Part 2

The finest lace of this variety was produced in the sixteenth century, the designs being bold, handsome, and purely Renaissance in type. That of the Louis Quatorze period shows the personal influence of his reign, frequently having tiny figures worked in the design. A collar in my possession has the Indian worshipping the sun (the King's glory was said to rival that of the sun) repeated in each scallop. This was a favourite design in the magnificent "Point de France" which was made during the long reign of Louis, under the management of Colbert.

It is absolutely certain that the laces known as Venetian Point originated in Italy. Pattern books still exist showing how the early Reticella developed into this magnificent lace. In the National Library at the South Kensington Museum, may be seen the very patterns designed by Vinciolo, Vicellio, and Isabella Parasole. These publications actually came from Venice, and being reproduced in France, Germany, Belgium, and England, quickly aroused immense enthusiasm, and lace-making spread far and wide, at first all other laces being mere imitations of the Venetian.

[Illustration: CORALLINE POINT (VENETIAN).]

[Illustration: POINT PLAT DE VENISE (FLAT VENETIAN).

(_Author's Collection._)]

[Illustration: MARIE DE MEDICIS WEARING THE MEDICIS COLLAR TO DISPLAY VENETIAN LACES.]

The chief varieties of the Venetian laces are known as Rose Point, Point de Neige, Gros Point de Venise (often erroneously attributed to Spain and called Spanish Point), and Point Plat de Venise. A much rarer variety is "Venetian point à réseau," which is the flat point worked round with a Needlepoint ground or mesh, the network following no proper order but being simply worked round the pattern and following its curves.

The chief characteristics of Venetian lace are the buttonhole Cordonnet, fine or thick according to the style of lace; the wonderful diversities of the fillings worked in buttonhole stitches; the elaborate decoration of the Cordonnet; and the starry effects of the brides or ties. In the flat Venetian Point there is no Cordonnet.

These Italian laces were admired and purchased by all the European countries, and the cities of Venice and Florence made enormous fortunes. The fashions of the day led to their extensive use, Marie de Medicis introducing the Medici collar trimmed with Venetian points specially to display them. At a little later period the collar became more falling and the heavier "Gros point" was used. Men and women alike wore lace-trimmed garments to an excessive degree, the collar and cuff trimmings being composed of wide Venetian lace and the silken scarf worn across the body being edged with narrower and finer lace.

The principal designs for the Venetian lace of all periods were scrolls of flowers conventionalised in the Renaissance taste of the time. The generic name for all laces of the finest period is "Punto tagliato a foliami." The laces of this time are now almost priceless. They are genuine works of art, worked slowly and patiently under the clear light of the Italian skies by women who were naturally artistic and beauty loving, and who, while working the shining needle and fairy thread in and out of the intricacies of the design sang the pretty "Lace Songs" which may be heard at the Burano Lace School even now, although 200 or 300 years old. Many specimens of this exquisite lace are to be found in the South Kensington Museum, where the flounce given by Mrs. Bolckow at once explains the whole scheme of Venetian lace-making.

Such lace is not to be purchased now except at great price. The piece illustrated, see page 55, was only 1-1/8 yards in length, and was sold for £145 by one of our leading lacemen. Barely 5 yards of Venetian lace, only 2 inches wide and _in rags_, was sold at Debenham & Storr's in August, 1907, for £60; and even the smallest collar or a pair of cuffs runs well into £10.

Even in the days of its manufacture this lace commanded high prices. In the inventory of Queen Elizabeth's gowns we find such entries as--

"To 1 yard Double Italian Cut-worke, 1/4 yd. wide. 55/4.

" 3 yds. broad needlework lace of Italy, with purls. 50/- per yd."

James II. paid £29 for a cravat.

[Illustration: VERY FINE EXAMPLE OF "GROS POINT DE VENISE."]

IV

THE LACES OF GENOA AND MILAN

[Illustration: LOUIS XIII. OF FRANCE, SHOWING VANDYKE LACE COLLAR AND NARROWER LACE ON SCARF.]

IV

THE LACES OF GENOA AND MILAN

Argentella wrongly called Italian--Genoese--Mixed laces--Milanese--Macramé.

These are mostly Pillow laces, but fine Point laces were also manufactured in these towns. In the first-named town it is said that the lace called "Argentella" was made, but this is extremely doubtful, most authorities arguing that it was certainly a French lace made at the best period.

A very representative lace of Genoa is known as collar lace, very widely used for the falling collars of the Vandyke period. It was an exceedingly beautiful and decorative lace, and almost indestructible. Specimens of this lace can even now easily be secured at a fair price. The laces known as "Pillow Guipure" are somewhat open to question, the authorities at South Kensington Museum agreeing to differ, and labelling most of the specimens "Italian or Flemish." The finer pieces of this type of lace may safely be described as "Flemish," as the flax-thread grown and made in Flanders was much finer than that grown in the Southern Countries.

Much of the Genoa lace was worked in what we term "mixed lace," the design being woven on the pillow, and the ground and fillings worked in with the needle either in a network or by brides and picots. A much inferior kind is made with a woven braid or tape, the turns of the pattern being made in twisted or puckered braid, much after the style of the handmade Point lace made in England some thirty years ago. This lace was known as "Mezzo Punto," though the French were discourteous enough to term it "Point de Canaille," as undoubtedly it was an imitation of the finer laces made in a loose, poor style.

The lace of Milan is unquestionably the most beautiful of the Pillow laces of Italy. While resembling the plaited lace of Genoa, there is more individuality about it. Much of this fine lace was worked for church vestments and altar cloths. Various heraldic devices are frequently introduced, surrounded with elegant scroll designs, the whole being filled up with woven réseau, the lines of which are by no means regular, but are made to fill in the interstices.

Yet another Italian lace is known as

_Punto a Groppo, or Macramé_.

No doubt this was the earliest form of woven lace, and, indeed, it may claim an origin as early as the first garments worn by mankind. In the earliest remains of antiquity a _fringe_ often decorates the edges of garments, curtains, and floor-covering, and seems to be a natural and fitting finish to what would otherwise be a hard, straight line. In the various Assyrian and Egyptian monuments this is noted again and again.

[Illustration: GENOESE LACE.

Sixteenth or Seventeenth Century.

(_S.K.M. Collection._)]

Some of the sixteenth-century pieces which we possess show simply an elaboration of the knotted fringe, while much of the later work is exceptionally fine. The work is so well known, owing to its revival during the last thirty years in a coarse form, that it needs little description. Its use, even at its best period, was confined to household use, for which purpose it seems particularly adapted.

[Illustration: MILANESE LACE.

(_Author's Collection._)]

V

THE LACES OF FRANCE

[Illustration: "CUT-WORKE."]

[Illustration: LACIS.]

[Illustration: OLD ITALIAN AND FRENCH CUT AND DRAWN WORK AND "LACIS."

(_Author's Collection._)]

V

THE LACES OF FRANCE

_The Needlepoint Laces of France_

Catherine de Medici's collection of "Lacis"--Establishment of lace-making by Colbert--"Point de France"--"Point d'Alençon"--"Point d'Argentan"--Modern reproduction of these at Burano, Italy.

France in the sixteenth century, as always, led the van of fashion. Lace appears to have been extensively used long before its apotheosis at the Court of Louis le Grand, otherwise Louis XIV. Catherine de Medici patronised the manufacture of "_Lacis_," which was merely darned netting, more or less fine. At this time "Lacis" and "Cut-worke" were practically all that was known or used. Bed-hangings, curtains, and furniture-coverings were covered with alternate squares of lacis and cutwork. Afterwards the Reticella laces of Italy were imported and had an immense vogue, but it was not until the artistically glorious time of Louis XIV. that an attempt was made to encourage a manufacture of French laces.

Colbert, the astute Minister of Louis XIV., became alarmed at the immense sums of money which went out of the country to purchase the laces of Venice, and, by means of bribing the best workers of the Venetian schools, he induced them to settle at L'Onray, near Alençon. In 1665 he had so far succeeded that lace rivalling that of Venice was being produced. The Venetians became alarmed in their turn (as, indeed, they had need to be) and issued an edict, ordering the lace-workers to return forthwith, or, failing this, the nearest relative would be imprisoned for life, and steps would be taken to have the truant lace-worker _killed_. If, however, he or she returned, complete forgiveness would be extended, and work found them _for life_ at handsome remuneration. History does not tell us the result of this decree, but it evidently failed to destroy the lace manufacture of France.

At first the lace manufactured at Alençon received the name of "Point de France," and was absolutely indistinguishable from that of Venice. Its magnificence of design, indeed, may be said to have exceeded anything before attempted. The introduction of tiny figures was attributable to the overwhelming personality of Louis XIV., and was symbolical of his magnificent sway and far-reaching influence. In the illustration, page 55, an especially fine specimen of the lace, Madame de Montespan is seen seated under the crown, two small Indians are on either side; a tree bearing flags and trophies completes this tribute to the genius of the lace-makers and the splendour of the Court.

[Illustration: "POINT DE FRANCE."

(_The property of Lady Kenmare._)]

[Illustration: POINT D'ALENÇON.

(_Author's Collection._)]

The name "Point de France" is given to all lace made from its commencement by Colbert's direction until about 1678, when the lace-workers, perhaps forgetting the traditions of the Venetian school, developed a style of their own and the work became more distinctly French, being more delicate, finer in substance, the patterns clearer and more defined. The importation also of the finer flax thread from Flanders brought the more exquisite Pillow lace of Brussels to the notice of the French lace-workers. The French, as a nation, have always been foremost in seizing upon new ideas and adapting them to their own artistic requirements. In this instance the result was admirable, and it gave to the world, not the finest lace, as it was impossible to surpass the earliest Venetian Point laces, but certainly the next lace in order of merit, "Point d'Alençon." The chief characteristic of the lace is the fine, clear ground, the stiff Cordonnet outlining the pattern, and the exquisite patterns in the "jours" or fillings.

The cordonnet of Alençon is the only one which has horsehair for its foundation. A strand of hair is carefully stitched down to the edges and is buttonholed over with the finest thread, and is said, although giving the lace quite a character of its own, to have been the cause of much of its destruction, as, in washing, the hair contracts and curls. It will be noticed also that the ground is worked in strips, _shortways of the lace of less than an inch in length_, afterwards being stitched together in what is known as "fine joining." So elaborate was the original Point d'Alençon that no less than eighteen workers were engaged on one single piece. Later the number was reduced to twelve, when the patterns became less ornate.

Although the factory of Alençon existed well into the early nineteenth century, the style of lace gradually deteriorated, until it is now non-existent! The lace made during the long reign of Louis XIV. is considered by far the finest and best, showing both grandeur of style and pattern and exquisite workmanship. Under Louis XV. the lace was equally well made, but the patterns followed the Rococo designs which were now introduced into all other decorative work, while in the reign of the ill-fated Louis XVI. it went completely out of fashion, Marie Antoinette affecting a much simpler style of lace. The Revolution finally caused the complete overthrow of Alençon lace, as of all fine art work in France. An attempt was made by Napoleon I. to revive it, but its glories had passed, and the hands of the workers had lost their cunning, the result being known as the worst type of lace, stiff and ugly in design and coarse of execution.

"_Point d'Argentan._"

This lace is practically the same as Alençon with a variation of ground, which, to the uninitiated, appears coarse. A magnifying glass, however, will speedily dispel this illusion. The ground in itself is a marvellous piece of work, each of the sides of the mesh being covered with ten buttonhole stitches. Very frequently a mixed lace of Alençon and Argentan is found, the result being very fine.

[Illustration: "POINT DE FRANCE."

(_Author's Collection._)]

[Illustration: POINT D'ARGENTELLA.]

_Point d'Argentella._

About this lace most authorities dispute, some stoutly advocating its claims to be French lace entirely and others averring that it was made _in imitation_ of the Point d'Alençon by the Genoese. Be this as it may, the lace known as Point d'Argentella is exceptionally fine even amongst other fine laces, and is noted most specially for the fine "jours" which form an essential part of the pattern, every effort apparently being made to give extra scope for their employment. The specimen illustrated shows some of these "jours" having the characteristic mayflower, lozenge, and dotted patterns.

Much modern lace of this type is now made at Burano, Italy, where the coarse Italian lace formerly made there has been entirely superseded. It strongly imitates Alençon and Argentan lace, but is without the raised cord which is so typical of these, having the pattern outlined with flat buttonhole stitches only. By many connoisseurs this is considered the finest lace of this age, being far superior to modern Brussels. It is entirely handmade, which cannot be, unfortunately, averred for Brussels, as the fine machine-made net, woven from the exquisitely fine thread manufactured in Flanders and Belgium, serves as the ground for all Brussels lace made at the present time, except when special orders like Royal trousseaux are in hand. The lace-makers of Burano, it may be added, imitate the finest Venetian Rose Point, Point de Gaze, Alençon, ever produced, the prices comparing very favourably with the old work, though still very costly.

[Illustration: POINT D'ARGENTAN WITH POINT D'ALENÇON BORDER.

(_S.K.M. Collection._)]

[Illustration: ARGENTELLA LACE, SHOWING THE "PARTRIDGE-EYE" GROUND.

(_S.K.M. Collection._)]

VI

THE PILLOW LACES OF FRANCE

[Illustration: EARLY VALENCIENNES.

(_S.K.M. Collection._)]

[Illustration: OLD VALENCIENNES.

(_Author's Collection._)]

VI

THE PILLOW LACES OF FRANCE

Valenciennes, "Vraie" and "Fausse"--Lille--Chantilly-- Blonde--Caen and Brittany.

_Valenciennes._

Valenciennes was formerly part of Flanders, being in the province of Hainault. It became a French town in 1668 by treaty. Being a Flemish town, the lace made there was purely Pillow lace, and in fineness of thread and beauty of design it rivalled in its early stages some of the fine old Flemish laces, which are more like ornamental cambric than anything else.

There are two kinds of Valenciennes lace, known as "Vraie" and "Fausse." These names are very misleading, as they merely denote the laces made in the town itself, or in the outskirts.

Early Valenciennes can only be distinguished from Flemish laces of the same age by the difference in the _ground_. By reference to the little chart of lace stitches the distinction will easily be seen, the Valenciennes being much closer and thicker in the plait, and having four threads on each side of its diamond-shaped mesh. Conventional scrolls and flowers were used as designs for the toile, the ground and the pattern being made at the same time.

This lace is said to have been worked, like that of Brussels, in dark, damp cellars, the moist atmosphere being necessary to prevent the tiny thread breaking. The lace-workers became nearly blind, and quite useless, long before they reached thirty years of age.

So expensive was the fabric that a pair of ruffles for a gentleman's coat would sell for 4,000 livres. Madame du Barri made extravagant use of this lovely lace. In her wardrobe accounts are mentioned, in 1771, head-dress, throatlets, fichus, and ruffles, "all plissé de Vraie Valenciennes." The amount of lace used for a head-dress alone is said to have cost 2,400 livres.

The "Vraie Valenciennes" was practically indestructible, earning the nickname of the "Eternal Valenciennes" from its durability. The well-to-do bourgeoise used to invest her savings in real lace, treasuring and wearing it on all best occasions for a lifetime.

The lace-makers of the town itself were so satisfied with their own lace that they proudly boasted that if a length commenced in the town of Valenciennes were taken and completed _by the same worker, and with the same thread_, outside their own damp atmosphere, the exact point of difference would be shown in the piece.

[Illustration: "OLD LILLE."

(_Author's Collection._)]

The earliest Valenciennes laces show a closer design than that made later, which, by the way, many connoisseurs much prefer. The latter type is of clearer ground and more open design. The flowers do not follow the large scroll-like pattern of Flanders, but suggest the detached sprays and festoons of Alençon and Argentan. In both types there is no cord outlining either pattern or edge. All is flat as a piece of fine lawn.

_Lille._

By no means a _favourite_ lace at any time, Lille ranks next in merit as a hand-made lace. The mesh is clearer and larger than most French or Belgian laces, being made by the simple twisting of two threads on four sides. The patterns are simple, and are outlined with a loose flax thread of silky appearance. The straight edges which characterise Old Lille lace certainly did not lend elegance to it. A large manufacture in black lace was commenced, and the black silk mantles of the eighteenth century were lavishly trimmed with it. It is entirely out of favour at this day, however, only the finest white variety being sought after.

Lace is still manufactured at Lille, but the patterns of Mechlin are copied, although the tiny square dots, one of the distinguishing points of old Lille, are still used.

_Chantilly._

The white laces of Chantilly much resemble Lille, having the same fine, clear ground and a thick, silky-looking thread outlining the pattern. A little lace school was established by the Duchesse de Rohan early in the seventeenth century, and for quite a hundred years white laces were made, and became popular. Marie Antoinette used this pretty lace as well as Valenciennes extensively to trim her favourite lawn dresses and fichus when she and the ladies of her Court retired to the Petit Trianon to play at being shepherdesses.

About the middle of the eighteenth century Chantilly began to produce black silk lace of very fine quality. This is practically the only black lace for which there is any market. A Chantilly fan or a Chantilly shawl will always find purchasers. The exquisite fineness of its ground, the elegance of its floral festoons and bouquets, make it a desirable possession. With the Revolution the manufacture of real old black Chantilly ceased, and was only revived with the Empire, when, in addition to copying the old designs, the manufacture of the famous _blonde_ laces was commenced.

_French Blonde Lace._

At first these filmy silk laces were made in the natural colour floss silk imported from China, hence its name "Blonde." Some of the finest specimens are in this colour. Afterwards, when the art of bleaching the silk was discovered, it was made in a peculiarly silvery colour, the loosely woven silk being worked in patterns on what appears a ground of gossamer. Black Blonde was afterwards manufactured, the lace being very different to that of nineteenth-century manufacture, the mesh being large and open. This was a favourite lace with the Spaniards for mantillas, and much prosperity resulted to the little town of Chantilly. As with all other laces, the introduction of machinery killed the industry as an art, and the only Blonde laces now made are by machine, and are quite inartistic and inelegant. Hand-made Chantilly in black silk is still manufactured, but it has only a limited output.

[Illustration: "THE EMPRESS EUGENIE" WEARING BLONDE LACE.

(_From a Baxter print._)]

_Other French Laces._

Lace has been made in many smaller towns in France, but in no instance has it been of sufficient artistic merit to have made a name. Caen manufactured Blonde lace in imitation of Chantilly. In Normandy the peasant women and girls in the eighteenth century were specially diligent, and made praiseworthy imitations of Mechlin, Flemish guipure laces, and Brussels, and also introduced the working of gold and silver thread and even beads, which was much used in churches. Some really exquisite Blonde lace made in this manner was produced at Caen, fine pearls were used in the place of beads, and this lace became extremely popular in England. The Empress Eugénie was particularly fond of it, and in most of the portraits of her at the zenith of her beauty she is seen wearing decorated Blonde lace. It is said that this lace so soon soiled and spoiled in the making that only women having specially dry hands could be employed, and that during the summer months the lace was worked in the open air, and in the winter in rooms specially built over cow-houses, so that the animals' breath might just sufficiently warm the workers in this smokeless atmosphere. Other towns engaged in lace-making were Havre, Dieppe (the latter town making a lace resembling Valenciennes), Bayeux, which carried on an extensive trade with the Southern Islands; Mexico and Spain taking an inferior and heavy Blonde lace for mantillas.

In Bretagne so dear is lace to the heart of the French peasant woman that every garment is trimmed with lace, often of her own making; and along with the provision of a little "dot" for her daughter she makes pieces of lace for her wedding dress. A curious custom is noted, that the peasant woman often wears this treasured garment only twice, once for her wedding and lastly for her funeral!

VII

THE LACES OF FLANDERS

[Illustration: POINT D'ANGLETERRE.

Period Louis XIV.

(_Author's Collection._)]

VII

THE LACES OF FLANDERS

Early Flemish--Brussels lace--Point d'Angleterre--Cost of real Flanders flax thread--Popularity of Brussels lace--Point Gaze.

Whether Italy or Flanders first invented both Needlepoint and Pillow laces will ever remain a moot point. Both countries claim priority, and both appear to have equal right. Italian Needlepoint without doubt evolved itself from the old Greek or Reticella laces, that in turn being a development of "Cutworke" and drawn thread work. Flanders produces her paintings by early artists in which the portraits are adorned with lace as early as the fourteenth century. An altar-piece by Quentin Matys, dated 1495, shows a girl making Pillow lace, and later, in 1581, an old engraving shows another girl busy with her pillow and bobbins. An early Flemish poet thus rhapsodises over his countrywomen's handiworks:

"Of many arts, one surpasses all; The threads woven by the strange power of the hand-- Threads, which the dropping of the spider would in vain attempt to imitate, And which Pallas herself would confess she had never known."