquisite work is made by the common people in their
+homes.
+
+Much mention is often made of Mary Queen of Scots and her embroideries
+and laces. It must be remembered that she married firstly the Dauphin of
+France, and while at the French Court imbibed the taste for elegant
+apparel and costly lace trimmings. There is no record that she ever wore
+lace of her own country's manufacture, and, although English writers
+often quote the lace made by her fair hands, really the needlework made
+by Queen Mary at Fotheringay was embroidery.
+
+
+_Irish Laces._
+
+The early lace of Ireland was the usual cut and drawn work, and it was
+not until the earlier part of the nineteenth century that lace-making
+actually became a craft. In the eighteenth century many brave attempts
+were made to commence lace schools, and the best work was done in the
+convents, where really fine work was executed by the nuns, the patterns
+having been sent from Italy. It was not until 1829 that the manufacture
+of Limerick lace was first instituted. This really is not lace at all,
+as it is merely chain-stitch worked in patterns on machine-made net.
+
+This pretty so-called lace was first made at Limerick by an Oxford man,
+who established a school there, taking with him twenty-four girls as
+teachers. It quickly became very popular, in the early "fifties" every
+woman of either high or low degree possessing herself of at least a lace
+collar or fichu of Limerick lace.
+
+In 1855 more than 1,500 workers were employed, but decidedly the best
+lace of the manufacture belongs to the time prior to this date. The
+quality of the net ground has also deteriorated, or perhaps the best net
+has not been purchased.
+
+[Illustration: LIMERICK "FILLINGS."]
+
+Very dainty little sprays and flowers are produced in the fine chain or
+tambour stitch, the hearts of the flowers or the centres of the scallops
+being worked over in an endless variety of extra stitches, as will be
+seen in the illustration.
+
+Another variety of lace is Carrick-ma-cross, which was contemporary with
+Limerick. This is merely embroidery again, but has more claim to the
+title of lace, as the tiny little flowers and scrolls are connected with
+brides made of buttonhole stitch ornamented with picots. This is really
+a very handsome lace, its only drawback being that it will not _wash_.
+The fine lawn of which it is made is buttonholed round and then cut
+away. This, in cleaning or washing, _contracts_ and leaves the
+buttonhole edging, and in a few cleanings it is a mass of unmendable
+rags.
+
+Slightly more serviceable is another variety of Carrick-ma-cross, on
+which the lawn is appliqued to a machine-made net, the pattern outlined
+with buttonhole stitches, and the surplus lawn cut away, leaving the
+network as a grounding, various pretty stitchings filling up the
+necessary spaces.
+
+Yet another kind of lace is made, and is really the only real lace that
+Ireland can claim. This is the Irish crotchet, which in its finer
+varieties is a close imitation of Venetian Point, but made with fine
+thread and with a crotchet needle. Some of the best is really worth
+purchasing, but it is costly, realising as much as five guineas per
+yard. A very delicate "Tatting" also comes from the Emerald Isle, and in
+comparing English and Irish laces one is inevitably struck with the
+reflection that there is more "artistry" in the production of Irish
+laces and embroidery than in England with all her advantages. The
+temperamental differences of the two races are distinctly shown in this,
+perhaps more than any other art.
+
+Much really notable work is now being executed in the Irish lace
+schools. At Youghal, co. Monaghan, an exact replica of old Venetian
+Point is being worked. Various fine specimens from the school occupy a
+place at South Kensington Museum, and the lace industry of Ireland may
+be said to be in a healthy condition.
+
+[Illustration: CARRICK-MA-CROSS LACE.
+
+(_Author's Collection._)]
+
+
+
+
+XIII
+
+HOW TO IDENTIFY LACE
+
+
+[Illustration: THE CENTRE STRIP IS OLD "RETICELLA," WITH GENOA BORDERS.
+
+(_Author's Collection._)]
+
+
+
+
+XIII
+
+HOW TO IDENTIFY LACE
+
+     Style--Historical data--Reseaux.
+
+
+The great difficulty in attempting to identify any specimen of lace is
+that from time to time each country experimented in the manners and
+styles of other lace-making nations. The early Reticella workers copied
+what is known as the "Greek laces," which were found in the islands of
+the Grecian Archipelago. Specimens of these laces found in the
+excavations of the last thirty years show practically no difference in
+method and style. France copied the Venetian laces, and at one period it
+is impossible to say whether a given specimen was made at Alencon or
+Venice. Italy, in turn, imitated the Flemish laces--to such an extent
+that even the authorities at South Kensington Museum, with all their
+leisure and opportunities for study and the magnificent specimens at
+hand for identification, admit that certain laces are either "Italian or
+Flemish." Valenciennes was once a Flemish town, and though now French,
+preserves the Flemish character of lace, some specimens of Mechlin
+being so like Valenciennes as to baffle certainty.
+
+Later, Brussels borrowed the hand-made grounds of France and Venice, and
+still later England copied Brussels, the guipures of Flanders, and the
+ground and style of Lille! All this makes the initial stages of the
+study of lace almost a hopeless quest. The various expensive volumes on
+lace, although splendidly written and gorgeously illustrated, leave the
+student with little more than an interesting and historical knowledge on
+which to base the actual study of lace. Here I may refer my readers to
+the one and only public collection of lace, I believe, in England--that
+of the South Kensington Museum, where specimens of lace from all
+countries and of all periods are shown, and where many magnificent
+bequests, that of Mrs. Bolckow especially, make the actual study of lace
+a possibility.
+
+It is to be hoped that the governing body of the museum will, in its own
+good time, make this a pleasure instead of a pain. The specimens, the
+_most important to the student_, are placed in a low, dark corridor. Not
+a glimmer of light can be obtained on some of the cases, which also are
+upright, and placed so closely together that on attempting to see the
+topmost specimen on one side the unfortunate student literally bangs her
+head into the glass of the next one. A gentle complaint at the
+Directors' office concerning the difficulty brought forth the
+astonishing information that there was no room at their disposal, but
+that in good time better light might be found. As these cases have
+been in identically the same place for the past fifteen years, one hopes
+that the "good time" may come before one becomes a "spectacled
+pantaloon" with no desire to see the wonders of that Palace of Art.
+
+[Illustration: POINT D'ANGLETERRE.
+
+Style Louis XV. Eighteenth Century
+
+(_S.K.M. Collection._)]
+
+This little protest is made in the hope that the "Lords of the
+Committee" may possibly have their attention drawn to what amongst the
+lace-lovers and students in this country is a "standing grievance."
+
+It is almost impossible, even from the best of photographic
+illustrations, to learn all the intricacies of identification. The
+photographs clearly show style, but it needs specimens of the actual
+lace to show method of working. From the illustrations in this book,
+specially selected from the South Kensington Collection, and from
+specimens in my own collection, every variety of style may be easily
+understood, as they have been particularly selected to show each point
+of difference. Commencing with the earliest form of lacework--_i.e._,
+"cutworke"--nothing will better show this than the "Sampler" specimen,
+which, half way down, shows two rows entirely typical of this kind of
+early lace-making--for such it is. A little lower, examples of drawn
+threadwork are seen, while the upper portion illustrates satin stitch
+patterns, which more properly belong to embroidery.
+
+The ancient collar from the South Kensington Collection, page 149, shows
+some of the finest developments of cutwork, when the foundation of linen
+was entirely dispensed with. The work is exceedingly fine, the threads
+being no coarser, indeed in many cases less so, than the fine linen it
+adorns. This is known as Reticella, or "punto in aria." The last name
+is applicable to all the laces of Venice which succeeded Reticella, and
+means lace literally made out of nothing or without any building
+foundation.
+
+The specimen is still of the same class, but where before the design was
+simple geometric square and pointed as in all the early lace, it now
+takes on the lovely flowing scroll of the Renaissance that marks the
+latter half of the seventeenth century.
+
+The same grand styles may be noted all through the great period of
+Italian Needlepoint lace. It will be seen in a lesser degree in the
+Guipure laces of Milan and Genoa, but here the cramping influence of the
+Flemish school shows itself distinctly.
+
+[Illustration: ITALIAN ECCLESIASTICAL LACE.]
+
+[Illustration: FLEMISH OR GENOESE ECCLESIASTICAL LACE.
+
+(_S.K.M. Collection._)]
+
+The same bold lines may be noted in the early Needlepoint lace of
+France, which had not then become sufficiently sure of her capacity to
+develop a style of her own, and all show the Renaissance spirit.
+Afterwards when the superb Point de France was at its height of
+manufacture along with grand outline and exquisite handicraft, the
+influence of the mighty monarch Louis XIV. asserted itself and although
+the lace itself commands unbounded admiration, fantastic little notions,
+symbolical and naturalistic, showed itself--as an illustration page 75:
+little figures representing "the Indian," "canopied crown over a sealed
+lady," trees growing all manner of bizarre fruit and flowers, all
+symbolical of Louis the Magnificent's unbounded power and sway. In the
+South Kensington Museum there is a still finer specimen, which has
+not yet been photographed, I believe--a magnificent flounce, about
+eighteen inches wide (really two boot top pieces joined), of what is
+known as pseudo-Oriental character, which shows amongst the usual
+exquisite scrolling no less than seven different figures on each
+piece--viz., an Indian, a violinist in dress of Louis XIV. period, a
+lady riding on a bird, two other ladies, one with a pet dog and the
+other a parrot, a lady violinist, and another lady seated before a
+toilet-table. These little figures are not more than three-quarters of
+an inch high, but are worked with such minuteness that even the tiny
+features are shown. This fantastic adoption of the human figure was
+copied in Italy and Flanders. The finest specimens of Point d'Angleterre
+(Brussels) show the same designs; and it may broadly be stated that all
+lace with figures is of the Louis XIV. period, and over two hundred
+years old.
+
+Succeeding this period came the dainty elegance of the French laces,
+when the workers of Alencon and Argentan had developed a purely French
+style. Note the Point d'Alencon, illustration page 83, where the
+characteristics of the period are fully shown. The illustration shows a
+mixed lace, which only recently has been acknowledged by the South
+Kensington people as Point d'Argentan. Along with the typical Argentan
+ground of the upper portion is the fine Alencon mesh and varied jours of
+the border. This also is Louis XIV. style. The lappet shown next is
+exceedingly instructive, as till quite lately the people who professed
+to understand lace agreed to call this Genoese, although it was quite
+unlike anything else made there. This lappet was so labelled at South
+Kensington, but now is admittedly Argentella (or little Argentan). It is
+remarkably like Alencon, being of the same period, the only points of
+difference being that the design is not outlined with a raised Cordonnet
+(though in different places of the design a raised and purled Cordonnet
+is often stitched on it) and the special ground (partridge eye) which is
+agreed to denote "Argentella" lace--page 83. It is sometimes called the
+may-flower ground, but this is somewhat misleading as that design occurs
+in other laces. The only other great style is that of Flanders, which at
+its earliest period had received no influence from the Renaissance that
+had seized the southern countries of Europe and was still in the grip of
+mediaeval art. It was not until Italian influence permeated France that
+Flemish lace perceptibly altered in character.
+
+These are to all intents and purposes the three great styles of lace.
+England had no style: she copied Flemish, Brussels, and Mechlin laces.
+Ireland, on the contrary, copied Italian in her Irish crotchet and
+Carrick-ma-cross (in style only, but not workmanship), and adapted Lille
+and Mechlin and Brussels and Buckingham in her Limerick lace.
+
+The student must next make herself familiar with the methods pursued by
+the old lace-workers, and here the difficulty commences. All lace is
+either Needlepoint, pillow-made, or machine-made. _Needlepoint_ explains
+itself. Every thread of it is made with a needle on a parchment pattern,
+and only two stitches are used, buttonhole and a double-loop which is
+really a buttonhole stitch.
+
+[Illustration: BRUSSELS LAPPET.
+
+Nineteenth Century.
+
+(_S.K.M. Collection._)]
+
+This can be clearly understood by referring to Charts Nos. I. and II.,
+where the _two Brussels grounds_ are shown. The Needlepoint ground, No.
+I., is formed by a buttonhole stitch, which loops over again before
+taking the next. The pillow-made ground, No. II., shows the threads
+plaited or twisted together to form a hexagonal or a diamond-shaped
+network. This is all the difference between needle-made and pillow-made
+lace, and in itself helps to identify in many instances its country and
+period when it was produced. All the early Italian laces were
+Needlepoint, and all the early French laces were the same. All the
+Flemish laces (including Brussels) were pillow-made, and mixed laces in
+any of these countries are of later make. Italy adapted the Flemish
+pillow-lace, and produced Genoese and Milanese guipures, in addition to
+the coarse imitation of Reticella which she now made by plaiting threads
+on the pillow. Brussels adopted the needle-made motifs and grounds of
+Italy, and produced perhaps her finest lace, weaving her beautiful
+designs and outlines on the pillow, and afterwards filling the spaces
+with needle-made jours and brides, as in Point d'Angleterre.
+
+A study of Chart II. will show the different style of grounds or reseaux
+of both Needlepoint and pillow-made lace, the buttonhole grounds being
+either of "brides" with or without picots, or buttonhole loops, as in
+Brussels, and Alencon (with a straight thread whipping across to
+strengthen the ground), loops buttonholed over all as in Argentan, or
+made of tiny worked hexagons with separate buttonholed threads around
+them as in Argentella. The pillow-made grounds are made of two plaited
+or twisted threads, except in the case of Valenciennes, when it is made
+of four threads throughout (hence its durability). In Brussels, it will
+be noted, the threads are twisted twice to commence the mesh. These meet
+two other threads, and are plaited four times, dividing into two again,
+and performing the same twist, the whole making a hexagon rather longer
+than round. Mechlin has precisely the same ground, only that the threads
+are plaited _twice_ instead of four times, as in Brussels, making the
+hexagon roundish instead of long.
+
+The ground of Lille lace is of exactly the same shape as Valenciennes,
+but is composed of two threads twisted loosely twice each side of the
+diamond, and that of Valenciennes being made of four threads plaited.
+
+With the aid of these little charts, a remembrance of the various styles
+and a few actual specimens of lace, and _a powerful magnifying glass_,
+it is not beyond the power of any reader of this little book to become
+expert in the identification of old lace.
+
+[Illustration: REAL "POINT DE GAZE" (NEEDLE-MADE GROUND).
+
+(_Author's Collection._)]
+
+
+
+
+XIV
+
+SALE PRICES
+
+
+
+
+XIV
+
+SALE PRICES
+
+
+Lace is such an article of luxury, and, as a rule, only belonging to the
+wealthiest class, that it seldom or ever comes into the open market. In
+1907 two collections were dispersed at Christie's--those of Mrs.
+Massey-Mainwaring and Mrs. Lewis Hill.
+
+The most costly laces are the Venetian Points, some of the fine Rose
+Points being priceless. It is so fragile that little of it remains, and
+the smallest piece is eagerly snapped up by collectors.
+
+
+In 1904 at Christie's lace sold for the following prices--
+
+                                                          L
+A 58-inch length of 24-ins. deep Point de Venise         600
+
+A 4-yards length of Rose Point, 11 inches deep           420
+
+
+The same year--
+
+                                                          L
+4 yards of Point d'Argentan, 25 inches deep              460
+
+44 inches Point d'Alencon, 17 inches deep                 43
+
+2-1/2 yards Point d'Alencon, 14 inches deep               46
+
+
+In 1907, March 11, _Massey-Mainwaring Sale_ at Christie's--
+
+                                                    sold for
+                                                    L  s.  d.
+1-1/2 yards Venetian Gros Point, 8 inches deep     16  16  0
+
+5 yards length of Reticella, 7-1/2 inches
+deep                                               33  12  0
+
+4 short lengths                                    42   0  0
+
+7 pieces of Point d'Alencon                        21   0  0
+
+4 yards narrow Point d'Argentan                    15  15  0
+
+3 pairs Point d'Argentan lappets                   15  15  0
+
+30 yards narrow Mechlin in odd lengths             21   0  0
+
+
+April 15th, the _Lewis-Hill Sale_ at Christie's:--
+
+                                                    sold for
+                                                    L  s.  d.
+4 yards Venetian Point, 15-1/2 inches deep         68   5  0
+
+4   "      "       "     8-1/2    "     "          52  10  0
+
+3 yards Spanish Point, 6-1/2 inches deep           73  10  0
+
+An Old Brussels scarf in two pieces                10  10  0
+
+6 yards Brussels applique                          23  10  0
+
+A Point Gaze parasol-cover                          6  16  0
+
+A Brussels flounce                                 12   1  6
+
+3 yards Honiton flounce, 17 inches deep            69   6  0
+
+Another similar                                    69   6  0
+
+6 yards Honiton lace in three pieces               24   3  0
+
+An old lace coverlet                               25   4  0
+
+Another ditto                                      26   5  0
+
+A lace altar-frontal                               21   1  0
+
+With the exception of the Honiton flounces, which sold beyond their
+market value, all the above pieces were bought by London lace dealers!
+
+The famous collection of the late Mrs. Hailstone was sold in 1909. This
+lady had for many years been known as a lace collector, and the sale of
+her effects was eagerly anticipated. The result was extremely
+interesting to the collectors, as Mrs. Hailstone had collected specimen
+lengths of almost every known lace. No huge prices obtained, but the
+sale may be regarded as representative, and the prices quoted as being
+open-market value.
+
+                                                    L  s.  d.
+A set of bed-hangings, forming six curtains,
+made of Italian lace and linen                     40   0  0
+
+A large portiere curtain of Italian lacis-work     10  10  0
+
+A Point d'Alencon fichu                            30   0  0
+
+"   "       "     cravat end, a pair of sleeves,
+one odd piece                                      18   0  0
+
+A pair of Argentan lappets and six yards lace      12   0  0
+
+A panel fine raised Venetian Point, 22 inches
+wide, 28 inches long                               24   0  0
+
+A Berthe, Point de Venise, 1 yard 120 inches,
+12 inches deep                                     25   0  0
+
+A Point de Venise Berthe                           36   0  0
+
+A 1 yard 13 inches x 7 inches panel Venetian lace  50   0  0
+
+Two specimen pieces, 3-1/4 inches, all of
+Point de Venise a reseau                           14  10  0
+
+A Buckinghamshire collar, sleeves, and pieces       5   5  0
+
+A specimen of old Honiton, baby's cap, bodice,
+and handkerchief                                    3   5  0
+
+An old Honiton baby's robe, said to have belonged
+to Princess Charlotte                              15  10  0
+
+Seven volumes of lace specimens of old and modern
+lace                                               35   0  0
+
+In December, 1910, probably the most valuable collection ever placed
+upon the market was dispersed at Messrs. Christie's. The late Sir
+William Abdy Bt., had for many years devoted his time and money to the
+collection of valuable lace, such as now can only be seen in the great
+national collections. The prices obtained are significant of the huge
+sums which must be paid to obtain wearable pieces of valuable lace such
+as skirt lengths, 3- or 4-yard lengths of deep flouncings, shawls,
+coverlets, aprons, &c.
+
+                                                    L  s.  d.
+
+A fine Point d'Alencon skirt, 2-1/2 yards,
+44 inches deep                                    160  0   0
+
+A fine Point d'Alencon scarf, 2 yards
+9 inches x 10 inches deep                          72  0   0
+
+A Point d'Argentan Berthe, 9-1/2 inches deep       39  0   0
+
+A Point d'Argentan flounce, 6 yards 30
+inches x 5-1/2 inches deep                        140  0   0
+
+A Point d'Argentan flounce, 2 yards 26
+inches long x 25 inches deep                      210  0   0
+
+A Point d'Argentan flounce, 3 yards 28
+inches long x 24 inches deep                      310  0   0
+
+A Point d'Argentan flounce, 3 yards 35
+inches long x 25 inches deep                      431  0   0
+
+A Point d'Argentan flounce, 3 yards 16
+inches long x 24-1/2 inches deep                  290  0   0
+
+An Italian gold and thread lace flounce,
+4 yards long, 29 inches deep                      740  0   0
+
+A length of Italian Rose Point, 4 yards
+15 inches long, 3 inches deep                      70  0   0
+
+An old Italian Rose Point flounce, 3
+yards 31 inches long, 17-1/2 inches deep          660  0   0
+
+An old Italian Rose Point square, 31
+inches x 34 inches                                180  0   0
+
+An old Italian Rose Point flounce, 3
+yards 19 inches long, 7-1/2 inches deep           520  0   0
+
+An old Italian Rose Point panel, 34
+inches x 9 inches                                  95  0   0
+
+A Point de Venise lappet a reseau, 46
+inches long, 5-1/4 inches wide                     22  0   0
+
+Point de Venise trimming, 8 yards long
+x 4 inches deep                                    65  0   0
+
+A piece of flat Venetian insertion, 4
+yards x 3-3/4 inches deep                          92  0   0
+
+A Rose Point flounce, 4 yards long x 5
+inches deep                                       200  0   0
+
+A Rose Point flounce, 3 yards 31 inches
+long x 22 inches deep                             600  0   0
+
+A Rose Point flounce, 4 yards 7 inches
+long x 24 inches deep                             540  0   0
+
+A Rose Point flounce, 3 yards 32 inches
+long x 15 inches deep                             560  0   0
+
+A Rose Point flounce, 4 yards 11 inches
+long x 18 inches deep, and a pair of
+sleeves en suite                                  650  0   0
+
+A Rose Point flounce, 4 yards 3 inches
+long x 11-1/2 inches deep                         510  0   0
+
+A raised Point de Venise square, 1 yard
+24 inches long x 1 yard 6 inches wide             450  0   0
+
+An Old Brussels apron, 41 inches wide,
+37 inches deep                                    145  0   0
+
+A specimen piece of early Valenciennes,
+2 yards long x 7 inches deep                       42  0   0
+
+
+The following prices have been given by the South Kensington authorities
+for specimens shown:--
+
+                                                    L  s.  d.
+
+A Venetian Point altar-frontal, 8 x 3 feet        350  0   0
+
+A Venetian chasuble, stole, maniple,
+and chalice veil                                  200  0   0
+
+A 2 yards x 5/8 yard Venetian flounce             125  0   0
+
+A Gros Point collar                                21  0   0
+
+A Brussels lappet                                  23  0   0
+
+A drawn-thread jacket                              10 10   0
+
+Linen cutwork tunic                                20  0   0
+
+[Illustration: EGYPTIAN EMBROIDERY.
+
+Found in a tomb at Thebes.]
+
+
+
+
+CHATS ON NEEDLEWORK
+
+
+
+
+I
+
+OLD ENGLISH EMBROIDERY
+
+     Needlework pioneer art--Neolithic remains--Earliest known
+     English specimens--Bayeux tapestry.
+
+
+While the subject of lace-making has been treated as almost
+cosmopolitan, that of embroidery, in this volume, must be regarded as
+purely national! I purposely refrain from introducing the embroideries
+of other countries, other than mentioning the ancient civilisations
+which shared the initial attempts to decorate garments, hangings, &c.
+(of which we really know very little), and shall confine myself to the
+needlework of this country, more especially as it is the one art and
+craft of which England may be unfeignedly proud. It is assumed that
+needlecraft was the pioneer art of the whole world, that the early
+attempts to decorate textiles by embroideries of coloured silks, and the
+elaborate use of gold and silver threadwork, first suggested painting,
+sculpture, and goldsmith's work. Certainly early Egyptian paintings
+imitated embroideries, and we have good ground for supposing that
+stained glass was a direct copy of the old ecclesiastical figures or
+ancient church vestments. The Neolithic remains found in Britain show
+that at a very early period the art of making linen-cloth was
+understood. Fragments of cloth, both of linen and wool, have been
+discovered in a British barrow in Yorkshire, and early bone needles
+found at different parts of the country are plentiful in our museums.
+There is no doubt that we owe much of our civilisation to the visit of
+the Phoenicians, those strange people, who appear to have carried all
+the arts and crafts of ancient Babylon and Assyria to the wonder isles
+of the Greek Archipelago, to Egypt, to Southern Spain, and to Cornwall
+and Devonshire. These people, dwelling on the maritime border of
+Palestine, were the great traders of their age, and while coming to this
+country (then in a state of wildest barbarism) for tin left in exchange
+a knowledge of the arts and appliances of civilisation hitherto not
+understood. The Roman Invasion (45 B.C.) brought not only knowledge of
+craftsmanship but also Christianity. St. Augustine, to whom the
+conversion of the Britains is credited, carried with him a banner
+embroidered with the image of Christ. After the Romans had left the
+country, and it had become invaded by the Celts and the Danes, and had
+again been taken possession of by the Saxons, a period of not only rest
+but advancement arrived, and we see early in the seventh century the
+country prosperous and settled. Aldhelm, Bishop of Sherborne, wrote a
+poem in which he speaks of the tapestry-weaving and the embroidery which
+the women of England occupied their lives.
+
+[Illustration: A LENGTH OF THE FAMOUS BAYEUX TAPESTRY.]
+
+The earliest specimen of embroidery known to have been executed in
+England is that of the stole and maniple of St. Cuthbert, which is now
+treasured at Durham Cathedral. These were worked by Aelfled, the Queen
+of Edward the Elder, Alfred the Great's son. She worked them for Bishop
+Fridhestan in 905 A.D. Her son Athelstan, after her death, visited the
+shrine of St. Cuthbert, at Chester-le-street, and in an inventory of the
+rich gifts which he left there, there is recorded "one stole with a
+maniple," amongst other articles. These very embroideries were removed
+from the actual body of St. Cuthbert in 1827. They are described by an
+eyewitness as being "of woven gold, with spaces left vacant for
+needlework embroideries." Exquisitely embroidered figures are in niches
+or clouds. The whole effect is described as being that of a fine
+illuminated MS. of the ninth century, and indescribably beautiful.
+Another great prelate, St. Dunstan, Archbishop of Canterbury, designed
+embroideries for the execution of pious ladies of his diocese (924 A.D.).
+
+Emma, Queen of Ethelred the Unready, and afterwards of Canute, designed
+and embroidered many church vestments and altar-cloths, and Editha, wife
+of Edward the Confessor, embroidered the King's coronation mantle.
+
+The great and monumental Bayeux tapestry--which is miscalled, as it is
+_embroidery_--was the work of Queen Matilda, who, like Penelope, wove
+the mighty deeds of her husband and king in an immense embroidery. This
+piece of needlecraft comes upon us as a shock, rather than an
+admiration, after the exquisite embroideries worked by and for the
+Church. It is interesting, however, as a valuable historic "document,"
+showing the manners and customs of the time. The canvas is 227 feet long
+and 20 inches wide, and shows events of English history from the
+accession of Edward the Confessor to the defeat of Harold, at Hastings.
+It is extremely crude; no attempt is made at shading, the figures being
+worked in flat stitch in coloured wools, on linen canvas. Certainly it
+is one of the quaintest and most primitive attempts of working pictures
+by needlecraft.
+
+The evidence of the costumes, the armour, &c., are supposed to tell us
+that this tapestry was worked many years after the Conquest, but it can
+be traced by documentary evidence as having been seen in Bayeux
+Cathedral as far back as 1476. In the time of Napoleon I. it was removed
+from the cathedral and was actually used as a covering for a transport
+waggon. Finally, however, it was exhibited in the Musee Napoleon, in
+1803, and was afterwards returned to Bayeux. In 1840 it was restored and
+relined, and is now in the Hotel de Ville at Bayeux!
+
+[Illustration: KING HAROLD.
+
+(_From the Bayeux Tapestry._)]
+
+
+
+
+II
+
+THE GREAT PERIOD OF EMBROIDERY
+
+
+
+
+II
+
+THE GREAT PERIOD OF EMBROIDERY
+
+     "Opus Anglicanum"--The Worcester fragments--St.
+     Benedict--Legend of Pope Innocent--The "Jesse" cope--The "Syon"
+     cope.
+
+
+The great period of English embroidery is supposed to have been from the
+twelfth to the thirteenth century. Very little remains to show this,
+except a few fragments of vestments from the tombs of the bishops dating
+from the twelfth and thirteenth centuries, and other data obtained from
+various foreign inventories of later date referring to the use of "Opus
+Anglicanum." Some portion of the Worcester fragments may be seen in the
+South Kensington Museum, and can only be described as being so perfect
+in workmanship, colour, and style as even at this day to be more like a
+magnificent piece of goldsmith's work than that of needlecraft. The
+background is apparently one mass of thread of fine gold worked in and
+out of a silken mesh, the embroidery appearing just as clear and neat in
+manipulation as an illumination. The coloured photographs, which may be
+seen in the same room, of the stole and maniple of St. Cuthbert are of
+precisely the same work. Judging from these, and the embroidered orphrey
+which the authorities bought from the Hockon Collection for L119 1s.
+10d. and which is only 4 feet 8 inches long, there is no doubt that this
+was, _par excellence_, the finest period. The work can only be described
+as being like an old Italian painting on a golden ground. We see
+precisely such design and colouring in ancient paintings for altars as
+in the old Italian Triptychs. This style was carried out as literally as
+possible. Even the defects, if so they may be called, are there, and a
+slight topheaviness of the figures serves but to accentuate the
+likeness.
+
+There is a legend that during the times of the Danish incursions St.
+Benedict travelled backwards and forwards through France and Italy, and
+brought with him during his _seven_ journeys artificers in _glass_ and
+_stone_, besides costly books and copies of the Scriptures. The chief
+end and aim of monastic life, both of monk and nun, in those early days
+was to embroider, paint, and illuminate their sacred books, vestments,
+and edifices with what was to them a newly-inspired faith.
+
+Dr. Rock, in his "Church of Our Fathers," says that from the twelfth
+century to the time of Henry VIII. that only the best materials that
+could be found in our country or that of other lands were employed, and
+that the art that was used on them was the best that could be learnt or
+given. The original fabrics often came from Byzantium or were of
+Saracenic origin.
+
+[Illustration: FROM THE "JESSE" COPE (_South Kensington Museum_).
+
+English, early Fourteenth Century.]
+
+The story of Pope Innocent III., who, seeing certain vestments and
+orphreys, and being informed that they were English, said, "Surely
+England must be a garden of delight!" must be quoted to show how English
+work was appreciated in those early days.
+
+The choicest example in this country of this glorious period of English
+embroidery is the famous Syon cope, which is supposed to rank as the
+most magnificent garment belonging to the Church. It may be regarded as
+a typical example of real English work, the "Opus Anglicanum" or
+"Anglicum," which, although used for other purposes, such as
+altar-cloths and altar-frontals, found apparently its fullest scope in
+these large semicircular mantles.
+
+Amongst the many copes treasured at South Kensington there are none,
+amidst all their splendour, as fine as this, although the fragment of
+the "Jesse" cope runs it very closely. There are many copes of this
+period in different parts of the Continent--the Daroca Cope at Madrid,
+one at Ascagni, another at Bologna, at St. Bertrand-de-Comminges, at
+"St. John Lateran" at Rome, at Pienza and Toleda, and a fragment of one
+with the famous altar-frontal at Steeple Aston. These are all assumed to
+be of "Opus Anglicanum," and they may be described as being technically
+perfect, the stitches being of fine small tambour stitch, beautifully
+even, and the draperies exquisitely shaded.
+
+The illustration showing the Syon Cope requires some little explanation.
+It is wrought on linen, embroidered all over with gold and silver thread
+and coloured silk. It is 9 feet 7 inches long, 4 feet 8 inches wide.
+The whole of the cope except the border is covered with interlacing
+quatrefoils outlined in gold. The ground of these quatrefoils is covered
+with red silk and the spaces between them with green silk. Each
+quatrefoil is filled with scenes from the life of Christ, the Virgin,
+and figures of St. Michael and of the Apostles. On the green spaces are
+worked figures of six-winged angels standing on whorls. The chief place
+on the quatrefoils is given to the crucifixion, where the body of the
+Saviour is worked in silver and cloth of gold. The Virgin, arrayed in
+green tunic and golden mantle, is on one side and St. John, in gold, on
+the other. Above the quatrefoil is another representing the Redeemer
+seated on a cushioned throne with the Virgin, and below another
+representing St. Michael overcoming Satan. Other quatrefoils show
+"Christ appearing to St. Mary Magdalen," "The Burial of the Virgin,"
+"The Coronation of the Virgin," "The Death of the Virgin with the
+Apostles surrounding her," "The Incredulity of St. Thomas," "St. Simon,"
+"St. Bartholomew," "St. Peter," "St. Paul," "St. Thomas," "St. Andrew,"
+and "St. James." Portions of four other Apostles may be seen, but at
+some period the cope has been cut down. In its original state the cope
+showed the twelve Apostles. The lower portion has been cut away and
+reshaped, and round this is an edging apparently made out of a stole and
+maniple which point to a later date, as they are worked chiefly in
+cross-stitch. On the orphrey are emblazoned the arms of Warwick, Castile
+and Leon, Ferrars, Geneville Everard, the badge of the Knights
+Templars, Clifford, Spencer, Lindsay, Le Botelier, Sheldon, Monteney of
+Essex, Champernoun, Everard, Tyddeswall Grandeson, Fitz Alan, Hampden,
+Percy, Clanvowe, Ribbesford, Bygod, Roger de Mortimer, Grove, B.
+Bassingburn, and many others not recognisable. These coats of arms, it
+is suggested, belonged to the noble dames who worked the border. The
+angels which fill the intervening spaces are of the six-winged
+varieties, each standing on whorls or wheels.
+
+[Illustration: THE "SYON" COPE.
+
+(_S.K.M. Collection._)]
+
+The cope is worked in a fine tambour or chain stitch principally. All
+the faces, bodies, and draperies are composed of this. A specially
+noticeable point is that the faces are worked spirally, beginning in the
+centre of the cheek and being worked round and round, conforming with
+the muscles of the face. The garments are worked according to the hang
+of the drapery, very fine effects being obtained. After the work has
+been completed a hot iron something like a little iron rod with a
+bulbous end has been pressed into the cheeks, under the throat, and in
+different parts of the nude body. Occasionally, but seldom, the same
+device may be seen in the drapery. All the work is exquisitely fine and
+perfectly even. The groundwork of the quatrefoils is of gold-laid or
+"couch" work, as is also that of the armorial bearings.
+
+The name "Syon" is somewhat misleading, as the Cope was not made here,
+but came into the hands of the Bridgettine nuns in 1414, when Henry V.
+founded the convent of "Syon" at Isleworth. Its origin and date will
+ever be a matter of conjecture, but Dr. Rock infers that Coventry may
+have been the place of its origin. Taking Coventry as a centre with a
+small radius, several of the great feudal houses the arms of which are
+on the border of the cope may be found, and Dr. Rock further supposes
+that Eleanor, widow of Edward the First, may have become a sister of the
+fraternity unknown, as her arms, Castile and Leon, are on it. "The whole
+must have taken long in working, and the probability is that it was
+embroidered by nuns of some convent which stood on or near Coventry."
+However this may be, it is certain that this splendid piece of English
+work came into the hands, by some means, of the nuns of Syon, and after
+remaining with them at Isleworth till Elizabeth's time, it was carried
+by them through Flanders, France, and Portugal. They remained at the
+latter place till the same persecution which dispersed the famous
+Spanish Point lace over the length and breadth of the Continent, and
+about eighty years ago it was brought back to England, and was given by
+the remaining members of the Order to the Earl of Shrewsbury. After
+further vicissitudes of a varied character it was bought by the South
+Kensington Museum for L110, and now sheds the glory of its golden
+threads in a dark transept unnoticed except by the student.
+
+
+
+
+III
+
+ECCLESIASTICAL EMBROIDERIES AND VESTMENTS
+
+
+[Illustration: HALF OF THE STEEPLE ASTON ALTAR FRONTAL.
+
+English, Fourteenth Century.]
+
+
+
+
+III
+
+ECCLESIASTICAL EMBROIDERIES AND VESTMENTS
+
+     The Pierpont Morgan purchase--The Steeple Aston
+     Altar-frontal--The "Nevil" Altar-frontal at S. K. M.--City
+     palls--Diagram of vestments.
+
+
+Other copes of the same period are in the Madrid Museum, two copes at
+Bologna, and the "Ascoli" cope recently purchased by Mr. J. Pierpont
+Morgan and generously returned by him. Some cushions from Catworth
+Church, Huntingdon, now at the South Kensington Museum, were probably
+cut from copes, and bought by permission of the Bishop of Ely for L27. A
+long band of red velvet at South Kensington Museum embroidered with gold
+and silver and coloured silk has evidently been made from the "Apparels"
+of an alb. It is in two pieces, each piece depicting five scenes divided
+by broad arches. The first five are from the life of the Virgin, and
+are: "The Angel appearing to Anna," "The Meeting of Anna and Joachim,"
+"Birth of the Virgin," "Presentation of the Virgin," "Education of the
+Virgin." In the second piece are: "The Annunciation," "The Salutation,"
+"The Nativity," "The Angel appearing to the Shepherds," and the
+"Journey of the Magi."
+
+Another piece of similar work is the altar-frontal of Steeple Aston,
+which was originally a cope, and the cope now at Stonyhurst College,
+originally belonging to Westminster Cathedral. It is made of one
+seamless piece of gold tissue.
+
+During this great period of English embroidery certain characteristics
+along with its superb workmanship must be noticed. The earlier the work
+the finer the modelling of the figures. In the figures of the St.
+Cuthbert and the Worcester fragments the proportions of the figures are
+exquisite; at a later date, while the work is just as excellent, the
+figures become unnatural, the heads being unduly large, the eyes
+staring, and the perspective entirely out of drawing. Until the
+fourteenth century this comes so gradually as to be scarcely noted; but
+after and through the fifteenth century this becomes so marked as to be
+almost grotesque, and only the genuine religious fervour with which
+these poor remnants have been worked prevents many of them being
+ridiculous. The faces gradually show less careful drawing and working,
+and the figures become squat and topheavy. The emblems of the saints are
+often omitted.
+
+[Illustration: THE "NEVIL" ALTAR FRONTAL.
+
+(_S.K.M. Collection._)]
+
+This decline in the embroiderer's art is specially noticeable in an
+extraordinary panel to be seen at South Kensington Museum, where an
+altar-frontal of stamped crimson velvet is appliqued in groups of
+figures in gold, silver, and silks. In the middle is the Crucifixion,
+with the Virgin and St. John standing on a strip covered with flowers.
+On the left is Ralph Nevil, fourth Earl of Westmoreland, 1523, kneeling,
+and behind him his seven sons. On the right is Lady Catherine Stafford,
+his wife, also kneeling, and behind her kneel her thirteen daughters.
+The frontal cost the museum L50 and is well worth it as an historical
+document. Other important embroideries of the period to be found in
+England are at Cirencester Cathedral, Ely Cathedral, Salisbury and
+Carlisle Cathedrals, Chipping Norton and Little Dean in Gloucestershire,
+East Langdon in Kent, Buckland and Stourton in Worcester, Littleworth in
+Leicestershire, Lynn in Norfolk, and the Parish Church at Warrington.
+
+Many of the palls belonging to the great city companies belong to this
+date. The Saddlers' Company's pall is of crimson velvet embroidered with
+angels surrounding "I.H.S.," and arms of the Company. The Fishmongers'
+Pall, made at the end of the fifteenth century, has at one end the
+figure of St. Peter (the patron saint of fishermen) enthroned, and
+angels on either side, and at the other end St. Peter receiving the keys
+from our Lord. The Vintners' Pall is made of Italian velvet and cloth of
+gold and embroidered with St. Martin of Tours.
+
+Religious influence characterised the embroideries of England
+practically from the ninth to the sixteenth centuries. Practically all
+needlework prior to 1600 is entirely ecclesiastical, and from its
+limited range in choice of subjects barely does justice to the fine work
+this period produced.
+
+Dr. Rock says that "few persons of the present day have the faintest
+idea of the labour, the money, the time, often bestowed on old
+embroideries which had been designed by the hands of men and women each
+in their own craft the best and ablest of the day."
+
+We do not know the length of time these ancient vestments occupied in
+the making, but twenty-six years is stated to be the period of making
+the vestments for the Church of San Giovanni, in Florence. This is all
+worked in close stitches similar to our English work.
+
+
+_Ancient Church Vestments._
+
+The names of the ecclesiastical vestments are somewhat puzzling to those
+of us who do not belong to the Romish Church, or even to the English
+High Church. The vestments described are, we believe, in use in the
+Romish churches now as in the early times when church embroidery was the
+pleasure and the labour of all classes of English women. The
+accompanying diagram will better illustrate the use of these vestments
+than a page of writing.
+
+
+[Illustration: ECCLESIASTICAL VESTMENTS.
+
+1. Amice.
+2. Orphreys.
+3. Chasuble.
+4. Sleeves of Alb.
+5 and 9. Apparel of Alb.
+6. Maniple.
+7. Stole.
+8. Alb.
+
+_From "A Guide to Ecclesiastical Law," by kind permission of Mr. Henry
+Miller._]
+
+       *       *       *       *       *
+
+The Alb is often trimmed handsomely with lace, the apparels are stitched
+on to the front. The Stoles ought to have three crosses embroidered on
+it and be 3 yards long. Over this comes the Chasuble, which is the
+last garment the priest puts on before celebrating Mass. The Cope is a
+huge semi-circular 10 ft. wide cape. The Maniple is a strip of
+embroidery 3 ft. 4 in. long worn over the left wrist of the priest.
+
+[Illustration: ECCLESIASTICAL VESTMENTS.
+
+English, Fifteenth or early Sixteenth Century.
+
+(_S.K.M. Collection._)]
+
+
+
+
+IV
+
+TUDOR EMBROIDERY
+
+
+
+
+IV
+
+TUDOR EMBROIDERY
+
+     The influences of the Reformation--Queen Catherine of Aragon's
+     needlecraft--The gorgeous clothes of Henry VIII.--Field of the
+     Cloth of Gold--Queen Elizabeth's embroideries.
+
+
+After the Reformation and the wholesale destruction of the cathedrals,
+monasteries, and churches, the gentle dames of England found their
+occupation gone. The priestly vestments, the sumptuous altar-cloths, and
+gorgeous hangings were now needless. Those which had been the glory of
+their owners, and the pictorial representations of Biblical life to the
+uneducated masses of people, had been ruthlessly torn down and destroyed
+for the sake of the gold to be found on them. As in the time immediately
+preceding the French Revolution, costly embroideries were unpicked, and
+the amount of gold and silver obtained from them became a source of
+income and profit to their destroyers.
+
+Apart from her household, women had no other interests in those days,
+unless we accept such anomalies as Lady Jane Grey, who was a marvel of
+learning and wisdom. All their long leisure hours had been spent, not in
+improving their minds, but in beautifying the churches with specimens of
+their skill. Catherine of Aragon, one of the unfortunate queens of Henry
+VIII., was a notable needlewoman, and spent much of her short, unhappy
+time as Queen of England in embroidery. The lace-making of Northampton
+is said to have been commenced by her during her period of retirement
+after her divorce. The "Spanish stitch," which was known and used in
+embroidery of that period, was introduced by her from her own country,
+and many examples of her skill in embroidery are to be seen in the
+British Museum and the various homes belonging to our old nobility.
+
+During the reign of Henry VIII. dress became very sumptuous, as the
+contemporary pictures of the times show. Indeed, all the fervour and
+feeling which ladies had worked in religious vestments now seemed to
+find refuge in the over-elaboration of personal wear. Very little lace
+was used, and that of only a primitive description, so that effect was
+produced by embroidery in gold and silver threads and the use of pearls
+and precious stones. The dress of the nobles in the time of Henry VIII.
+was especially gorgeous, the coats being thickly padded and quilted with
+gold bullion thread, costly jewels afterwards being sewn in the
+lozenges. It is related that after his successful divorce King Henry
+gave a banquet to celebrate his marriage to Anne Boleyn, and wore a coat
+covered with the jewelled letters "H," and in the height of his
+satisfaction allowed the ladies to cut or tear away the jewels as
+souvenirs of his triumph over Wolsey and Catherine. It is said that he
+was left in his underwear, so great was the competition for these
+favours! Robes made of gold tissue, then called Cloth of Gold, were
+used, and in Henry's meeting with Francis I. the English and French
+armies vied with each other as to which should present a greater
+magnificence. The name "the Field of the Cloth of Gold" remains as a
+guarantee of its splendour.
+
+Under the more austere and religious rule of Queen Mary we might suppose
+that ecclesiastical embroidery would have somewhat regained a foothold.
+But the landmarks had been entirely swept away, and we have little to
+record of the reign, except that Mary herself was a clever needlewoman
+and worked much of her heartache, at the neglect of her Spanish husband,
+into her needlework. Her jealousy of her sister Elizabeth caused the
+latter to spend her life away from the pomps and ceremonies of the
+Court, and she has left many records of her handiwork, some well
+authenticated, as, for example, the two exquisite book-covers in the
+British Museum. Queen Elizabeth cannot, however, be said to have been in
+any way a patroness of the art of needlecraft. Her talent seems rather
+to have been devoted to affairs of State--and her wardrobe! On her
+death, at seventy years of age, she left over one thousand dresses, most
+of which must have been a cruel weight, so overburdened were they with
+stiff bullion and trimmed with large pearls and jewels. Her dresses were
+literally diapered with gold and silver "gimps" inset with heavier
+stones, but little real embroidery is shown.
+
+Mary Queen of Scots, on the contrary, was a born needlewoman. During her
+married life in France she learned the gentle arts of embroidery and
+lace-making, accomplishments which, as in many humbler women's lives,
+have served their owners in good stead in times of loneliness and
+trouble. The Duke of Devonshire possesses specimens of Queen Mary's
+skill, worked during the long, dreary days of her imprisonment at
+Fotheringay. It is said that Queen Elizabeth was not above helping
+herself to the wardrobe and laces that the unfortunate Queen of Scotland
+brought with her from France.
+
+Much embroidery must have been worked for the adornment of the house
+after the Reformation, but beyond an occasional old inventory nothing is
+left to show it. After the Reformation greater luxury in living
+obtained, and instead of the clean or rush-strewn floors some kind of
+floor-covering was used. Furniture became much more ornamental, and the
+use of hangings for domestic purposes was common. Not a thread of these
+hand-worked hangings remain, but we have the immense and immediate use
+of tapestry, which first became a manufacture of England in the reign of
+Henry VIII. It is easy to conceive that English women would readily
+seize upon the idea supplied in tapestry and adapt its designs to that
+of embroidery. It is certain that hangings for the old four-post beds
+were embroidered, as in the inventory of Wolsey's great palace at
+Hampton Court there is mention of 230 bed-hangings of English
+embroidery. Nothing of this remains, so that its style is simply
+conjectural; and we can only suppose these hangings to have been
+replicas of the magnificent velvet and satin hangings, covered with laid
+or couched gold and silver threads, such as Catherine of Aragon would
+bring with her from Spain. This also would account for their absolute
+disappearance. The value of the gold and silver in embroidery has always
+been a fertile source of wealth to the destroyer of ancient fabrics,
+while many embroideries worked only in silks have escaped this
+vandalism.
+
+
+
+
+V
+
+EARLY NEEDLEWORK PICTURES AND ACCESSORIES
+
+
+[Illustration: EARLY "PETIT POINT" PICTURE.
+
+Late Sixteenth Century.
+
+(_S.K.M. Collection._)]
+
+
+
+
+V
+
+EARLY NEEDLEWORK PICTURES AND ACCESSORIES
+
+     "Petit point"--old list of stitches--Stuart
+     bags--Gloves--Shoes--Caps.
+
+
+Towards the end of James I.'s reign it is supposed that the earliest
+needlework pictures appeared. They were obviously literal copies of the
+tapestries which had now become of general use in the homes of the
+wealthy, being worked in what is known as "petit point," or "little
+stitch." This stitch was worked on canvas of very close quality, with
+fine silk thread, one stitch only being taken over the junction of the
+warp and the weft of the canvas instead of the "cross stitch" of later
+days. Very few of these specimens are left of an early date. A panel,
+measuring 30 inches by 16 inches, in perfect condition, and dated 1601,
+was sold at Christie's Rooms this year for L115. The purchaser, Mr.
+Stoner, of King Street, sold it next day at a very considerable profit.
+
+At this period the workers of these pictures did not draw upon Biblical
+subjects for their inspiration (with great advantage to the picture, it
+may be stated). The subjects were either fanciful adaptations from real
+life, with the little people dressed in contemporary costume, or dainty
+little mythological subjects, such as the "Judgment of Paris," "Corydon
+wooing Phyllis," with most absurd little castles of Tudor construction
+in impossible landscapes, where the limpid stream meandered down
+fairy-like hills into a shining lake, which held dolphins under the
+water and water-fowl above it. The illustration depicts such a specimen,
+and shows one of these tiny pictures worked in no less than ten
+different stitches of lacework, in addition to the usual petit point.
+The number of these stitches is legion. In the reign of Charles I., John
+Taylor, the water-poet, wrote in 1640:
+
+    "For tent worke, raised worke, first worke, laid worke, net worke,
+    Most curious purl, or rare Italian cut worke,
+    Fire, ferne stitch, finny stitch, new stitch, chain stitch,
+    Brave bred stitch, fisher stitch, Irish stitch, and Queen stitch,
+    The Spanish stitch, Rosemary stitch, and mowle stitch,
+    The smarting whip stitch, back stitch, and cross stitch;
+    All these are good, and this we must allow,
+    And they are everywhere in practice now."
+
+[Illustration: VERY EARLY "PETIT POINT" PICTURE.
+
+(_Author's Collection._)]
+
+These are not _all_ the stitches in vogue during the first era of
+needlework pictures. A single glance at one of the early specimens,
+though it may not _charm_, fills one with amazement at the amount of
+toil, ingenuity, patience, and downright _love_ for the work the ancient
+needlewoman must have possessed. Not only pictures, however, were
+made in petit point. Many dainty little accessories of the toilet gave
+scope to the delicate fancy and nimble fingers of the ladies who had
+found solace from the cessation of their labours for the priesthood in
+making dainty little handbags and other pretty articles, each a marvel
+of minute handicraft. One bag in my possession measures only four inches
+square, and is worked on fine canvas, about forty threads to the square
+inch, the design being the favourite Tudor rose, each petal worked in
+lace stitch, and raised from the centre which is made of knots worked
+with golden hair, flat green leaves exquisitely shaded, and a charming
+bit of the worker's skill in the shape of a pea's pod, open and raised,
+showing the tiny little peas in a row. An exquisitely worked butterfly
+with raised wings in lace stitch is on the other side. The grounding of
+the whole is run with flat gold thread, making a "cloth of gold" ground,
+strings made of similarly worked canvas, with gold thread and silk
+tassels complete a bag fit for the Princess Golden Locks of our fairy
+tales. This little bag cost the writer 5 guineas, and was cheap at the
+price. The South Kensington Museum have several specimens, and although
+many are very exquisite, there is not one quite so perfect in design nor
+in such condition. Other little trifles made in similar style are the
+embroidered gauntlets of the buff leather glove worn at the time. These
+have become rarer than any other embroideries, as they were not merely
+for ornament but for actual wear. Four or five of these gauntlet gloves
+are in the South Kensington Collection, but are of a later date than
+the "petit point" period.
+
+The use of gloves in England was not very general, we may infer, in the
+earlier ages of embroidery. There are certain evidences, however,
+showing that the glove was part of the priestly outfit, remains of
+gloves having been found on the bones of Thomas a Becket when they were
+transferred from the crypt of Canterbury Cathedral to the special shrine
+prepared for them; and a crimson leather pair, bearing the sacred
+monogram in embroidered gold, are preserved in the New College, Oxford,
+belonging to the founder, William of Wykeham, who opened the college in
+1386.
+
+It was not until the fourteenth century that the wearing of gloves
+became general, and practically nothing remains to show what manner of
+hand-covering was worn until the Tudor period. Henry VIII. was
+exceptionally lavish and extravagant in the use of handsomely
+embroidered gloves, and few of his portraits show him without a
+sumptuous glove in one hand. He had gloves for all functions--like a
+modern fashionable woman. A pair of hawking gloves belonging to him are
+in the Ashmolean Museum, Oxford, and in South Kensington is one of a
+pair presented by Henry to his friend and Councillor Sir Anthony Denny.
+It is of buff, thin leather, with a white satin gauntlet, embroidered
+with blue and red silk in applique work, decorated with seed-pearls and
+spangles, and trimmed with gold lace. The Tudor rose, the crown, and the
+lion are worked amidst a splendour of gold and pearls.
+
+[Illustration: A STUART GLOVE.
+
+(_S.K.M. Collection._)]
+
+Queen Elizabeth must have inherited her love for gorgeous apparel along
+with her strong personality and masterful spirit, as her expenditure for
+gloves alone was proverbial. The favourite offering to her was a pair of
+gloves, but she was not above accepting shoes, handkerchiefs, laces, and
+even gowns from her faithful and admiring subjects. On her visit to
+Oxford in 1578 she was presented by the Chancellor of the University
+with a pair of perfumed gloves, embroidered with gold and set with
+jewels, which cost the University sixty shillings, an immense sum in
+those days. Other historic gloves are in the various museums of the
+country, seldom or never coming into the open market. In the
+Braikenridge Collection sold at Christie's in February of this year I
+was able to secure one for L2 12s. 6d., immediately afterwards being
+offered double the price for it.
+
+The gloves belonging to Charles I. and Queen Henrietta Maria were very
+ornamental, and it is said that even Oliver Cromwell, with all his
+austerity, was not proof against the fascination of the decorated glove.
+
+With Charles II. the embroidered gloves seem to have vanished along with
+the stumpwork pictures, of which more anon.
+
+Dainty shoes were embroidered in those old times. These, being articles
+of wear, like the gloves, are very rare. The same fine petit point work
+is seen on them; seed-pearls and in-run gold threads adorn them, and
+frequently the Tudor rose, in raised work, forms the shoe knot. Two
+pairs in Lady Wolseley's Collection, sold in 1906, fetched six guineas,
+and nine and a half guineas. Tiny pocket-books were covered with this
+pretty work, and charming covers almost as fresh as when they were
+worked are occasionally unearthed, made to hold the old-fashioned
+housekeeping and cooking books.
+
+One wonders oftentime how many, and yet, alas! how few, specimens of
+this old petit point work have been preserved. It is only during recent
+years that the "cult of the antique" has been fashionable, and is also
+becoming a source of income and profit to the many who indulge in its
+quest. Only members of learned antiquarian societies or born reliquaries
+troubled themselves to acquire ancient articles of historic interest
+because they were _old_, and served to form the sequence in the fairy
+tales of Time. Anything "old" was ruthlessly destroyed, as being either
+past wear, shabby, or old-fashioned, and countless treasures, both in
+ecclesiastical and secular art, have at all periods been recklessly
+destroyed for the sake of their intrinsic value in gold or jewels. In
+the early days of my life I was allowed to pick out the corals and
+seed-pearls from an old Stuart needle picture "for a doll's necklace!"
+the picture itself probably going into the "rag-bag" of the
+mid-Victorian good housekeeper.
+
+
+
+
+VI
+
+STUART CASKETS AND MIRRORS
+
+
+
+
+VI
+
+STUART CASKETS AND MIRRORS
+
+     Secret drawers and hidden receptacles--High prices in the
+     Salerooms.
+
+
+Among the many treasures of this exquisite period of needlecraft are the
+well-known Stuart caskets. Very interesting and valuable are these
+charming boxes, many of them being in a fine state of preservation,
+owing to their having been enclosed in either a wooden or leathern box
+specially made to contain them. These queer little boxes are frequently
+made in the shape of Noah's ark. The lid being raised, a fitted mirror
+is disclosed. The mirror slides out, and a secret recess may be
+discovered to hold letters. The front falls down, disclosing any number
+of tiny drawers, each drawer being silk-lined and the front of it
+embroidered. Here, again, we may look for secret drawers. Very seldom
+does the drawer run to the width of the cabinet, but by removing every
+drawer and carefully searching for springs or slides many a tiny recess
+is disclosed, where costly jewels, and perhaps a love-gage, has reposed
+safely from the sight of unworthy eyes.
+
+Every square inch of these caskets is covered with embroidery, sometimes
+in canvas, worked with the usual scriptural or mythological design, and
+in others with white satin, exquisitely embroidered with figures and
+floral subjects. Those in best preservation have been covered with mica,
+which has preserved both the colour and the fabric. The fittings are
+generally of silver. On the few occasions when these boxes or caskets
+come into the market high prices are realised. Messrs. Christie last
+year obtained L40 for a good specimen. I have never seen one sold under
+L30, and as much as L100 has been given.
+
+Another pretty fancy was to cover small trays, presumably for the work
+or dressing table, with embroidery. Not many of these remain, the wear
+of removing them from place to place having been too much for their
+staying powers. One in my possession is a small hexagonal tray with
+raised sides, embroidered in coloured silks in floral design, on what
+was once white satin. It is by no means a thing of beauty now, but as a
+specimen it is interesting, and "a poor thing, but mine own," which
+covers a multitude of shortcomings in these old relics, fortunately.
+
+[Illustration: "STUART" MIRROR FRAME.
+
+(_Lady Wolseley's Collection._)]
+
+Far more frequently met with, though quite prohibitive in price, are the
+Stuart embroidered mirrors, which easily command L80 to L100 in the
+salerooms. They are generally set in a frame of oak, leaving five or six
+inches (which would otherwise be covered with carving or veneer) for
+the embroidery. The mirror itself is comparatively small, being only
+a secondary consideration, and often little remains of it for its
+original purpose, as the glass is blurred and the silvering gone. Many
+of these mirrors have _bevelled_ glass, which, of course, is wrong.
+
+The mirror shown in the illustration is one recently belonging to
+Viscountess Wolseley and sold by her, among other Stuart needlework
+specimens, at Messrs. Puttick & Simpson's in 1906. This mirror sold for
+L100. The figures represent Charles I. and Queen Henrietta Maria, one on
+either side of the mirror. The figure at the top of the frame is
+difficult to understand; whether she is an angel or a mere Court lady
+must be left to conjecture. The rolling clouds and the blazing sun are
+above her head, and a peacock, with tail displayed, is on one side and a
+happy-looking stag on the other. Two royal residences adorn the topmost
+panels on either side, with all their bravery of flying flags and
+smoking chimneys, and the lion and the leopard occupy the lower panels.
+The latter animal identifies the King and Queen, who might otherwise be
+Charles II. and his consort, as after Charles I.'s time the leopard gave
+place to the unicorn for some unexplained reason. Other typical little
+Stuart animals and birds fill in the extra panels, such as the spotted
+dog who chases a little hare who is never caught, and the gaily-coloured
+parroquet and kingfisher, which no respectable Stuart picture would be
+without. The caterpillar, the ladybird, and the snail are all _en
+evidence_; and below is a real pond, covered with talc, and containing
+fish and ducks, the banks being made of tiny branching coral beads and
+tufted silk and bullion work.
+
+About this time, when Venetian lace came into fashionable use as an
+adjunct to the exquisite Stuart dress, tiny coloured beads were imported
+from Venice. The embroiderers at once seized upon them as a new and
+possibly more lasting means of showing their pretty fancies in design.
+Many delightful specimens of these beadwork pictures are preserved, the
+colours, of course, being as fresh as yesterday. The ground was always
+of white satin, now faded and discoloured with age, and often torn with
+the heaviness of the beadwork design. They are scarcely so charming as
+the all needlework pictures, but still are delightful and covetable
+articles. The exigencies of the beadwork, however, lends a certain
+stiffness and ungainliness to the figures.
+
+
+
+
+VII
+
+EMBROIDERED BOOKS AND "BLACK WORK"
+
+
+[Illustration: "STUART" BOOK COVER.
+
+(_British Museum._)]
+
+
+
+
+VII
+
+EMBROIDERED BOOKS AND "BLACK WORK"
+
+     Style and symbolism--Specimen in British Museum and Bodleian
+     Libraries--"Black work"
+
+
+Among the many dainty examples of Tudor and Stuart needlework are to be
+found the exquisitely embroidered book-covers which date from Queen
+Elizabeth's girlhood until the time of Charles II. They were always of
+diminutive size, and many stitches diversify their covering; oftentimes
+they were liberally embroidered with seed-pearls, and in these instances
+most frequently this fashion has been their salvation. A book somehow
+always seems to be a more sacred thing than a picture, and the costly
+little volumes which remain to show this dainty handicraft have
+apparently always been used either for Church or private devotional
+purposes.
+
+The designs of the book-covers almost always follow certain styles.
+These are either heraldic, scriptural, symbolical, floral, or arabesque.
+
+The first-named variety usually belonged to royalty or one of the many
+noble houses whose ladies busied themselves with fair needlework. The
+shield, containing the coat of arms of the family, occupied the centre
+of the book-cover, being formed in raised gold and silver guipure or
+cord, and on the reverse the worker's initials frequently appear, with a
+pretty border in gold and silver, to outline the edges.
+
+The scriptural book-covers are always worked on canvas in fine petit
+point stitches. One in South Kensington Museum is larger than most of
+these volumes, and has on one side Solomon in all his glory and on the
+reverse Jacob and his ladder and King David. These canvas-covered books
+appear to have suffered most from the wear and tear of time, and very
+few remain.
+
+The symbolical covers are few, and mostly uninteresting. They are worked
+as a rule on silk and satin in loose satin stitches, which have suffered
+much from friction. The sacred monogram is often the centre of the
+device. A favourite design was adorning the back of the books with
+portraits of the martyred King Charles I., Queen Henrietta Maria, and
+the popular Duke of Buckingham.
+
+[Illustration: POCKET-BOOK OF SATIN, EMBROIDERED WITH COLOURED SILKS AND
+SILVER-GILT THREAD.
+
+Said to have been the property of Queen Elizabeth.
+
+(_In Countess Brownlow's Collection._)]
+
+The stitches used were generally chain-stitch, split-stitch, petit
+point, and lace-stitch; and the patterns were most frequently outlined
+with a gimp made of flattened spiral wire, or _purl_, which was a fine
+copper wire covered with coloured silks and cut in lengths for use. Very
+often, also, small silver spangles were employed, either stitched down
+with a piece of purl or a seed-pearl. Frequently the covers were of
+velvet with the designs appliqued down to it, and _laid_ or _couch_ work
+outlined the designs. Sometimes flat pieces of metal were cut to shape
+and stitched down, as in one instance where the corners of the books
+were trimmed with the rays of the sun cut in gold, and stitched over
+with a gold thread.
+
+Many of the charming little bags of which mention has already been made
+are supposed to have been worked to hold the Prayer Book and Book of
+Psalms, without which no devout lady deemed herself fully equipped.
+
+The most famous book is Queen Elizabeth's Book in the British Museum.
+The cover is of choice green velvet, the flat of the back has five roses
+embroidered in lace, raised stitches and gold and pearl. The Royal Arms
+are on either side of the book in a lozenge of red silk and pearls. The
+whole design, apart from this, is worked in red and white roses and
+scrolls of gold and silk. This gorgeous little cover contains "The
+Mirrour of Glasse of the Synneful Soul," written by Elizabeth herself,
+and of it she writes that she "translated it out of french ryme into
+english prose, joyning the sentences together as well as the capacities
+of my symple witte and small lerning could extende themselves." It is
+dedicated "To our most noble and virtuous Queen Katherine [Katherine
+Parr] from Assherige, the last day of the year of our Lord God, 1544."
+
+In the Bodleian Library there is another treasured little book, again
+worked by Queen Elizabeth. It is only 7 inches by 5 inches, and has the
+same design on both sides. In this the ground is what is known as
+"tapestry stitch," worked in thick, pale-blue silk, and the design is of
+interlacing gold and silver threads with a Tudor rose in each corner.
+"K. P." is marked on the cover, and shows that this also was worked for
+Queen Katherine Parr.
+
+Yet another little book is in the British Museum. It contains a prayer
+composed by Queen Katherine Parr, and is written on vellum by Queen
+Elizabeth.
+
+The cover illustrated is a typical example of the class of embroidered
+works of the period. Later the covers showed less intricate work, and
+finally developed into mere velvet covers embroidered with silver or
+gold.
+
+[Illustration: STUART EMBROIDERED CAP. (_S.K.M. Collection._)]
+
+
+BLACK WORK.
+
+A curious phase of Old English embroidery is the well-known "Black
+Work," which is said to have been introduced by Catherine of Aragon into
+England, and was also known as "Spanish work." The work itself was a
+marvel of neatness, precision, and elegant design, but the result cannot
+be said to have been commensurate with the labour of its production.
+Most frequently the design was of scroll-work, worked with a fine black
+silk back-stitching or chain-stitch. Round and round the stitches go,
+following each other closely. Bunches of grapes are frequently worked
+solidly, and even the popular peascod is worked in outline stitch, and
+often the petit point period lace stitches are copied, and roses and
+birds worked separately and after stitched to the design. There are many
+examples of this famous "Spanish" work in the South Kensington
+Museum. Quilts, hangings, coats, caps, jackets, smocks are all to be
+seen, some with a couched thread of gold and silver following the lines
+of the scrolls. This is said to be the Spanish stitch referred to in the
+old list of stitches, and very likely may be so, as the style and manner
+are certainly not English; and we know that Catherine of Aragon brought
+wonders of Spanish stitchery with her, and she herself was devoted to
+the use of the needle. The story of how when called before Cardinal
+Wolsey and Campeggio, to answer to King Henry's accusations, she had a
+skein of embroidery silk round her neck is well known.
+
+The black silk outline stitchery or linen lasted well through the late
+seventeenth and eighteenth centuries. Very little of it is seen outside
+the museums, as, not being strikingly beautiful or attractive, it has
+been destroyed.
+
+Another phase of the same stitchery was working cotton and linen
+garments, hangings, and quilts in a kind of quilted pattern with yellow
+silk.
+
+Anything more unlike the quilting of fifty years ago cannot be imagined.
+The finest materials were used, the padding being placed bit by bit in
+its place--not in the wholesale fashion of later years, when a sheet or
+two of wadding was placed between the sheets of cotton or linen, and a
+coarse back-stitching outlined in great scrawling patterns held the
+whole together. The old "quilting" work was made in tiny panels,
+illustrating shields and other heraldic devices, and had a surface as
+fine as carved ivory. When, as in the case of one sample at South
+Kensington, the quilt is additionally embroidered with beautiful fine
+floss silk flowers, the effect is very lovely.
+
+
+
+
+VIII
+
+STUART PICTURES
+
+
+
+
+VIII
+
+STUART PICTURES
+
+     "Petit point"--"Stump work"--Royalistic symbols.
+
+
+Though these pictures bear the name of Stuart, many of them are
+undoubtedly Tudor. The earliest (if the evidence of costume is of any
+value) must have been worked in Elizabeth's time, but as the
+authenticated specimens date only from the reign of James I. they are
+known as Stuart. The only pictures worked in the early days of this art
+were worked in petit-point, the tiny stitch which imitated tapestry, and
+very quaint are the specimens left to us. The favourite themes were
+entirely pagan. Gods and goddesses disported themselves among leafy
+trees. Cupid lightly shot his arrows, the woods were inhabited by an
+unknown flora and fauna which seem all its own. The very dogs seem to be
+a different species, having more likeness to the china dogs of the
+spotted or liver and white variety which the Staffordshire potters made
+at the beginning of our own century. Innumerable little castles were
+perched in perfectly inaccessible positions on towering crags, and the
+laws of perspective were generally conspicuous by their absence. The sun
+in those days was a very visible body, and apparently delightful to
+work, no Stuart picture being without one; the rolling clouds oftentimes
+are confused with the convoluted body of the caterpillar, little
+difference being made in the design. The birds were of very brilliant
+plumage, and the world was evidently a very gay and sportive place when
+these fair ladies spent their leisure over this embroidery! These early
+pictures seldom show the religious feeling that afterwards slowly worked
+its way through the Stuart days (though, perhaps, disguised under
+royalistic symbolism), until in the reign of Queen Anne it became more
+or less a fashion, in pictorial needle-craft. It burst out afresh in the
+early nineteenth century and became an absolute obsession of the early
+Victorian Berlin-wool workers with most disastrous results to both
+design and work.
+
+Until the end of Charles I.'s reign needlework pictures must have been
+scarce, as we find one enumerated in the inventory of his "Closet of
+Rarities." It is possible that the many pictures which represent Charles
+I. were worked by loyalist ladies, _after his execution_ and _during the
+Commonwealth_. In many of these pictures his own hair is said to have
+been used, thereby becoming relics of him who was known as "the Martyred
+King." On a very finely worked portrait of Charles I., at South
+Kensington Museum, King Charles's hair is worked amongst the silken
+threads.
+
+[Illustration: KING CHARLES I., WORKED IN FINE SILK EMBROIDERY.
+
+(_S.K.M. Collection._)]
+
+Throughout this time, no matter what the subjects, most of which were
+notably striking scenes from Scripture history, such as "Esther and King
+Ahasuerus," "Solomon and the Queen of Sheba," "The Judgment of Solomon"
+(a very favourite subject), and other scenes of Old Testament history,
+all the kings were Charles I. and all the Queens Henrietta Maria. One
+and all wore early Stuart costumes. Even Pharaoh's daughter wore the
+handsome dress of the day, with Point lace falling collar and real
+pearls round her neck. It is a fashion to jeer at this anachronism; but
+may it not perhaps be that we take these pictures too literally, and
+deny the workers their feelings of passionate devotion to the lost
+cause. Doubtless they worked their loyalty to their beloved monarch into
+these pretty and pleasing fancies, just as it is said that the fashion
+of "finger-bowls" was introduced later so that the loyal gentlemen of
+the day might drink to the King "_over the water_." I see no cause to
+deny intelligence to these dear dead women, who were capable of
+exquisite needlecraft and fine design, and whose devotion was shown in
+many instances by giving up jewels, houses, and lands for the King!
+
+The fashion of "stump" or stamp work appears to have been derived from
+Italy. Italian needlework of this time abounds with it, and, it must be
+admitted, of a superior design, and style to that which was known here
+as "stump" work. Until the eighteenth century English work was more or
+less archaic in every branch. Personally, I see no more absurdity in the
+queer doll-like figures than in contemporary wood-carving. It was a
+period of tentative effort, and was, of course, beneath criticism.
+English Art has ever been an effort until its one bright burst of genius
+in the eighteenth century, while the continental nations appear to have
+breathed artistic perception with life itself.
+
+The prototype of our stump work pictures, the Italian raised work, are
+gracious, graceful figures perfectly proportioned, and set in lovely
+elegant arabesques, with no exaggeration of style or period. Some
+specimens of this work must have been brought from Italy, through
+France, and the English workers quickly adopted and adapted them to
+their own heavier intelligence. Some of the little figures are certainly
+very grotesque. Frequently the tiny little hands are larger than the
+heads, but the _stitchery_ is exquisite.
+
+No time seems to have been too long to have been spent in perfecting the
+petals of a rose, the loose wing of a butterfly, or to make a realistic
+curtain in fine Point lace stitches to hang from the King's canopy. Some
+of the King's dresses are said to have been made of tiny treasured
+pieces of his garments. There is no doubt that much devoted sentiment
+was worked into these little figures, and these touches of nature add a
+pathetic interest to them.
+
+[Illustration: SUPERB EXAMPLE OF STUART PICTURE.
+
+(_S.K.M. Collection._)]
+
+In the illustration of "King Solomon receiving the Queen of Sheba" from
+the South Kensington Collection Solomon is obviously King Charles I.,
+while the Queen of Sheba is equally recognisable as Queen Henrietta
+Maria. The picture is perhaps the finest in the Kensington Collection,
+the colours being fresh and the work intact. The little faces are
+worked over a padding of soft frayed silk or wool, the features being
+drawn in fine back-stitch. Natural hair is worked on the King's and
+Queen's heads, and the crowns are real gold thread set with pearls. The
+canopy is worked _solidly_ in silk and gold thread, and from it hang
+loose curtains in old brocade, worked over and over with gold and silken
+thread.
+
+The King's mantle and that of the Lord Chamberlain are worked in Point
+lace stitches, afterwards applied to the bodies and hanging loosely. The
+Queen's dress is brocade, worked over with gold and silver, while
+strings of real pearls decorate the necks and wrists of the ladies, and
+real white lace of the Venetian variety trims the neck and sleeves of
+these fairy people. The Stuart castle we see perched up among the trees
+and touching the sun's beams is more like an English farmhouse than
+Whitehall. Yet either this or Windsor Castle is always supposed to be
+represented.
+
+The British lion and the leopard, again, make the identity of these
+little people more certain. The quaint little trees bear most
+disproportionate fruits, the acorn and pears being about the same size,
+but all beautifully worked in Point-lace stitches over wooden moulds.
+The hound and the hare, the butterfly and the grub, and the strange
+birds make up one of the most typical Stuart pictures.
+
+The next illustration shows another development of picture-making. Here
+the grounding is of white satin, as in the previous illustration, but
+the figures are worked on canvas separately, in fine petit-point
+stitch, afterwards being cut away and placed on the white satin ground
+with a few silk stitches and the whole outlined with a fine black silk
+cord. The subject is "The Finding of Moses," and is as full of
+anachronisms as the last, only that here again Pharaoh's daughter is
+worked in memory of Queen Henrietta Maria, and the tiny boy in the
+corner is Charles II., and Moses the infant Duke of York. The
+four-winged cherubs are the guardian angels who are watching over the
+lost fortunes of the Stuart family, and the rose of England and the lilies
+of France which form the border are emblematical of the royal lineage of
+their lost King's family. The hound and hare still chase each other
+gaily round the border, and in the picture the hare is seen emerging,
+like the Stuarts, from exile and obscurity.
+
+Sufficient has perhaps been said to cause those who possibly may have
+misunderstood these pictures to give them another glance, and allow
+imagination to carry them back to the times of the exiled Royal Family
+and their brave adherents, whose women allowed not their memories to
+slumber nor their labours to flag. These pictures must have been made
+during the Commonwealth and the reign of Charles II. In no case, to my
+knowledge, has King Charles II. been depicted in stitchery, nor yet
+Catherine of Braganza. James II. is equally ignored, and with him their
+mission seemed to have been accomplished. Possibly the people had had by
+this time sufficient of the Stuarts, and the memory of King Charles the
+martyr had waxed dim. Certain it is that with James II. Stuart
+needlework pictures suddenly ceased.
+
+[Illustration: STUART PICTURE, SHOWING THE FINDING OF MOSES.
+
+(_S.K.M. Collection._)]
+
+
+_Stump work Symbols._
+
+The symbolism of the various animals, birds, insects, and flowers which
+are, apparently without rhyme or reason, placed in one great disarray in
+the Stuart pictures is said to have been heraldic and symbolic. The
+sunbeam coming from a cloud, the white falchion, and the chained hart
+are heraldic devices belonging to Edward III.
+
+The buck and the strawberry, which are so often seen, belong to the
+Frazer Clan of Scotland, and may have been worked by ladies who were
+kith and kin of this clan.
+
+The unicorn was the device of James I. and the siren or mermaid of Lady
+Frazer, who is said to have worked her own golden hair in the heart of a
+Tudor rose on a book cover for James I.
+
+The hart was also a device of Richard II. and the "broom pod" of the
+Plantagenets. The caterpillar and butterfly were specially badges of
+Charles I., while the oak-tree and acorn were invariably worked into
+every picture in memory of Charles II.'s escape in an oak tree.
+
+
+
+
+IX
+
+SAMPLERS
+
+
+
+
+IX
+
+SAMPLERS
+
+     Real art work--Specimens in South Kensington Museum--High price
+     now obtained.
+
+
+A "sampler" is an example or a sample of the worker's skill and
+cleverness in design and stitching. When they first appeared, as far as
+we know about the middle of the seventeenth century, they were merely a
+collection of embroidery, lace, cut and drawn work stitches, and had
+little affinity to the samplers of a later date, which seemed especially
+ordained to show various patterns of cross stitches, the alphabet, and
+the numerals.
+
+The early samplers were real works of art; they were frequently over a
+yard long, not more than a quarter of a yard wide, and were adorned with
+as many as thirty different patterns of lace and cut and drawn work.
+This extreme narrowness was to enable the sampler to be rolled on a
+little ivory stick, like the Japanese _kakemonas_.
+
+The foundation of all the early samplers was a coarse linen, and to this
+fact we owe the preservation of many of them. Those made two hundred
+years later, on a coarse, loose canvas, even now show signs of decay,
+while these ancient ones on linen are as perfect as when made, only
+being gently mellowed by Time to the colour of old ivory.
+
+The earliest sampler known is dated 1643, and was worked by Elizabeth
+Hinde. It is only 6 inches by 6-1/2 inches, and is entirely lacework,
+and apparently has been intended for part of a sampler. The worker
+perhaps changed her mind and considered rightfully that she had
+accomplished her _chef d'oeuvre_, or as so often explains these
+unfinished specimens, the Reaper gathered the flower, and only this
+dainty piece of stitching was left to perpetuate the memory of Elizabeth
+Hinde.
+
+The sampler in question is just one row of cut and drawn work and
+another of fine Venetian lacework, worked in "punto in aria." A lady in
+Court dress holds a rose to shield herself from Cupid, a dear little
+fellow with wings, who is shooting his dart at her heart. Perhaps poor
+Elizabeth Hinde died of it and this is her "swan song."
+
+[Illustration: A SEVENTEENTH-CENTURY "SAMPLER" (ENGLISH), SHOWING CUT
+AND DRAWN WORK.
+
+(_S.K.M. Collection._)]
+
+The earliest samplers appeared to have been worked only on white cotton
+or silk. A favourite design, apart from the lacework samplers, was the
+"damask pattern" sampler, a specimen of which may be noted, commencing
+with the fifth row, on the sampler illustrated. Sometimes the sampler
+was entirely composed of it, and although ineffective, remains as a
+marvel of skill. It was worked entirely in flat satin stitch and eyelet
+holes, known as the "bird's eye" pattern. In the illustration four rows
+of cutwork will be noted, followed by five rows of drawn threadwork,
+and above are patterns worked in floral and geometric designs in
+coloured silks. The alphabet and the date 1643 complete this monument of
+skill, which may be seen in the South Kensington Museum.
+
+The succeeding illustration shows a more ambitious attempt, and is
+considered one of the finest specimens known. It was worked by Elizabeth
+Mackett, 1696. It is on white linen with ten rows of floral patterns
+worked with coloured silks in cross, stem, and satin stitches, with some
+portions worked separately and applied. Five rows of white satin stitch,
+two rows of alphabet letters in coloured silks, and four rows of
+exquisite punto in aria lace patterns are followed by the alphabet again
+in white stitches and the maker's name and date. The sampler is in
+superb preservation, the colours are particularly rich and well chosen.
+This sampler is also from the South Kensington Collection. Often the
+worker's name is followed by a verse or rhyme having a delightfully
+prosaic tendency. One can imagine the poor girls, in the early days we
+are writing of, writhing under the infliction of having slowly and
+painstakingly to work the solemn injunction--
+
+    "When this you see remember me
+      And keep me in your mind,
+    And be not like a weathercock
+      That turns at every wind.
+
+    When I am dead and laid in grave,
+      And all my bones are rotten,
+    By this you may remember me
+      When I should be forgotten."
+
+And we can appreciate how little Maggie Tulliver ("The Mill on the Floss")
+must have girded at the philosophy she was compelled to work into her
+sampler--
+
+    "Look well to what you take in hand,
+      For learning is better than house or land;
+    When land is gone and money is spent
+      Then learning is most excellent."
+
+With the eighteenth century the beauty of the Samplers distinctly
+declined. They became squarer, and were bordered with a running pattern,
+and the whole canvas became more or less pictorial. Inevitably the end
+of this art came. Ugly realistic bowpots with stumpy trees decorated the
+picture in regular order. The alphabet still appeared, and moral
+reflection seemed to be the aim of the worker rather than to make the
+Sampler show beauty of stitchery. Quaint little maps of England are
+often seen, surrounded with floral borders, but it remained to the early
+nineteenth century to show how the Sampler became reduced to absurdity.
+One of the quaintest and most amusing Samplers at South Kensington is a
+12-inch by 8-inch example in woollen canvas and embroidered with
+coloured silk. At the lower end is a soldier, a tiny realistic house, a
+dovecot, any number of flowering plants, a stag and other animals. Above
+is a band of worked embroidery enclosing the words, "This is my dear
+Father." The remaining spaces are filled in with angels blowing
+trumpets, double-headed eagle, peacocks and other birds, and baskets of
+fruit. In spite of its absurdity, this little piece is far more
+pleasant than the tombstone inscriptions which abound, and is, after
+all, delightfully suggestive of home and affection.
+
+[Illustration: EARLY ENGLISH "SAMPLER," SHOWING EMBROIDERY IN COLOURED
+SILK.
+
+(_S.K.M. Collection._)]
+
+[Illustration: EARLY ENGLISH "SAMPLER," SHOWING BIRD'S-EYE EMBROIDERY
+AND CUT AND DRAWN WORK.
+
+(_S.K.M. Collection._)]
+
+Another quaint piece at South Kensington is a sampler worked by poor
+Harriet Taylor, _aged seven!_ At the top are four flying angels, two in
+clouds flanking a crown beneath the letters "G. R." In the middle stands
+a flower-wreathed arch, with columns holding vases of flowering plants;
+above are the words, "The Temple of Fancy," and within an enclosed space
+the following homily:
+
+    "Not Land but Learning
+      Makes a man complete
+    Not Birth but Breeding
+      Makes him truly Great
+    Not Wealth but Wisdom
+      Does adorn the State
+    Virtue not Honor
+      Makes him Fortunate
+    Learning, Breeding, Wisdom
+      Get these three
+    Then Wealth and Honor
+      Will attend on thee."
+
+Then follows a house called "The Queen's Palace," standing in an
+enclosed flower-garden. This masterpiece of moral philosophy from the
+hands of a child of seven years is dated 1813.
+
+An exaggerated conception of the value of old Samplers is very widely
+spread. Only the seventeenth-century Samplers are really of consequence,
+and these fetch fancy prices. In the sale-rooms a long narrow Sampler
+of lace stitches and drawn-thread work would bring as much as a
+handsome piece of lace. They are practically unattainable, and in this
+case the law of supply and demand does not obtain. It is beyond the
+needlewomen of the present day to imitate these old Samplers. Life is
+too short, and demands upon time are so many and varied, that a lifetime
+of work would result in making only one. Therefore, the fortunate owners
+of these seventeenth-century Samplers may cherish their possessions, and
+those less lucky possess their souls in patience, and hoard their golden
+guineas in the hope of securing one. Twenty years ago a few pounds would
+have been ample to secure a fine specimen, but L30 will now secure only
+a short fragment.
+
+During the last three years I have not seen a good Sampler at any London
+Curio or lace shop, and none appear in the sale-rooms. The
+eighteenth-century Samplers are comparatively common, the map variety
+especially so, and can be purchased for a pound or so, but these are not
+desirable to the collector.
+
+
+
+
+X
+
+THE WILLIAM AND MARY EMBROIDERIES
+
+
+[Illustration: JACOBEAN WALL-HANGING WORKED IN COLOURED CREWELS ON LINEN
+GROUND.
+
+(_S.K.M. Collection._)]
+
+
+
+
+X
+
+THE WILLIAM AND MARY EMBROIDERIES
+
+     Queen Mary "a born needlewoman"--The Hampton Court
+     Embroideries--Revival of petit point--Jacobean hangings.
+
+
+One of the most convincing facts in arguments that there _is_ a revival
+in the gentle art of needlecraft is that it has become the fashion to
+drape our windows, cover our furniture, and panel our walls with printed
+copies of the Old Jacobean needlework. Many people, knowing nothing
+whatever about the history of needlework, wonder where the designs for
+the printed linens which line the windows of Messrs. Liberty, Goodall
+and Burnett's colossal frontages in Regent Street have been found. In
+time amazement gives way to admiration for these quaint blues and
+greens, roses and pale yellows, worked in great scrolls with exotic
+flowers and still more exotic birds, and the funny little hillocks with
+delightful little pagoda-like cottages nestling amongst them, and many
+and various little animals which seem to keep perpetual holiday under
+the everlasting blooms. The designs are taken bodily from the
+historical hangings of the later seventeenth century. After the
+abdication and flight of James II. to St. Germains, his daughter Mary
+came over with her Dutch husband, William the Stadtholder--or, rather,
+William came over and brought his wife, the daughter of the late king,
+for William had no intention of assuming the style and life of Prince
+Consort, but came well to the front, and kept there. It was not
+"VICTORIA _and Albert_" in those days, but WILLIAM and MARY, who ruled
+England, and ruled it well. William III. must have been a man of strong
+personality, and he managed to quell all the rebellions of his reign,
+and during the time he ruled over us the country settled down to a
+peaceful state that has remained to the present time.
+
+Queen Mary had quite sufficient employment in settling herself and her
+household, and generally managing the domestic matters pertaining to the
+new kingdom she had come into. She apparently had a very free hand in
+rebuilding Hampton Court, which she particularly made her home,
+absolutely pulling the interior down, and rebuilding and redecorating it
+according to her own taste, which was not that of the Stuart persuasion
+with its gorgeous magnificence, but the more homely and solid Dutch.
+Very little of the original Hampton Court _interior_, built and
+furnished by Cardinal Wolsey, exists. Just here and there we find
+delightfully dark little dens with the original linen-fold panellings
+and ceilings that are a ravishment to look upon; but mostly the rooms
+are high, plain-panelled, and with the quaint ingle-nook fireplaces,
+with shelves above, upon which Mary placed her lovely "blue and white"
+porcelain which had been brought to her by the Dutch merchants who at
+that time were the great traders of the sea.
+
+[Illustration: ENLARGEMENT OF "JACOBEAN" SPRAY.
+
+(_S.K.M. Collection._)]
+
+Queen Mary ought to be regarded as the patron saint of English
+needlewomen. She was happiest when employed furnishing every
+bed-covering, every chair and stool, and supplying the hangings for her
+favourite home. It is said that she spent her days over her embroidery
+frame, knowing full well that affairs of State were in the capable hands
+of her husband.
+
+There are few relics left of her handiwork outside Hampton Court. She
+left no dainty little book-covers, bags, or boxes, as her ideas were
+fixed on larger pieces of embroidery. Had she lived in the Berlin-wool
+picture days, she would have filled every nook and cranny with these
+atrocities, as many humbler devotees to the needle have done to our own
+knowledge. Needlework can become a _passion_, and certainly Queen Mary
+must have possessed it.
+
+After the complete collapse of the Stuart stump pictures, when every
+vestige of loyalty seems to have been swept away with the hated James
+II., the ancient Petit Point pictures came back into fashion. Very
+clever work was put into them, but, alas! their scope was purely to
+depict religious scenes of the rigorous kind. No dainty fairy-like
+little people now ruled in pictured story, but actual representations of
+Bible history.
+
+The illustration of "The Baptism of the Ethiopian Eunuch by St. Philip"
+is a fair sample of the needlework picture of this time. The picture is
+a strange mixture of the early Stuart Petit Point, the Jacobean
+wall-hanging, and the newly revived religious spirit. The duck-pond, the
+swans and the water-plants might have been copied bodily from James I.'s
+time. The paroquet and the flying bird, and the immense leaves and
+blossoms, are direct from the wall-hangings, while the figures only too
+surely foretell the coming dark days of needlecraft, when a Scripture
+picture and a coarsely worked sampler were part of every girl's liberal
+education. The work in this picture is extremely good, and it is
+excruciatingly funny without intending to be so. The pretty little
+equipage with its diminutive ponies surely was never intended to carry
+either St. Philip or the Eunuch! The open book, with Hebraic
+inscription, is very delightful. It brings to mind the Tables of the Law
+rather than the light reading that the charming little Cinderella coach
+should carry.
+
+These pictures are not common, and we scarcely know whether to be
+thankful for them or not. Unlike the early petit point, they were worked
+in _worsteds_, whereas the early pictures were wrought in silk. The moth
+has a natural affinity for wool, as we all know, and his tribe has
+cleared off many hundreds of examples. Why so many of the old Jacobean
+hangings remain is that they were worked for _use_, and not ornament,
+and even after they ceased to be fashionable ornaments for sitting and
+bed rooms, they were either relegated to the servants' quarters, or
+given to dependants, who used them constantly, shaking and keeping
+them in repair, as the eighteenth-century housewives liked to keep their
+homes swept and garnished.
+
+[Illustration: NEEDLEWORK PICTURE OF QUEEN ANNE PERIOD.
+
+(_S.K.M. Collection._)]
+
+It is strange to see these old Jacobean hangings (perhaps the drapery of
+the now tabooed four-post bedstead), which might some thirty years ago
+have been carried off for the asking, sell at Christie's for L800, as
+happened in the dispersal of the Massey-Mainwaring sale last year. Even
+a panel of no use except to frame as a picture, say 4 feet by 3 feet,
+will fetch L30 and a full-sized bed-cover can only be bought for over
+L100. The reason is not far to seek. The colouring and the drawing of
+this fine old Crewel-work are exquisite (even though the design savours
+of the grotesque), and Time has dealt very leniently with the dyes. I
+endeavoured to match some of these old worsteds a little time ago, and
+though able to find the colours, could not get the tone. After much
+tribulation I was advised to hang the skeins of worsted on the trees in
+the garden and _forget all about them_, and certainly wind and weather
+have softened the somewhat garish worsteds to the soft, _fade_ colours
+of the old work.
+
+The same class of embroidery was executed during the reign of Queen
+Anne, though she herself did little of it. Costly silks and brocades and
+Venetian laces were the dress of the day, and no little dainty
+accessories appear to have been made.
+
+
+
+
+XI
+
+PICTORIAL NEEDLEWORK OF THE EIGHTEENTH CENTURY
+
+
+[Illustration: A FINE "PAINTED FACE" SILK-EMBROIDERED PICTURE.
+
+(_Author's Collection._)]
+
+
+
+
+XI
+
+PICTORIAL NEEDLEWORK OF THE EIGHTEENTH CENTURY
+
+     The "painted faces" period--Method of production--Revival of
+     Scriptural "motifs"--Modern fakes--Black silk and hair copies
+     of engravings.
+
+
+An immense number of pictures must have been worked during the
+eighteenth century. Almost, we might say, no English home is without an
+example. Much of the work is intensely bad, and only that Time has
+tenderly softened the colours, and the old-time dresses add an element
+of quaintness to the pictures, can they be tolerated. Works of art they
+are not, and, indeed, were never intended to occupy the place their
+owners now proudly claim for them. Just here and there a picture of the
+painted face type is a masterpiece of stitchery, as in the example
+illustrated, where every thread has been worked by an _artiste_. Looking
+at this little gem across a room, the effect is that of a charming old
+colour print, so tenderly are the lines of shading depicted. This is the
+only picture of this class that I have seen for years as an absolutely
+perfect specimen of the eighteenth-century silk pictures, though
+doubtless many exist.
+
+The discrepancy which is usually found is that, although the design and
+outline is perfect, the faces and hands exquisitely painted, the
+needlework part of the picture has been executed in a foolish,
+inartistic manner, and no method of light and shade has been observed.
+Some little time ago I published an article in one of the popular
+monthly Magazines illustrating this same picture, and was afterwards
+inundated with letters from correspondents from far and near sending
+their pictures for valuation and--admiration! Not one of these pictures
+was good, though there were varying degrees of _badness_. But in no
+instance was the painted face crudely drawn or badly coloured.
+
+The explanation is that just as the modern needlewoman goes to a
+Needlework Depot and obtains pieces of embroidery already commenced and
+the design of the whole drawn ready for completion, so these old needle
+pictures were sold ready for embroidering, the outline of the trees
+sketched in fine sepia lines, the distant landscape already painted, the
+faces and hands of the figures charmingly coloured, in many instances by
+first-class artists. When we remember that the eighteenth century was
+_par excellence_ the great period of English portrait painting and
+colour printing, we can understand that possibly really fine artists
+were willing to paint these exquisite faces on fine silk and satin, just
+as good artists of the present day often paint "pot-boilers" while
+waiting for fame.
+
+[Illustration: EMBROIDERED SILK PICTURE OF "THE LAST SUPPER."
+
+Eighteenth Century.
+
+(_S.K.M. Collection._)]
+
+Angelica Kauffmann's style was often copied. Is it too much to believe
+that some of these charming faces may have been from her hands? We know
+that she painted furniture and china, therefore why not the faces of the
+needlework pictures so nearly akin to her own work?
+
+The eighteenth-century costume was particularly adapted to this pretty
+work. We cannot imagine the voluminous robes of Queen Mary or Queen Anne
+in needle-stitchery, but the soft, silky lawns of the Georgian periods,
+the high-waisted bodices, the _bouffant_ fichus and the flowing
+head-dresses, all were specially easy and graceful to work. Many of the
+pretty children Sir Joshua loved to paint were copied. "Innocence" made
+a charming picture, and several of the less rustic Morland pictures were
+copied.
+
+We would imagine that when the beginnings of the picture were so
+glorious the needlewoman would have made some endeavour to work up to
+it. But, alas! it was not so. Though often the stitching is neat and
+small, not an idea of shading seems to have entered the worker's mind,
+and whole spaces, nay, a complete garment, are often worked solid in one
+tone of colour! On the whole there is far more artistic sense and
+feeling in the Stump pictures it is the fashion to deride.
+
+Not always were dainty pastoral and domestic scenes worked. Very ghastly
+creations are still existent of scriptural subjects. Coarsely worked in
+wool, instead of silk, or in a mixture of both. The painting is still
+good, but the work and the subjects are execrable! "Abraham about to
+sacrifice Isaac," on the pile of faggots already laid, and Isaac bound
+on it, with a very woolly lamb standing ready as a substitute, was a
+favourite subject. "Abraham dismissing Hagar and Ishmael," with a
+malignant-looking Sarah in the distance, vies with the former in
+popularity. "The Woman of Samaria," and "The Entombment," are another
+pair of unpleasant pictures which we are often called upon to admire.
+
+The best of these pictures were worked in fine floss silk, not quite
+like the floss silk of to-day, as it had more twist and body in it, with
+just a little fine chenille, and very tiny bits of silver thread to
+heighten the effect. The worst were worked in _crewel_ wools of crude
+colours. Fortunately, the moth has a special predilection for these
+pictures, and they are slowly being eaten out of existence, in spite of
+being cherished as heirlooms and works of art.
+
+Another pretty style which we seldom meet with was some part of the
+picture covered with the almost obsolete "aerophane," a kind of chiffon
+or crape which was much in request even up to fifty years ago. A certain
+part of the draperies was worked on the silk ground, without any attempt
+at finish. This was covered with aerophane, and outlined so as to attach
+it to the figure. This again was worked upon with very happy effects,
+very fine darning stitches making the requisite depth of shading. The
+illustration shows the use of this, but this cannot be said to be a very
+good specimen.
+
+[Illustration: "PAINTED FACE" SILK-EMBROIDERED PICTURE.
+
+Eighteenth Century.
+
+(_Author's Collection._)]
+
+These painted face, silk-worked pictures are the only needlework
+examples the collector _need to beware of_, as they are being reproduced
+by the score. The method of working in the poorer specimens is very
+simple, and it pays the "faker" to sell for L2 or L3 what takes,
+perhaps, only half a day to produce. When a well-executed picture is
+produced it is worth money, but so far I have seen none, except at the
+Royal School of Needlework, where the copying of old pictures of the
+period is exceedingly well done, and not intended to deceive. The
+prices, however, are almost prohibitive, as no modern needlework picture
+is worth from L15 to L30. They are, after all, only copies, and in no
+sense of the word works of art.
+
+During the eighteenth century, also, a fashion set in of adorning
+engravings with pieces of cloth, silk, and tinsel. At best it was a
+stupid fancy, and was responsible for the destruction of many fine old
+mezzotints and coloured prints. The hands, face, and background of an
+engraving were cut out, and pasted on a sheet of cardboard, pieces of
+some favourite brocaded gown, perhaps, were attached to the neck and
+shoulders, tiny lace tuckers were inserted, and gorgeous jewellery was
+simulated by wretched bits of tinsel trimming. The realism of the Stuart
+stump picture was never so atrocious as this baleful invention, which
+was as meretricious as a waxwork show.
+
+Not so popular, but far better, were the pictures worked on white silk
+with black silk and hair. There were no artistic aspirations about
+these--they were copies in black and white of the engravings of the
+day, just as a pen-and-ink or pencil copy might be made. Very dainty
+stitchery was put in them, the stronger parts of the lines being in fine
+black silk, the finer and more distant being worked in human hair of
+various shades from black to brown. Occasionally golden and even white
+hair is used, and the effect is often that of a faded engraving. The
+silk ground on which these little pictures were worked is, however,
+often cracked with age, and many pretty specimens are ruined. The
+illustration shows an example of the type of picture, and depicts
+"Charlotte weeping over the Tomb of Werther."
+
+[Illustration: BLACK SILK AND HAIR PICTURE.
+
+Imitation of Engraving. Eighteenth Century.
+
+(_Author's Collection._)]
+
+
+
+
+XII
+
+NEEDLEWORK PICTURES OF THE NINETEENTH CENTURY
+
+
+
+
+XII
+
+NEEDLEWORK PICTURES OF THE NINETEENTH CENTURY
+
+     Entire decline of needlework as an art--Miss Linwood's
+     invention!--The Berlin-wool pictures--Lack of efficient
+     instruction--Waste of magnificent opportunity at South
+     Kensington Museum.
+
+
+It were kindest to ignore 19th century needlework, but in a book
+treating of English embroidery something must be said to bridge over the
+time when Needlecraft as an Art was _dead_. During the earlier part of
+the century taste was bad, during the middle it was beyond criticism,
+and from then to the time of the "greenery-yallery" aesthetic revival all
+and everything made by woman's fingers ought to be buried, burnt, or
+otherwise destroyed. Indeed, if that drastic process could be carried
+out from the time good Queen Adelaide reigned to the early "eighties" we
+might not, now and ever, have to bow our heads in utter abjection.
+
+The originator and moving spirit of this bad period was Miss Linwood,
+who conceived the idea of copying oil paintings in woolwork. She died
+in 1845. Would that she had never been born! When we think of the many
+years which English women have spent over those wickedly hideous
+Berlin-wool pictures, working their bad drawing and vilely crude colours
+into those awful canvases, and imagining that they were earning undying
+fame as notable women for all the succeeding ages, death was too good
+for Miss Linwood. The usual boiling oil would have been a fitter end!
+Miss Linwood made a great _furore_ at the time of her invention, and
+held an exhibition in the rooms now occupied by Messrs. Puttick &
+Simpson, Leicester Square. Can we not imagine the shade of the great Sir
+Joshua Reynolds, whose home and studio these rooms had been, revisiting
+the glimpses of the moon, and while wandering up and down that famous
+old staircase forsaking his home for ever after one horrified glance at
+Miss Linwood's invention?
+
+Not only Miss Linwood, but Mrs. Delany and Miss Knowles made themselves
+famous for Berlin-wool pictures. The kindest thing to say is that the
+specimens which are supposed to have been worked by their own hands are
+considerably better than those of the half-dozen generations of their
+followers. During the middle and succeeding twenty years of the
+nineteenth century the notable housewife of every class amused herself,
+at the expense of her mind, by working cross-stitch pictures with
+crudely coloured wools (royal blue and rose-pink, magenta,
+emerald-green, and deep crimson were supposed to represent the actual
+colours of Nature), on very coarse canvas. Landseer's paintings were
+favourite studies, "Bolton Abbey in the Olden Times" lending itself to a
+choice range of violent colours and striking incidents. Nothing was too
+sacred for the Berlin-wool worker to lay hands upon. "The Crucifixion,"
+"The Nativity," "The Flight into Egypt," "The Holy Family" were not only
+supposed to show the skill of the worker, but also the proper frame of
+mind the embroideress possessed. Pleasing little horrors such as the
+"Head of the Saviour in His Agony," and that of the Virgin with all her
+tortured mother love in her eyes were considered fit ornaments for
+drawing-room, which by the way were also adorned with wool and cotton
+crochet antimacassars, waxwork flowers under glass, and often
+astonishingly good specimens of fine Chelsea, Worcester, and Oriental
+china.
+
+Never was the questions of how "having eyes and yet seeing not" more
+fully exemplified. The nation abounded in paintings, prints, fine
+needlework, and the product of our greatest period of porcelain
+manufacture. Fine examples were at hand everywhere. Exquisite prints
+belonging to our only good period, the eighteenth century, were common;
+yet rather than try their skill in copying these, the needlewomen, who
+possessed undoubted skill, enthusiasm, and infinite patience, preferred
+to copy realistic paintings of the Landseer school and the highly
+coloured prints of the Baxter and Le Blond period.
+
+Unfortunately, the craze is by no means buried. Within the last twelve
+months I was invited to see the "works" of a wonderful needlewoman in a
+little Middlesex village. The local clergyman and doctor were
+sufficiently benighted even in these days of universal culture to admire
+her work, and her fame had spread. Room after room was filled with 10 by
+8-feet canvases; every drawer in the house was crammed with the result
+of this clever woman's work--for clever she undoubtedly was. After
+exhausting all the known subjects of Landseer and his school, she had
+struck out a line for herself, and had copied the _Graphic_ and
+_Illustrated London News_ Supplements of the stirring scenes from the
+South African War, such as "The Siege of Ladysmith," "The Death of the
+Prince Imperial" in all its gruesome local colouring, were worked on
+gigantic canvases. Her great _chef d'oeuvre_ was, however, the
+memorial statue of Queen Victoria, copied from the _Graphic_ Supplement
+_in tones of black, white, and grey_, a most clever piece of work;
+but--well, she was happy and more than delighted with my perfectly
+honest remark that I had _never seen anything like it_!
+
+Ah! if only this dear woman and the many others who are wasting their
+time and eyesight over fashions which perish could only be reached and
+aroused by the influence of the lovely old English stitchery of our
+great period! If only the purblind authorities and custodians of our
+National collections could awaken to the infinite possibilities which
+they hold, once again "Opus Anglicum" might rule the world, and the
+labour of even one woman's life might be of lasting value. It is useless
+to refer to the many schools of embroidery there are in different parts
+of the country, where fine work is being done on the best lines. These
+schools, from the Royal School of Needlework downwards, are "closed
+corners," and no attempt is made to reach the great public. The Royal
+School of Needlework is maintained by no subsidy as it ought to be, but
+by the many ladies of position and taste who liberally support it, both
+for the instruction and employment of "ladies of reduced circumstances,"
+and for _the disposal of its work at very high prices_. Other schools in
+town are simply private adventure institutions, run at a considerable
+profit to the principals.
+
+The superb collection at South Kensington might as well be buried in the
+crypt of Westminster Cathedral for all the value it is to the general
+public. There is not the slightest attempt to allow these unique pieces
+of "Opus Anglicum" to point a moral or adorn a tale. The magnificent
+copes and vestments, of which there are some score, are merely
+tabulated, paragraphed, and photographed, and there is an end of them.
+During my constant visits to these treasures of English Art I have not
+once discovered another interested visitor amongst these beautiful
+vestments; and the officials, when interviewed, though perfectly
+courteous, apparently resent inquiries; and woe betide the unfortunate
+inquirers who _might_ have found the required information from the tiny
+little printed card hidden either too low or too high in the dark
+recesses of the corridors, and so spared these _savants_ the trouble of
+an interview!
+
+Why a continuous course of lectures on this and every kindred Art
+subject is not made compulsory at the Victoria and Albert Museum is one
+of the burning questions of the hour among the cultured collectors of
+the day. The custodians are supposed to be men of special insight in the
+branches over which they preside, yet for all the advantage to the
+public they might as well be waxwork dummies. What we want as a nation
+is "culture while we wait," and writ so large that those who run may
+read, and until this consummation is attained we shall ever remain in
+the Slough of Despond, and Art for Art's sake will continue dead.
+
+
+
+
+XIII
+
+EMBROIDERY IN "COSTUME"
+
+
+
+
+XIII
+
+EMBROIDERY IN "COSTUME"
+
+     Early Greek garments--Biblical references to
+     embroidery--Ecclesiastical garments--Eighteenth-century
+     dresses, coats, and waistcoats--Muslin embroideries.
+
+
+The subject of Costume has been most admirably treated in another volume
+of this series, but a reference must be made to it as affecting our
+topic, English Embroidery, as costume has played no little part in its
+history.
+
+From the earliest ages embroidery has been used to decorate garments.
+The ancient Greeks embroidered the hems of their graceful draperies in
+the well-known Greek fret and other designs so invariably seen on the
+old Greek vases. The legend that Minerva herself taught the Greeks the
+art of embroidery illustrates how deeply the art was understood; and the
+pretty story told by an old botanist of how the foxglove came by its
+name and its curious bell-like flowers is worth repeating. In the old
+Greek days, when gods and goddesses were regarded as having the
+attributes of humanity in addition to those of deities, Juno was one
+day amusing herself with making tapestry, and, after the manner of the
+people, put a thimble on her finger. Jupiter, "playing the rogue with
+her," took her thimble and threw it away, and down it dropped to the
+earth. The goddess was very wroth, and in order to pacify her Jupiter
+turned the thimble into a flower, which now is known as Digitalis, or
+finger-stole.
+
+This little fairy tale can scarcely be taken as proof conclusive of the
+existence of either needle tapestry or thimble use, but its telling may
+amuse the reader.
+
+In all ancient histories we find continuous references to the
+embroidered garment worn by its people. It was well recognised that no
+material was sufficiently beautiful not to be further embellished with
+rich embroideries. In the Psalms we find that "Pharaoh's daughter shall
+be brought to the king in a raiment of needlework," and that "her
+clothing is of wrought gold."
+
+Phrygia was above all the country most noted for embroideries of gold,
+and for many years the name "Phrygian embroidery" was sufficient to
+describe any highly decorated specimen. It is said that the name of the
+vestment or trimming, the "orphry" is derived from the word
+"Auri-phrygium," meaning "gold of Phrygian embroidery."
+
+The Phrygians are credited with having taught the Egyptians the art,
+while the Hebrews, while sojourning in the land of Egypt, learned the
+art from their captors, and carried it with them all through their
+journeys to the Promised Land, and their final settlement in Palestine.
+The mention of gold and purple embroideries, both as garments and
+hangings, is conspicuous throughout all Bible history. The Egyptian and
+Greek arts are in almost all respects concurrent. The Phoenicians
+carried examples of each country's work from one to another. After the
+conquest of Greece the Romans absorbed her art, and developed it in
+their own special style. They in turn carried their arts and crafts to
+Gaul and Britain, and by degrees needlecraft permeated the whole of
+Europe.
+
+Dealing with the embroidered costumes of our own country, the ancient
+records, illuminated Missals, and other contemporary data show that very
+sumptuous were both the ecclesiastical and lay garments. Heavy gold
+embroideries were worked on the hems of skirts and mantles. The Kings'
+coronation robes and mantles were beautiful specimens of handicraft,
+often after a king's death being given to the churches for vestments.
+From Anglo-Saxon to Norman times extensive use was made of the work of
+the needle for clothing, but after the Conquest till quite late in the
+Tudor period little has been found to throw light upon the use of
+embroidery for the lay dress of the time. All woman's taste and energy
+seem to have been devoted to make monumental embroideries for church
+use.
+
+It was, indeed, not until the gorgeous period of Henry VIII. that
+embroidery, as distinct from garment-making, appeared; and then
+everything became an object worthy of decoration. Much fine stitchery
+was put into the fine white undergarments of that time, and the
+overdresses of both men and women became stiff with gold thread and
+jewels. Much use was made of slashing and quilting, the point of
+junction being dotted with pearls and precious stones. Noble ladies wore
+dresses heavily and richly embroidered with gold, and the train was so
+weighty that train-bearers were pressed into service. In the old
+paintings the horses belonging to kings and nobles wear trappings of
+heavily embroidered gold. Even the hounds who are frequently represented
+with their masters have collars massively decorated with gold bullion.
+
+The skirts of the ladies of this time were thickly encrusted with
+jewels, folds of silk being crossed in a kind of lattice-work, each
+crossing being fixed with a pearl or jewel, and a similar precious stone
+being inserted in the square formed by the trellis. The long stomachers
+were one gleaming mass of jewelled embroidery, the tiny caps or
+headdresses being likewise heavily studded with gems.
+
+During the reign of Charles I. a much daintier style of dress appeared.
+Velvet and silken suits were worn by the men, handsomely but
+appropriately trimmed with the fine "punto in aria" or Reticella laces
+of Venice; and in this and the three succeeding reigns dress was of
+sumptuous velvets, satins, and heavy silks, unembroidered, but trimmed,
+and in Charles II.'s time _loaded_ with costly laces. It will be noted
+that whenever lace is in the ascendant, embroidery suffers, as is
+quite natural. Lace itself is sufficient adornment for fine raiment.
+
+[Illustration: _Photo by E. Gray, Bayswater._
+
+MRS. TICKELL AND HER SISTER, MRS. SHERIDAN, BY GAINSBOROUGH, SHOWING HOW
+LACE WAS SUPERSEDED BY FILMY MUSLINS.
+
+(_Dulwich Gallery._)]
+
+As the use of the fine Venetian and Flemish and French laces declined,
+and tuckers and frillings of Mechlin, Valenciennes, and Point
+d'Angleterre appeared, the use of embroidery asserted itself, and the
+pretty satins and daintily coloured silks of William and Mary, Queen
+Anne, and more specially the earlier Georges, began to be embroidered in
+a specially delicate fashion. Fine floss silk was used in soft
+colourings, and whole surfaces were covered with tiny embroidered sprays
+of natural-coloured flowers. Really exquisite stitchery was put into the
+graceful honeysuckle, the pansy, carnation, and rose clusters which
+decorated the dresses. The bodices, sacques, and skirts of the early
+eighteenth-century ladies were embroidered with real artistic taste and
+feeling. Some of the old dresses kept at South Kensington show the
+exquisite specimens of this class of needlework; while the coats and
+waistcoats of the sterner sex are not a whit behind the feminine
+garments in beauty. The long waistcoats were most frequently made of
+cream, pale blue, or white silk or satin, delightfully embroidered with
+tiny sprays of blossoms, and fastened with fine old paste buttons; while
+the coat, frequently of brocade, was heavily embroidered down the front
+with three or four inches of solid embroidery of foliage and flowers,
+oftentimes mixed with gold and silver threads. The tiny cravat of
+Mechlin, cuff ruffles, knee breeches, silken hose, and buckled shoes,
+along with the powdered hair, complete a costume that has never been
+equalled, either before or afterwards, in beauty, grace, and elegance.
+During the William IV. and the long Victorian period, with the exception
+of a very fine embroidery on muslin, in the earlier part of it, nothing
+but fine stitchery for the use of underwear was made, if we except the
+hundreds and thousands of yards of cut and buttonholed linen which
+seemed to have been the solace and delight of our grandmothers when they
+allowed themselves to be torn away from their beloved Berlin-wool work.
+To sit on a cushion and sew a fine seam appears to have been the
+amusement of the properly constituted women of the early and
+mid-nineteenth century.
+
+
+
+
+XIV
+
+SALE PRICES
+
+
+
+
+XIV
+
+SALE PRICES
+
+
+Ancient embroideries so seldom come into the salerooms that it is rarely
+an opportunity occurs for obtaining market prices, therefore Lady
+Wolseley's sale on July 12, 1906, must be accepted as a standard.
+Immense prices are asked at the antique shops, the dealers apparently
+basing their prices on this sale by auction and _doubling_ them. I have
+visited every shop in the trade in search of prices for this book before
+procuring the auctioneer's catalogue, and was aghast at the terrific
+sums asked for oftentimes indifferent specimens in comparison to what
+was paid in the auction-room. During the past year anything from L15
+15s. to L40 has been paid at Christie's for specimens of varying degrees
+of perfection of work and condition. The latter state is even of greater
+importance than the first, as no matter how good the work originally, if
+discoloured and frayed, prices go down and down. Nearly all the finest
+specimens of the Stump-work period are marred by the tarnishing of the
+gold and silver threads. Instead of these being a glory and a great
+enhancement to the embroidery, they prove a great disfigurement, and
+thereby cause a considerable reduction in value.
+
+The earlier petit point pictures, having little or no bullion in their
+execution (and when cared for and not exposed to too much sunlight),
+have kept their condition very well, and now are quite the favourite
+kind for collection. It speaks much for the quality of the silks used
+and the dyes of nearly three hundred years ago that the fugitive greens
+and blues and delicate roses in these little works of art, as in the
+superb tapestries of the same date, should be as fine as when made,
+whereas to-day's colours are as fleeting as the glories of the rainbow.
+
+       *       *       *       *       *
+
+The following are the principal prices in Lady Wolseley's sale:
+
+                                                L  s. d.
+
+A small bag, red and gold brocade               2 15  0
+
+A small bag or purse                            5  0  0
+
+A fine bead book-cover                          6  0  0
+
+Same, trimmed with silver lace (Harris)         6 16  0
+
+A pair of embroidered shoes (Harris)            6  0  0
+
+A small pocket-book, silk embroidery on
+silver ground                                   8 17  6
+
+A pair of Stuart shoes                          9 19  6
+
+A stumpwork picture, a most curious globe,
+showing Europe, Asia, Africa, and America,
+1648 (S. G. Fenton)                            24  0  0
+
+A double book of Psalms, embroidered binding
+with Tudor rose                                23 10  0
+
+A petit point picture, 12-1/2 x 9-1/2          11 11  0
+
+A small picture, partly sketched and partly
+worked                                          4 14  6
+
+A Stuart stump picture, 18 x 15-1/2            18 18  0
+
+A Stuart stump picture, King under canopy,
+17-1/2 x 14                                    14 14  6
+
+A Stuart bullion picture, vase, in
+tortoiseshell frame, 23 x 18                    8  8  0
+
+Same, with Herodias's daughter and John the
+Baptist                                         5  5  0
+
+A portrait of Henry, Prince of Wales, in
+flat-stitch on rose satin                      21  0  0
+
+Another on satin, "Bathsheba," spangled,
+17 x 13                                         6 16  0
+
+Another on satin, birds on gold and silver,
+13 x 13 (Harris)                               13 13  6
+
+A bead picture, 15 x 11                        11 11  0
+
+A stump and bead picture, 12 x 11              12  1  6
+
+A small book-cover, 14 x 8                     13 12  0
+
+A Stuart stump picture, figures and silver
+fountain, tortoiseshell frame, 22 x 16         15 15  0
+
+A stump picture, lady with coral necklace,
+18 x 12                                        23 10  0
+
+A stump picture, lady under arch with a
+black swan, 20 x 16 (Stoner)                   34  0  0
+
+A stump picture, King Charles as Ahasuerus
+with Haman and Mordecai, and pearl-embroidered
+carpet, 23 x 17                                28  0  0
+
+A stump picture, lady under a canopy, large
+pearls, 13 x 19, (Stoner)                      34  0  0
+
+A Stuart Petit Point picture, Abraham and
+Hagar                                          16 16  0
+
+A Stuart petit point picture, "Judgment of
+Paris," 24 x 17                                25  0  0
+
+A Stuart petit point picture, King Solomon
+and Queen of Sheba                             18 18  0
+
+A beadwork picture, lady and gentleman, lion
+and unicorn, 21 x 17                           12 12  6
+
+An embroidered picture, "Peter denying
+Christ," 24 x 17 (S. G. Fenton)                 9 19  6
+
+A petit point picture, lake with boats and
+figures, 15 x 12 (Harris)                      14 14  6
+
+A large stump picture, with horse and rider
+and figures of four seasons                    30 10  0
+
+A stumpwork picture, four figures, castle
+and birds and flowers (S. G. Fenton)           33  0  0
+
+A picture sketched on white satin, not worked   4 15  0
+
+A Stuart picture on canvas                      9 19  6
+
+A fine Stuart jewel-casket, numerous secret
+drawers, covered in needlework (S. G. Fenton)  47  5  0
+
+A Stuart box, covered with bullion-work
+(S. G. Fenton)                                 12 12  0
+
+A Stuart box, with embroidery and pearls
+(Spero)                                        16 16  0
+
+A Stuart box, coloured bullion, 10 x 6          9  9  0
+
+An embroidered box, with portrait on lid
+(S. G. Fenton)                                 53 11  0
+
+A Stuart mirror, covered with stump
+embroidery, representing Charles I. and his
+Queen (illustrated), (Rosthron)               102 18  0
+
+Another mirror, with painted and embroidered
+figures (Harris)                               34  0  0
+
+A Charles I. mirror in old lace and gold
+frame, with borders in embroidery, with
+portrait, castle, and floral decoration        40  0  0
+
+3 yds. 13 inches long, 12 inches deep,
+Cornice in Petit Point, Christie's,
+July, 1908 (Harris)                           204 15  0
+
+
+
+
+XV
+
+CONCLUSION
+
+
+
+
+XV
+
+CONCLUSION
+
+
+Needlework as a national art is as dead as the proverbial door-nail;
+whether or not it ever regains its position as a craft is a matter of
+conjecture. Personally, I incline to the belief that it is absolutely
+extinct. The death-knell rang for all time when the sewing-machine was
+invented. The machine has been a very doubtful blessing, as it has
+allowed even the art of stitchery in ordinary work to slide into the
+limbo of forgotten things. What woman now knows what it is to
+"back-stitch" a shirt cuff, for instance, drawing a thread for guidance,
+and carefully going back two or three threads in order to make a neat,
+firm line of stitching? The sewing-machine does all this, and _does_ it
+_well_, a clever machinist turning out more work in a week than a
+seamstress in a year. If this were all, it would be no matter for
+regret, but with the necessity for needlework has vanished the desire.
+The lady quoted in Green's History is now non-existent. "She was a
+pattern of sobriety unto many, very seldom seen abroad except at
+church; when others recreated themselves at holidays and other times,
+she would take her needlework, and say, 'Here is my recreation.'"
+
+In spite of the many Schools of Embroidery, with a few notable
+exceptions, nothing is done to raise the standard of embroidery above
+making miserable little cushion-covers, table-centres, and suchlike
+pretty fripperies for the temporary adornment of the house. The women of
+Germany, Holland, Sweden, Italy, on the contrary, take a great interest
+in the embroidery of the bed and table linen and the really artistic
+embroidery of their national costumes. Nothing of this is seen in
+England. Table linen is bought _ready hemmed_ at the shop. Dainty
+tea-cloths and serviettes are purchased ready embroidered (by machine)
+and trimmed with machine-made lace. Even _lingerie_ of all classes is
+machine-made and bought by the dozen, instead of being made by the
+daughters of the house.
+
+The only hope of a revival lies in the various Art schools in the
+country where designing for fine embroidery and lace is encouraged.
+Unfortunately, however, equal facilities are offered for designing of
+machine-made imitations. The Royal School of Needlework, not being a
+Government institution, offers no encouragement to outsiders. It is in
+the hands of a number of ladies, who manage it as they will; and
+although very fine work is accomplished, they trust too much to modern
+designers and artists who work out their own pet theories and hobbies.
+If only they would put aside all theories and new ideas, and _go back_
+to the best periods of English art both for their designs and execution,
+even yet, with the intelligent use of the glorious examples in the
+adjoining Museum, much might be done to revivify this expiring art.
+
+FINIS
+
+
+
+
+INDEX
+
+
+
+
+INDEX
+
+
+OLD LACE. (_For Needlework see page 384_)
+
+
+A
+
+Adelaide, Queen, 116
+
+Age of lace, 108, 191
+
+Alencon lace, 29, 78, 183, 191
+
+Argentan lace, 29, 78, 191
+
+Argentella lace, 29, 81, 192
+
+Anne, Queen, 157
+
+Applique, 175
+
+Aylesbury, 158
+
+
+B
+
+Baby lace, 157
+
+Barri, Madame du, 90
+
+Beading, 41
+
+Beads on bobbins, 161
+
+Bed furnishing, 73
+
+Bedfordshire lace, 37, 157
+
+Belgian lace, 37
+
+Black lace, 94
+
+Blonde lace, 94
+
+Bone lace, 41
+
+Bobbins, 41, 158
+
+Bolckow, Mrs., 54
+
+Brides, 38, 127
+
+Brussels lace, 37, 81, 104, 108, 123, 195
+
+Brussels applique, 123
+
+Brussels Vrai Reseau, 111
+
+Buckinghamshire lace, 30, 35, 157, 158, 161
+
+Burano, 54, 81
+
+Buttonhole stitch, 195
+
+
+C
+
+Caen lace, 97
+
+Carrick-ma-cross, 175
+
+Catherine de Medici, 73
+
+Chantilly lace, 37, 93
+
+Charles I., 148
+
+Charles II., 104, 148, 151
+
+Charlotte, Queen, 161
+
+Christie's sale-room, 115, 201
+
+Colbert, 29, 73, 77, 102
+
+Collar lace, 61
+
+Collar, Medici, 53
+
+Commonwealth, 148
+
+Cordonnet, 41, 53, 77
+
+Convents, 26
+
+Coptic embroideries, 21
+
+Couronnes, 41
+
+Cravat, 151
+
+Creevy Papers, 115
+
+Cromwell, 151
+
+Crotchet, 175
+
+Cut worke, 73, 187
+
+Cuthbert, St., 22
+
+
+D
+
+Danish lace, 134
+
+Darned netting, 173
+
+Debenham & Storr's sale-room, 54, 200
+
+Dentele, 41
+
+Devonshire lace, 30, 162
+
+Dorsetshire lace, 161
+
+Drawn work, 21
+
+Duchesse lace, 127
+
+Durham Cathedral, 22
+
+
+E
+
+Ecclesiastical lace, 62
+
+Edgings, 31
+
+Edward IV., 144
+
+Egyptian netting, 22
+
+Elizabeth, Queen of England, 54, 147
+
+Embroidered net, 172
+
+English laces, 157
+
+Empress Eugenie, 97
+
+
+F
+
+Falling collar, 148
+
+Fausse Valenciennes, 89
+
+Fillings, 40, 173
+
+"Figure" motifs, 107
+
+Flanders lace, 29, 103
+
+Flat point (point plat), 50
+
+Flax thread, 61, 107
+
+Florence, 53
+
+Flemish point, 103
+
+Fond, 42
+
+Fontange, 151
+
+Fowler, Mrs., of Honiton, 166
+
+France, point de, 74
+
+French Revolution, 78
+
+
+G
+
+Genoese lace, 29
+
+George I., 115
+
+George II., 115
+
+George III., 115
+
+George IV., 112
+
+German laces, 134
+
+Ghent laces, 124
+
+Gingles, 161
+
+Gold and silver laces, 134
+
+Greek laces, 103, 183
+
+Groppo, Punto a, 62
+
+Gros, Point de Venise, 53
+
+Grounds, 37
+
+Guipure, 42, 61
+
+Gold lace, 22
+
+
+H
+
+Hamilton lace, 171
+
+"Hayward's," 114
+
+Henry VII., 144
+
+Henry VIII., 147
+
+High Wycombe, 158
+
+History of lace, 21
+
+Honiton, 30, 35, 165
+
+Honiton applique, 30
+
+Huguenots, 30
+
+
+I
+
+Identification of lace, 183
+
+Irish lace, 30, 172, 176, 192
+
+Italian lace, 45
+
+
+J
+
+James I., 148
+
+James II., 151
+
+Jours, 41, 81
+
+
+K
+
+Kenmare, Lady, 75
+
+King of Rome, 112
+
+
+L
+
+"Lacis," 29, 73
+
+Lappets, 112
+
+Lawn, 93
+
+Lewis Hill, Mrs., 201
+
+Lille, 35, 91
+
+Limerick, 124, 172
+
+L'Onray, 76
+
+Louis XIV., 29, 46, 73, 74
+
+Louis XV., 78
+
+Lyme Regis, 162
+
+
+M
+
+Machine-made ground, 172
+
+Macrame, 37, 64
+
+Malines, 127
+
+Maltese, 137
+
+Mantillas, 97
+
+Marie Antoinette, 78, 123, 129
+
+Massey-Mainwaring, Mrs., 200
+
+Marie de Medici, 53
+
+Marie Stuart, 171
+
+Mary, Queen, 147
+
+Mary II., 151, 152
+
+Mechlin, 37, 127
+
+Medici collar, 53
+
+Mezzo Punto, 62
+
+Milanese lace, 29, 62
+
+Mixed lace, 37, 62, 124
+
+Modern point lace, 124
+
+Montespan, Madame de, 74
+
+
+N
+
+Napoleon I., 78, 112
+
+National Library, S.K.M., 50
+
+Needlepoint lace, 49, 73, 108
+
+Network, ancient, 3
+
+Newport Pagnell, 158
+
+Normandy lace, 97
+
+Norway, 134
+
+Northamptonshire lace, 157
+
+Nuns, 26
+
+
+O
+
+Oeil de perdrix, 83, 192
+
+Origin of lace, 21
+
+
+P
+
+Palliser, Mrs. Bury, 9
+
+Parchment, 25
+
+Parasole, 50
+
+Pearls, 97
+
+Peter the Great, 134
+
+Picots, 42
+
+Pillow lace, 29, 37
+
+Point lace, 25, 37
+
+Point a reseau, 53
+
+Point d'Aiguille (Brussels), 108
+
+Point d'Alencon, 76
+
+Point d'Angleterre, 102, 107, 192
+
+Point applique, 123
+
+Point de France, 46, 76, 188
+
+Point de Gaze, 108, 124
+
+Point de Venise, 49
+
+Point de Venise Gros, 50, 53, 54
+
+Point de Neige, 49, 50
+
+Point plat, 50
+
+Punto in aria, 25, 143
+
+Punto a groppo, 37, 62
+
+Punto tagliato a foliami, 53
+
+
+Q
+
+Quillings, 128
+
+Quentin Matys, 103
+
+Queen Anne, 157
+
+Queen Mary II., 117, 127, 151
+
+Queen Charlotte, 117, 128
+
+Queen of Laces, 128
+
+Queen Victoria, 116, 162
+
+
+R
+
+Raised stars, 49
+
+Rose point, 49, 50
+
+Renaissance, 53, 107, 188
+
+Reseau, 36, 39
+
+Reticella, 26, 50, 73, 103, 143, 188
+
+Revolution, French, 78
+
+Rococo, 78
+
+Royal trousseaux, 81
+
+Ruffles, 90
+
+Russian lace, 134
+
+
+S
+
+St. Cuthbert, 22
+
+Sale prices, 199
+
+Samplers, 25, 187
+
+Saxony lace, 134
+
+Scotch lace, 171
+
+Silk lace, 94
+
+Smocks, 25
+
+Spanish point, 133
+
+Steinkirk, 151
+
+Sumptuary law, 112
+
+South Kensington Museum, 187
+
+
+T
+
+Tambour lace, 172
+
+Tape lace, 62
+
+Tatting, 175
+
+Thread, 61
+
+Toile, 108
+
+Trolly lace, 165
+
+
+V
+
+Valenciennes lace, 37, 89
+
+Vandyke, 61, 148
+
+Venice, 183
+
+Vicellio, 50
+
+Venetian lace, 50
+
+Victoria, Queen, 162, 165
+
+Vinciolo, 29, 50
+
+Vraie Valenciennes, 89, 90
+
+
+W
+
+Westminster effigies, 147, 151, 152
+
+William and Mary, 148, 151
+
+"Wynyards," 115
+
+William III., 115
+
+Wiltshire lace, 115
+
+Willis's Rooms, 201
+
+
+Y
+
+Youghal laces, 176
+
+
+NEEDLEWORK
+
+
+A
+
+Athelstan, 213
+
+Alb, 238
+
+Aldhelm, Bishop of Sherborne, 213
+
+Aelfled, Queen of Edward the Elder, 213
+
+Angelica Kauffmann, 339
+
+Art, the pioneer, 209
+
+Ascagni cope, 223
+
+Ascoli cope, 233
+
+
+B
+
+Bags, Stuart, 261
+
+Bayeux tapestry, 214
+
+Beads, Venetian, 274
+
+Berlin wool pictures, 350
+
+Bishop Fridhestan, 213
+
+Black work, 284
+
+Bologna cope, 223
+
+Book-covers, 279
+
+Bridgettine nuns, 227
+
+
+C
+
+Catworth cushions, 233
+
+Catherine of Aragon, 248, 251, 284
+
+Caskets, 269
+
+Chain stitch, 227
+
+Charles I., 265, 273
+
+Charles II., 265, 273
+
+Chasubles, 241
+
+Christie's sale-rooms, 257, 265, 270, 367
+
+City palls, 237
+
+Church vestments, 238
+
+Coventry, 228
+
+Copes, 241
+
+Crewel work, 329
+
+
+D
+
+Daroca cope at Madrid, 223
+
+Dr. Rock, 227
+
+
+E
+
+Earl of Shrewsbury, 228
+
+Editha, Queen of Edward the Confessor, 213
+
+Egyptian embroidery, 210
+
+Emma, Queen of Ethelred the Unready, 213
+
+Elizabeth's wardrobe, 249
+
+Elizabeth's Book at British Museum, 283
+
+Elizabeth's Book at the Bodleian Library, 283
+
+Elizabeth Hinde's Sampler, 309
+
+Elizabeth Mackett's Sampler, 311
+
+
+F
+
+Field of the Cloth of Gold, 249
+
+
+G
+
+Georgian costumes, 363
+
+Georgian pictures, 335
+
+Gimps, 249
+
+Gloves, 262, 265
+
+Greek garments, 359
+
+
+H
+
+Hampton Court, 250, 322
+
+Hair and silk pictures, 343
+
+Henrietta Maria, Queen, 265
+
+Henry VIII., 247
+
+Hoechon collection, 220
+
+
+I
+
+Isleworth, 227
+
+Italian raised work, 295
+
+
+J
+
+James I., 257
+
+Jacobean hangings, 321
+
+"Jesse" Cope, 223
+
+John Taylor's Needlework Rhyme, 258
+
+
+L
+
+Lady Jane Grey, 247
+
+"Laid," or couch work, 227
+
+Linwood, Miss, 350
+
+
+M
+
+Maniple, 241
+
+Mary Queen of Scots, 250
+
+Mary II. embroidery, 325
+
+Minerva, 358
+
+Mirror frames, 273
+
+
+N
+
+Needlework pictures, 291, 335, 349
+
+Neolithic remains, 210
+
+"Nevil" altar-frontal, 234
+
+
+O
+
+Opus Anglicum, or Anglicanum, 219, 223
+
+
+P
+
+"Painted face" picture, 335, 343
+
+Petit point, 257, 325
+
+Phoenicians, 359
+
+Phrygian embroidery, 358
+
+Pierpont Morgan, 233
+
+Pocket books, 281
+
+Pope Innocent III., 223
+
+
+Q
+
+Quilting, 287
+
+
+R
+
+Reformation, 246
+
+Roman Invasion, 210
+
+Royal School of Needlework, 353
+
+Rock's "Church of Our Fathers," 220
+
+
+S
+
+Samplers, 307
+
+St. Augustine, 210
+
+St. Benedict, 220
+
+St. Cuthbert, 213
+
+St. Dunstan, 213
+
+Steeple Aston altar-frontal, 234
+
+Stoles, 238
+
+Stump work, 295
+
+Stump work symbols, 302
+
+"Syon" cope, 223
+
+Subjects of needle pictures, 295
+
+
+T
+
+Tambour stitch, 227
+
+Tudor embroideries, 247
+
+Trays, 270
+
+
+W
+
+Wonderful needlewoman, A, 351
+
+Wolsey, Cardinal, 249, 250
+
+Wolseley's, Lady, collection, 265, 273, 368
+
+Worcester fragments, 219
+
+
+_Printed in Great Britain by_
+UNWIN BROTHERS, LIMITED, THE GRESHAM PRESS, WOKING AND LONDON
+
+
+
+
+       *       *       *       *       *
+
+
+
+
+Transcriber's Note:
+
+Obvious punctuation errors have been corrected.
+
+Inconsistent hyphenation in the original has been preserved, e.g.
+cutwork, cut-work; hand-made, handmade; lace-workers, laceworkers;
+may-flower, mayflower; needle-craft, needlecraft; needle-point,
+needlepoint; salerooms, sale-rooms; semi-circular, semicircular.
+
+Inconsistent use of accents has been preserved, e.g. applique, applique;
+reseau, reseau; toile, toile.
+
+In the Index, Pierpoint was corrected to Pierpont to match the body of
+the text.
+
+The main body of the text refers to the "Hockon collection", which is
+referred to in the index as the "Hoechon collection". It is unclear which
+of these is correct so they have been preserved as they appear in the
+original.
+
+Page 25: 'survival of the fitting' changed to 'survival of the fittest'.
+
+Page 38: 'accompanying diagrams' changed to 'accompanying diagram'.
+
+Page 42: 'little loop' changed to 'little loops'.
+
+Page 127: '"Duchesse point" of "Bruges,"' changed to '"Duchesse point"
+or "Bruges,"'.
+
+Page 192: 'of same period' changed to 'of the same period'.
+
+Page 196: 'other two' changed to 'two other'.
+
+Page 300: 'and rose of England' changed to 'and the rose of England'.
+
+Page 303: 'and butterfly was' changed to 'and butterfly were'.
+
+Page 315: 'a long narrow Samplers' changed to 'a long narrow Sampler'.
+
+Page 383: 'Punto a groppo' changed to 'Punto a groppo'.
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK CHATS ON OLD LACE AND NEEDLEWORK***
+
+
+******* This file should be named 26120.txt or 26120.zip *******
+
+
+This and all associated files of various formats will be found in:
+https://www.gutenberg.org/dirs/2/6/1/2/26120
+
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions 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 with public domain eBooks.  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
+https://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 in the public domain 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 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
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (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 Michael
+Hart, 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
+public domain works 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 F3.  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 MERCHANTIBILITY 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, is 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 web page at https://www.gutenberg.org/fundraising/pglaf.
+
+
+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 located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., 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
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://www.gutenberg.org/about/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 https://www.gutenberg.org/fundraising/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:
+https://www.gutenberg.org/fundraising/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 thirty 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 Public Domain 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:
+
+     https://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.
+
diff --git a/26120.zip b/26120.zip
new file mode 100644
index 0000000..a1d2a00
--- /dev/null
+++ b/26120.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..a38a69a
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #26120 (https://www.gutenberg.org/ebooks/26120)