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+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
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+
+
+
+
+
+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***
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